The Baroque in Italy and Spain- BU Chap 24

Dwarf with a Dog

The Baroque in Italy and Spain 17th Century Artist: Diego Velázquez Medium: Oil on canvas High and mighty Big dog to show dwarf's lower class Sad Clothing shows status For entertainment value (Dwarf with dog) Show royalty through hierarchy scale https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwjekcjvw7bSAhUF0oMKHbg0COgQjRwIBw&url=http%3A%2F%2Fwww.allposters.com%2F-sp%2FDwarf-with-Dog-Posters_i6260095_.htm&psig=AFQjCNECkcVa13kouK92-dzsbkYpFnzRdQ&ust=1488499764684231

Self-Portrait as the Allegory of Painting

The Baroque in Italy and Spain 17th Century Artist: Artemisia Medium: Oil on canvas Paints herself painting to show that she is an artist Not looking at the viewer Artemisia was an activist for her time She was raped by her teacher, Tassi He was acquitted. No one believed her Dad also subtly taught her how to be an artist Influenced by Caravaggio

Judith and her Maidservant with Head of Holofernes

The Baroque in Italy and Spain 17th Century Artist: Artemisia Medium: Oil on canvas Red sheet in background After the act Sword at the ready Sword looks different, curved Clothing is also different. More stylized

Susanna and the Elders

The Baroque in Italy and Spain 17th Century Artist: Artemisia Gentileschi Medium: Oil on canvas Two older gentlemen had intentions to seduce and rape her Woman was bathing Was put on trial for "lying" Two elders wrongfully identified a tree. They said different trees. This is how the men were caught.

Supper at Emmaus

The Baroque in Italy and Spain 17th Century Artist: Caravaggio Medium: Oil on canvas No significant halo (mixture of light and shadow) In action/ movement Detailed Dinner Everyone realized it was Christ Backward/foreword motion Open space (for us to feel part of the piece) Excited but scared that someone is back from the dead Foreshortening Diagonal composition Christ: Softer facial feature, face rounder, no facial hair Food is falling off the table. We are somewhat invited into the scene to catch it before it falls

Old Woman Cooking Eggs

The Baroque in Italy and Spain 17th Century Artist: Diego Velázquez Medium: Oil on canvas Daily life type of painter. "Genre" painter Different ages and social classes Greenish/yellowish hue Earth tones Old woman is most likely a "lower class" Not making eye contact

Water carrier of Seville

The Baroque in Italy and Spain 17th Century Artist: Diego Velázquez Most likely in Spain Medium: Oil on canvas Water carrier is the largest figure in the center. Older He is not the same social class as the boy. No eye contact reinforces this. Lack of connection His clothes are tattered Water carrier is an important job 3 different stages of a man's life (subtlety painted man between boy and water carrier) No sense of place Bodega: tavern. Almacén para guardar bebidas alcohólicas

Judith Slaying Holofernes, Artemisia

The Baroque in Italy and Spain 17th Century Florence, Italy Artist: Artemisia Medium: Oil on canvas Blood seeps into sheets Judith has blood on her Artemisia portrays Judith as strong. She has anger Use of light/shadow She has a purpose. Looks concentrated Saved town by killing Holofernes Handmaiden is younger than in Caravaggio's work. Maiden and Judith are partners Maiden is holding him down Red sheets in both Caravaggio and Artemisia's painting

Judith Slaying Holofernes

The Baroque in Italy and Spain 17th Century Italy Artist: Caravaggio Medium: Oil on canvas Judith is a faithful woman Judith has the swords Dressed up to kill Holofernes Darkest he's ever been She saved her city Awkward Judith seems timid No emotion either Old lady looks angry and is aged Blood is not realistic. Only one shade of red Lack of motion No blood on sword

Surrender of Breda

The Baroque in Italy and Spain 17th Century Madrid, Spain Artist: Diego Velázquez Medium: Oil on canvas 80 Years War between Netherlands and Spain Dutch on left, Spanish on right Key Gun on left side Spanish look more organized Wealthy clothing (Spanish). Dressed nicely Dutch clothing looks more ragged Lack of blood Battle scene in background Philip IV was not a good leader Commissioned to make him look more important Spain wanted to show that they won

