chapter 24-25 test
glorification of saint ignatius
FRA ANDREA POZZO. ceiling fresco in the nave of sant'ignazio, rome, italy, 1691-1694 wrote an influential treatise on perspective dedication to jesuit order illusion of heaven opening up over parishioners extension of church's architecture in the vault figures personify four corners of the world by merging real and painted architecture, pozzo created the illusion that the vaulted ceiling of sant'ignazio has been lifted off and that the nave opens to heaven above the worshipers' heads.
the women regents of the old men's home at haarlem
FRANS HALS. 1664 calvinist women engaged in charitable works quietly in a manner becoming devout calvinists stern and puritanical portrayal women are individuals dour disinterest to kindly concern somber and monochromatic palette punctuated only by white accents of clothing dutch women played a major role in public life as regents of charitable institutions. a stern puritanical sensibility suffuses hals's group portrait of the regents of haarlem's old men's home.
archers of saint hadrian
FRANS HALS. ca 1633 light and rapid brushstrokes casual paintings dutch civic militia group each member depicted satisfactorily but variety is maintained enlivened depiction each member is part of the troop and an individual uniformity of attire lively rhythm in this brilliant composition, hals succeeded in solving the problem of portraying each individual in a group portrait while retaining action and variety in the painting as a whole
louis xiv
HYACINTHE RIGAUD. 1701. absolute monarch left hand on his hip, gazes directly at the viewer elegant coronation robes exposing his legs he seems to look down on the viewer carefully detailed environment in this portrait set against a stately backdrop, rigged portrayed the 5'4" sun king wearing red high-heeled shoes and with his ermine-lined coronation robes thrown over his left shoulder
baldacchino
BERNINI, saint peter's, vatican city, rome, italy, 1624-1633 materials/medium: bronze, lost wax process. bronze taken from the pantheon. size/scale: almost 100 feet stylistic features and iconography: fluted columns with vines topped with angels. serpentine brackets that elevate the orb and the cross at the top. bees symbolize the barberini, family of urban viii. function and significance: marks high altar in the nave and tomb of saint peter. triumph of christianity bernini's baldacchino serves both functional and symbolic purposes. it marks saint peter's tomb and the high altar, and it visually bridges the marble floor and the lofty vaults and dome above.
self-portrait
JUDITH LEYSTER. ca. 1630 detailed, precise, accurate canvas depicted as an artist holds a palette and brush in her hands quick smile and relaxed pose self-assurance in elegant attire, well-to-do family although presenting herself as an artist specializing in genre scenes, leister wears elegant attire instead of a painter's smock, placing her socially as a member of a well-to-do family.
fruit and insects. rachel ruysch. 1711 ce. oil on wood.
not a depiction of actual flowers, but a construct of perfect specimens all in bloom at the same time asymmetrical arrangement; artful arrangement probably used illustrations in botany textbooks as a basis for painting her father was a professor of anatomy and botany as well as an amateur painter in a phase in which the artist produced still lifes in a woodland setting
judith slaying holofernes
ARTEMISIA GENTILESCHI, 1614-1620 her father was influenced by caravaggio, taught her tenebrism, dark subject matter heroic woman story from the book of judith palpable tension and strain controlled highlights on foreground heighten drama narratives involving heroic women were a favorite theme of gentileschi. in judith slaying holofernes, the dramatic lighting of the action in the foreground emulates caravaggio's tenebrism
fountain of the four rivers
BERNINI. piazza navona, rome, italy. 1648-1651 description: obelisk, marble statues representing danube, nile, ganges, and plata. nile covers his face (unknown), plata has money (wealth of new world), ganges has an oar (easily navigable), danube reaches to the papal coat of arms. holy spirit at apex function and significance: triumph of catholicism as water flows from a travertine grotto supporting an ancient egyptian obelisk, bernini's marble personifications of major rivers of four continents twist and gesticulate emphatically. each of the four rivers has an identifying attribute. the ganges (asia) most closely resembles a greco-roman river god. bernini's personification of the easily navigable ganges holds an oar. crowning the grotto is pope innocent x's coat of arms, with the pamphili family's dove symbolizing the holy spirit and the triumph of the church in all parts of the then-known world.
conversion of saint paul
CARAVAGGIO, 1601 caravaggio made people angry but got commissions used a prostitute as a model for virgin mary when saul converts to paul a stable scene, does not look like biblical background is just a dark area, iconic caravaggio
saint peter's
CARLO MADERNO, vatican city, rome, italy, 1606-1612 east facade: significance: moved away from pagan central plan temples for the facade of saint peter's, modern elaborated on his design for santa susanna. the two outer bays with bell towers were not part of his plan and detract from the verticality he sought. piazza designed by GIANLORENZO BERNINI 1656-1667 aerial view: description: dome appears to have no drum the dramatic gesture of embrace that bernini's colonnade makes as worshipers enter saint peter's piazza symbolizes the welcome the catholic church wished to extend during the counter-reformation
landscape with cattle and peasants
CLAUDE LORRAIN. 1629. figures chatting in the right foreground cattle waking away in the middle ground background is dim serene and orderly scene atmospheric and linear perspective form an ideal classical world formalizing of nature with balanced groups of architectural masses tiny brushstrokes, perfecting light infused nature with human feeling claude used atmospheric and linear perspective to transform the rustic roman countryside filled with peasants and animals into an ideal classical landscape bathed in sunlight in infinite space.
