AP Art History Chapter 24
Aurora -Guido Reni -1613-1614 -Fresco
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Baldacchino Saint Peter's -Gianlorenzo Bernini -1624-1633 -Vatican city, Rome, Italy -Guided Bronze -creates a focal point directly above saint peter -directly behind it is St. Peter's chair -this shows the importance and transferred authority from St. Peter to the pope -Over the main alter of Saint Peter's four twisting corkscrew columns that spiral upward -Bees and suns appear prominently on top corners symbols of the patrons the Barberini family -Symbol of the counter reformation spirit in rome -Feat of bronze casting
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Baroque -18th century identification -word in italian/portuguese means and irregularly shaped pearl (derogatory term for art the time) -capturing a moment -amsterdam, paris and london are the main and wealthiness cities because of trade -relatively rapid change--> things look different based on region and religion because of this -develop learning centers, institutions -time of Shakespeare, galeleo -by the end of the 17th century half of the adult males are literate -artists had workshops and assistants -idea of artists as creative geniuses -artist is performing for the patron -asymmetrical compositions ,references to greek and roman but with more energy, colors are more vibrant -role of the viewer changes to becoming a much more active participant -catholic church commissions much more passionate images on both extremes--> wanted to the viewer to experience the moment -sculptures have a lot of movement and are very theatrical Classical Baroque -art continues with the high renissance but is more decorative, emotional, energetic -Douche Baroque -figures are much more applicable to the everyday person -Italian Baroque -figures are much more idealized -Netherlands -1609 Netherlands becomes free of spain -important publishing center -those who were religiously persecuted fled here -monopoly over the spice and slave trade -Maritime rulers -Netherlands is ruled my the middle class/merchants --> a true republic -France -largest and wealthiest nation of europe -Louis is very powerful at the time Spain -15th and 16th century Spain has a lot of power -17th century spain was in a constant decline -rulers begin to tax to make money=revolts -very catholic and conservative -continued to control southern netherlands and a lot of Italy south of Rome (Naples, Sicily--> both very important centers of trade) -King Phillip in Power -could not stop fighting in Netherlands Italy -group of uninified city states (largest are Milan and Venice--> loosing its power to English and the Dutch due to high shipping prices) -paple states are the most powerful and flourish during the 17th century -most of the art we will see is dedicated toward strengthening the counter reformation Germany -because of the 30 years war the economy is devastated -1/3 of the population of the Holy Roman Empire is killed -people are starting to circumnavigate the world--> increaser in trade -a time of scientific discoveries art and the church in 17th century -a lot of architectural buildings being reconstructed -commissioning a lot of art
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Calling of St. Matthew -Caravaggio -Conterelli Chapel, San Luigi dei Francesci -Christ comes in and calls on St. Matthew to be his disciple -hand is very reminiscent of God's in the sistine chapel
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Chapel of Saint Ivo College of the Sapienza -Borromini -1642 -Rome, Italy -much movement and energy, undulating facade that aids in creating a light and dark element -star shaped plan -spectacular dome with upward movement -ornate and decorative -dramatic elements
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Conversation of Saint Paul -Caravaggio -1601 -Cerasi Chape, Santa Maria del Popolo, Rome, Italy -shows moment when paul is being converted -low horizon line--> allows people to feel engaged in the painting
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David Victorious over Goliath -Caravaggio -dramatic moment -tenabrism using the light and dark to add drama
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Entombment -Caravaggio -1603 -Chapel of Pietro Vittrice, Santa Maria in Vallicella, Rome Italy -an abstract version of Christ's body becoming the Eucharist
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Facade of Saint Peter's -Carlo Maderno then Bernini -Commissioned by Pope Paul 5 -16006-1612 -Rome -Facade and nave added to Michelangelo's design of Saint Peter's making it a Latin cross plan -Wide and low facade originally conceived with flanking bell towers that were never completed above the facade level -Emphasis on the center of the facade with pediment highlighting the main door -Pilasters on each end gradually become rounded engaged columns around the central door (like Il Gesú) -Piatza was suppose to welcome those who enter
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Flight into Egypt -Annibale Carracci -1603-1604 -oil on canvas -all about design and the line -looked to Rapheal and Michelangelo for his influences -landscape takes over the figures -landscape is natural but is still very manipulated by people
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Loves of the Gods -Carracci -1597-1601 -Gallery, Pallazo Farnese, Rome, Italy -quadro reportado (fresco that looks like oil) -were to celebrate the wedding of the Duke to the niecce of the pope -inspired by the sistine chapel but the figures are much warmer, lighter -figures are influenced by the poesia of Venice
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San Carlo alle Quatro Fontane -Francesco Borromini -1665-1678 -Rome, Italy -built where there were wide avenues where there were fountains--> where it got its name -Unusually small site -Alternating convex and concave patterns and undulating volumns in ground plan and facade help with the play of light and dark -classical columns and -rejection of the flat surface, very undulating surface -facade higher than the rest of the building -interior side chapels merge into central space -interior dome oval shaped and coffered -walls treated sculpturally -Borromini worked in shades of white avoided colors used in many Baroque buildings -cross with globe on top shows the effect of Christianity on the world--> counter reformation PLAN -oval dome then the altar -different shapes that get smaller as they get closer to the apex of the dome-> give affect of upward movement -triangle shows the order of the trinitarians who commissioned the church -renaissance was modular (proportional) this church breaks away from that and becomes much more complex
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Santa Susana -Carlo Maderno -Rome, Italy -1597-1603 -simliar to classical but different, reworking classical architectural ideas -play on light and dark due to deep niches and undulating facade -building is much more energetic--> surface is undulating -giant engaged columns and pilasters
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Triumh in the Name of Jesus -Gaulli -1676-1679 -fresco -damned figures falling are suppose to be falling from heaven -Il Gesu, Rome, Italy -Ill Gesu (mother church of the Jesuits)
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Triumph of the Barberini -Cortona -1633-1639 -Bees are the symbol of the Barberini -all about the triumph and power of the Barberini family
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Caravaggio -figures are much more realistic, individualized, common -tenebrism (dramatic light and dark) -oil painting -pieces are shown in a very contemporary setting (ins, bars, etc) -subject matter is more serious and darker
Carracci -idealized figures -Venetian treatment of color -fresco "quadro riportato" makes fresco's look like oil painting -uses a much more idealized setting (pastoral/heavenly scenes) -lighter subject matter
