Baroque Final
Pietro da Cortona, S. Maria della Pace, Rome, 1656-57, cutaway view of the piazza, engraving
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Pietro da Cortona, Sleeping Diana, Chamber of Venus, Pitti Pace, Florence, 1643-46
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Pietro da Cortona, Triumph of Prudence over War, Ceiling fresco, Palazzo Barberini
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Diego Velázquez, Don Sebastián de Morra, 1644 dwarfs were seen as rare marbes of creation - they were made playmates of the royal children this painting has no sentimentality - as individual in their own light nothing patronising about this they are powerful and effective this subject must have rally trusted him to let him paint them Philip was so fond of the picture that he hung it along side his family portrait in his hunting lodge
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Diego Velázquez, Equestrian Portrait of Infante Baltasar Carlos, 1634-35 horsemenship was regarded as an importnt part of the education of a prince - here it is displayed same poker face as his father he portrays the heir controlling his horse with one hand - at age 5 he can handle the things of being a king the young prince occupied a great place in the court
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Diego Velázquez, Equestrian Portrait of Philip IV, 1634-35 He is portraying the king doing royal and ways in which to enhance his royalty and prestige - he paints him as a confident ruler w mastery of his horse - showing he can control the largest and most powerful empire
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Diego Velázquez, King Philip IV in Brown and Silver, 1631 he was the only painter who was allowed to paint the king from life his image is so different from any other bc its illumanous -
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Diego Velázquez, King Philip IV, 1626-28 from when he met the king to his death his work would be intertwined with that of the king basically he was his master in painting he was the only painter who was allowed to paint the king from life his image is so different from any other bc its illumanous - Philip as known for his poker face and described by embasaddors - this was part of his image as king and velazquez captures that an reality and makes it distant from the real world
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Carlo Maderno, nave , New St. Peter's, 1609-1615 interior view towards crossing and altar (architectural ornament: Bernini)
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Pedro de Mena, St. Mary Magdalen in Penitence, 1664
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Pierre Legros, after Andrea Pozzo, The Altarpiece of St. Ignatius Loyola, Il Gesu, Rome, 1695-99
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Pietro da Cortona, Antiochus III and Stratonicca, Chamber of Venus, Pitti Pace, Florence, 1643-46
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Pietro da Cortona, Pallas Athena Destroys the Giants, Ceiling fresco, Palazzo Barberini
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Carlo Maderno, S. Susanna, Rome, 1507-1603
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Carlo Maratta, The Triumph of Clemency, Palazzo Altieri, Rome, c. 1673-76
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Diego Velázquez, Calabacillas or Don Juan Calabazas, 1639
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Diego Velázquez, Diego de Acedo, El Primo (Cousin), 1644
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Diego Velázquez, Don Baltazar Carlos and a Dwarf, 1632
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Diego Velázquez, Infanta Margarita Teresa in Blue, 1659 she would becom ethe empress of the habsburg dynasty
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Diego Velázquez, Infanta Margarita Teresa, 1653-54
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Diego Velázquez, Infante Baltasar Carlos at the Hunt, 1634-35
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Diego Velázquez, Luis de Góngora, 1622
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Diego Velázquez, Old Woman Frying Eggs, 1618
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Diego Velázquez, Pablo de Valladolid, 1637
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Diego Velázquez, Philip IV at the Hunt, 1632-33 showing the king hunting
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Diego Velázquez, Philip IV, 1654 last portrait that velazquez makes of philip broad strokes modelin gthe face the face is thinly painted and liquified hes been through it as father and king - that can be seen in this painting Philip becomes morbid as he gets older he is worried that this realist painter will portray him too well - its one of the most sensitive portraits of the king - whatever mask Philip has is dropped here
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Diego Velázquez, Queen Mariana of Austria, c. 1652
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Diego Velázquez, St. John on Patmos, 1618-19
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Diego Velázquez, The Fraga Philip, 1644
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Diego Velázquez, The Immaculate Conception, c.1618-19
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Diego Velázquez, Three Men at a Meal, 1617-18
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El Greco, The Resurrection, 1577-79
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Francisco Antonio Gijón, The Crucified Christ at the Expiration el Cachorro, 1682
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Francisco Pacheco, The Immaculate Conception, 1616-17
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Gerónimo Hernández, Christ in the Garden of Gethsemane, 1678
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Giacomo da Vignola and Giacomo della Porta, Il Gesu, Rome, 1575-84
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Gian Lorenzo Bernini, The Scala Regia, St. Peter's, Rome, Gian Lorenzo 1663-66
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Gian Lorenzo Bernini, The Vision of Constantine at the Milvian Bridge, St. Peter's, Rome, 1663-66
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Gregorio Fernández, Ecce Homo (Behold the Man), before 1621
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Gregorio Fernández, The Dead Christ (Cristo Yacente), c. 1610-15
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Gregorio Fernández, The Dead Christ (Cristo Yacente), c. 1625-30
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Gregorio Fernández, The Head of St. John the Baptist, c. 1625
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José Benito Churriguera, Altarpiece of the Convent of St. Stephen, Salamanca, 1692-94
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Juan Martínez Montañés, Altarpiece (Retablo), San Isidro del Campo, Seville, c. 1609-13
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Juan Martínez Montañés, Jesus of the Passion, Good Friday position, 1619
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Juan Martínez Montañés, Main altarpiece, San Miguel, Jerez de la Frontera, 1617
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Juan Martínez Montañés, St. Jerome in Penitence, from San Isidro del Campo, c. 1609-13
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Juan Martínez Montañés, The Nativity, from San Isidro del Campo, c. 1609-13
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Juan Sánchez Cotán, Still Life with Cardoons and Parsnips, c. 1603
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Juan de Mesa, Jesus of Great Power, 1620
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Juan van der Hamen y León, Still Life with Fruit and Glassware, 1626 another example of this
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Luis Morales (El Divino), Man of Sorrows, 1570s
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Luisa Roldán, Our Lady of Hope Macarena, c. 1690
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New St. Peter's: façade by Carlo Maderno; dome by Michelangelo, modified by Giacomo della Porta
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Pedro Roldán (sculpture) and Juan de Valdés Leal (polychromy), The Entombment of Christ, Main Altar of the Church of the Hospital of Charity, Seville, 1670-73
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Diego Velázquez, Kitchen Scene with Christ in the House of Martha and Mary, 1618 owned by an early patron of his - duke its amazing that these paintings that are regarded as lowest types of paintings bc they were of lower class people were the most appreciated by the sophisticated upper class two women from his own time working to make a meal beautiful still life - humble meal of fish eggs and garlic christ in the background - christ is the house of mary and marth - christ has come to visit them here you have this realist coming up with this conceit where you juxtapose figures from today's world and through a window or hatch you're looking back on this biblical scene he is so young and showing this everyday life of Seville that others would avoid context of why that its religious and fantastical elemtn of if its a mirror or hatch or just a picture on the wall - how can it be real. he is a teenager showing that he wants to bring these multiple levels of reality into painting and together
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Diego Velázquez, Waterseller of Seville, c. 1619-20 he valued this painting above the others especially - a painting of a local water seller with earthenware jars of his trade the jar is painted w drops of water and with the light you can feel the curve of the jar and the fact that its just been used to pour some liquid - there are different textures there is a transparency to the gladd of water This masterpiece being in the hands of royals is what gave him the in with the court of Philip IV
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