allegory of the art of painting
JAN VERMEER. 1670-1675 artist is in the painting, back to the viewer, clothing is historical burgundian attire painting the model in front of him she wears a laurel wreath, attributes of clio, muse of history provinces on the back wall viewer outside space of action light from an unseen window reference to painting inspired by history vermeer's model wears a laurel wreath and holds a trumpet and book, traditional attributes of clio, the muse of history. the light illuminating her may allude to the light of artistic inspiration. proud dutch patrons adorned their homes with worldly goods, including maps of the newly independent united provinces of the netherlands, and domestic scenes became a popular painting genre usually interpreted as an allegory of the art of painting inspired by history, this canvas shows vermeer at work with his back to the viewer, dressed in clothing reminiscent of historical burgundian attire
anatomy lesson of dr. tulp
REMBRANDT VAN RIJN. 1632 figures clustered on painting's left side corpse in the foreground, dr tulp is dissecting it diagonally placed corpse, foreshortened breaking the strict horizontal planar orientation identical attire but different poses and facial expressions triangular composition of bodies, the man at the apex gazes at the viewer in this early work, rembrandt used an unusual composition, arranging members of amsterdam's surgeons' guild clustered on one side of the painting as they watch dr. tulp dissect a corpse.
night watch (the company of captain frans banning cocq)
REMBRANDT VAN RIJN. 1642. complex and energetic group portrait dramatic lighting due to varnisher banquet room of musketeer's hall in amsterdam goal was to capture excitement rushing members of the group trying to organize themselves three most important stages of using a musket were illustrated rembrandt's dramatic use of light contributes to the animation of this militia group portrait in which the artist showed the company members rushing to organize themselves for a parade.
self-portrait
REMBRANDT VAN RIJN. 1659-1660. "psychology of light" light and dark do not conflict, they merge softly and subtly visual equivalent of quietness dignity and strength artist holding brushes circles on the wall allude to artistic virtuosity personal connection to craft in this late self-portrait, rembrandt's interest in revealing the soul is evident in the attention given to his expressive face. the controlled use of light and the nonspecific setting contribute to this focus.
arrival of marie de' medici at marseilles
RUBENS. 1622-1625 after sea voyage from italy allegorical personification of france welcomes her sea and sky rejoice neptune and nerds salute her winged and trumpeting personified fame swoops overhead commander is only immobile figure, in black and silver audacious vigor rubens painted 24 large canvases glorifying marie de' medici's career. in this historical-allegorical picture of robust figures in an opulent setting, the sea and sky rejoice at the queen's arrival in france.
supper party
VAN HONTHORST. 1620 informal gathering of unidealized figures mundane tavern setting, nocturnal lighting hidden bright sources can be interpreted as a warning against gluttony doesn't seem religious general themes interested middle class stereotypical genre scene of the seventeenth century implied spirituality synonymous with this region of europe, no overt jesus or saints man on the right is a glutton, the lady is lust possibly an image of the prodigal son influenced by caravaggio genre scenes were popular subjects among middle-class dutch patrons. gerri van honthorst's supper party may also have served as a calvinist warning against the sins of gluttony and lust.
surrender of breda
VELAZQUEZ. 1634-1635 part of an extensive program for decoration for the hall of realms in philip iv's secondary palace in madrid, palacio del buen retiro huge canvas, one of many celebrating spanish military success conflict between netherlands and spain organized and victorious spanish troops foreground has mayor of breda handing the city's keys to the spanish general, this did not actually occur spanish general is standing, stopping justin us from kneeling lenient terms of surrender dutch could retain their arms as philip iv's court artist, velazquez produced many history paintings, including fictional representations such as this one depicting the dutch mayor of breda surrendering to a spanish general
the letter
VERMEER. 1666 ten children interior scenes, very quiet, domestic scenes female subjects only had 35 paintings intimate view into another room open doorway allows outsiders to have an intimate view of the scene calm sea alludes to requited love, apparently it's a love letter colors are vibrant colors nearby affect colors of a shadow
las meninas. diego velazquez. c. 1656. oil on canvas
artist's studio in the palace of alcazar in madrid prince's chambers became a studio for velazquez velazquez in front of a large canvas princess margarita in the foreground with maids in waiting, favorite dwarfs, and a large dog woman in widow's attire and male escort in the middle ground background has a chamberlain in a brightly lit open doorway everyone in the room actually existed no particular interpretation, very artistically complex elevates himself and the profession wears the red cross of the order of santiago idea that the king visited his studio in the king's private quarters realities of image on canvas, mirror image, painted images in the painting open doorway and staircase lead beyond the studio mirror and outward glances incorporate the viewer mastery of form and shadow intermediate values of gray between two extremes velazquez intended this huge and complex work, with its cunning contrasts of real, mirrored, and picture spaces, to elevate both himself and the profession of painting in the eyes of philip iv.