Christ on the Cross

The Baroque in Italy and Spain 17th Century Madrid, Spain Artist: Diego Velázquez Medium: Oil on canvas Halo on Christ. Glowing halo again. Like in the Byzatintine period Christ is very thin Perfect image of man Skin is glowing. Still somewhat alive Little platform for his feet. Arms are looser/curved Text above Christ

Las Meninas (The maids of honor)

The Baroque in Italy and Spain 17th Century Madrid, Spain Artist: Diego Velázquez Medium: Oil on canvas Princess is blond Fell in love with artist, etc. Self-portrait on the left. Holding a paint brush Dwarf on the right She's with "her crowd." Figures in mirror. Could be King Philip IV and his wife Double edges on mirror show it's a mirror Diego wears a cross on his chest

Entombment

The Baroque in Italy and Spain 17th Century Rome, Italy Artist: Caravaggio Medium: Oil on canvas Diagonal Intense Greenish hue No background Theatrical Focus on figure In action Women in shock, hands up Individualism Foreshortening

Calling of Saint Matthew

The Baroque in Italy and Spain 17th Century Rome, Italy Artist: Caravaggio Medium: Oil on canvas Light is important (unknown source). Diagonal light source. Dramatic Christ is here (right). Has a light halo Christ invites Matthew to be a deciple Put in common areas to relate / connect to viewers

East Facade of Saint Peter's

The Baroque in Italy and Spain 17th Century Rome, Italy Artist: Carlo Maderno Vatican City Modern elaborated on his design for Santa Susanna, but the two outer bays with bell towers were not part of his plan and detract from the vertically he sought. Is a gigantic expression of the elements of Santa Susanna's first level. Maderno's plan also departed from the Renaissance central plans for Saint Peter's designed by Bramante and, later, by Michelangelo.

Cornaro Chapel

The Baroque in Italy and Spain 17th Century Rome, Italy Artist: Gianlorenzo Bernini Deep interest in theater Used his surroundings

Baldacchino

The Baroque in Italy and Spain 17th Century Rome, Italy Artist: Gianlorenzo Bernini Medium: Gilded bronze Vatican City Bernini's baldacchino serves both functional and symbolic purposes. It marks Saint Peter's tomb and the high altar, and it visually bridges human scale to the lofty vaults and dome above.

David

The Baroque in Italy and Spain 17th Century Rome, Italy Artist: Gianlorenzo Bernini Medium: Marble 5' 7" Complex Expansive and theatrical The element of time plays an important role in the artwork During the act / in movement Has slingshot Most Davids are static; usually captured before or after act Biting his lip. Concentrated First David to have drapery. Religious nudes were not accepted at the time / no nudes for religious purposes Amor behind him Classical body Hair is not stylized Roman Numerals on the bottom. Maybe a date Not completely ideal (body, etc.)

Apollo and Daphne

The Baroque in Italy and Spain 17th Century Rome, Italy Artist: Gianlorenzo Bernini Medium: Marble Apollo and Cupid got in a fight. Made Apollo fall in love (used gold arrow on him, lead on her) with Daphne but she did not love him back. Had to turn into a tree to escape him Daphne's dad is a river god Marble is so delicate and fragile it is transparent in some spots During action/ movement We see Daphne in human and tree form Mythological work, not religious Arms curve in opposite directions Not too stiff

Ecstasy of Saint Teresa

The Baroque in Italy and Spain 17th Century Rome, Italy Artist: Gianlorenzo Bernini Medium: Marble Crazy folds/drapery Passionate drama

Aerial view of Saint Peter's

The Baroque in Italy and Spain 17th Century Rome, Italy Artist: Gianlorenzo Bernini Vatican City Bernini's design had to incorporate two preexisting structures on the site-- an obelisk the ancient Romans had brought from Egypt and a fountain Maderno constructed in front of the church.