david
bernini, 1623 materials/medium: marble size/scale: 5' 7" high subject: david in the height of battle, rejected armor at his feet stylistic features: violent, pivoting motion function and significance: maximum action bernini's sculptures are expansive and theatrical, and the element of time plays an important role in them. his emotion-packed david seems to be moving through both time and space.
entombment
caravaggio, 1603 large scale painting for a church nicodemus? stark use of light and dark viewers take part in the foreground, almost a participant in the biblical scenes painting behind altar christ's body is metaphorically laid at the altar transubstantiation makes experience of mass more powerful
henri iv receives the portrait of marie de' medici, from the marie de' medici cycle. peter paul rubens. 1621-1625 ce. oil on canvas.
cupid and others in midair, presenting the portrait to the king holds in left hand a flaming torch cupid shows virtues of the medici princess king grazes up in gratitude jupiter and juno even the king of the gods can be in love match of politics as well as love cycle idealizes and allegorizes the peace and prosperity that marie brought to the country strategic marriage alliance story told as she saw fit historical narrative but not entirely accurate, also works for portraiture idealizes reality of marriage charles i is very small
triumph in the name of jesus. giovanni battista gaulli. ceiling fresco with stucco figures on the nave vault of il gesu.
demonstration of drama in an ecclesiastical context mother church of the jesuit order, counter reformation hotspot architecture opens to show heaven jesus as a barely visible monogram floating heavenward in a blinding light sinners descend back to earth glazed architecture to suggest shadows illusionistic quality sinners on three-dimensional stucco extensions projecting out of the painting's frame in the nave of il gesu, gilded architecture opens up to offer the faithful a glimpse of heaven. to heighten the illusion, gaulli painted figures on stucco extensions that project outside the painting's frame.
self-portrait with saskia. rembrandt van reign. 1636 ce. etching.
etching, a printmaking technique, version of intaglio some lighter lines, some darker lines only image of the two in etching beret at a jaunty angle only image of the two in etching saskia in an old fashioned veil focus is on rembrandt produced more self portraits since any artist before him considered a marriage portrait figures in half length at a table, blank background saskia on a smaller scale more inventive than a traditional marriage portrait drawing on a sheet of paper mastery of the most important basic skill of an artist-drawing intaglio technique of etching best known etcher, popularized the medium he created over 300 etchings over his lifetime distance shown with rembrandt and saskia, illusion of space
the palace at versailles. versailles, france. louis le vau and jules hardoin-mansart (architects). begun 1669 ce. masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens
geometric plan, turned a forest into a park elegant shapes of shrubs and trees defined the geometric units design loosens farther away from the palace satellite city to house employees axes of the streets converge in the king's bedroom palace is perpendicular to the east west axis of the city and park galerie des glaces has hundreds of mirrors, 240 feet long versailles is a symbol of absolute power majestic and rational design-triumph of human intelligence rectangular interior of chapel clerestory windows illuminate chapel pier supported arcades carry a row of corinthian columns defining the gallery louis xiv ordered his architects to convert a royal hunting lodge at versailles into a gigantic palace and vast park with a satellite city with three radial avenues whose axes intersect at the king's bedroom. in this grandiose hall overlooking the park of the sun king's palace at versailles, hundreds of mirrors illusionistically extend the room's width and once reflected its gilded and jeweled furnishings giradon's study of ancient sculpture and poussin's figural compositions influenced the design of this mythological group. apollo, often equated with the sun, alludes to louis xiv, the sun king. because the apse is as high as the nave, the central space of the royal chapel at versailles has a curved, baroque quality. louis xiv could reach the royal pew directly from his apartments.
calling of saint matthew. caravaggio. c. 1597-1601 ce. oil on canvas
paintings honoring saint matthew for the contarelli chapel in the left aisle near the apse of the church naturalism in the representation of sacred subjects harsh and dingy setting unidealized figures tavern with unadorned walls christ, only identifiable by his indistinct halo, on the right christ's arm is like the lord's in creation of adam, tying old testament adam to new testament jesus adam is responsible for the fall, christ is responsible for the redemption heroic figures, powerful bodies stark and dramatic contrast of light and dark-tenebrism light on saint matthew is like the divine light the stark contrast of light and dark is a key feature of caravaggio's style. here, christ, cloaked in mysterious shadow, summons levi the tax collector (saint matthew) to a higher calling
ecstasy of saint teresa. cornaro chapel. church of santa maria della vittoria. rome, italy. gian lorenzo bernini. c. 1647-1652 ce. marble (sculpture); stucco and gilt bronze (chapel)
refusal to limit statues to firmly defined spatial settings palpable tension this came from bernini's knowledge of theater saint teresa was from the spanish counter reformation, conversion after the death of her father-she heard voices and saw visions persistent pain due to the "fire-tipped arrow of divine love" shallow proscenium carved portraits of the cornaro family on both sides of the chapel saint in ecstasy, a mingling of physical and spiritual and physical passion texture of clouds and gauzy material light from a hidden window of yellow glass above golden rays suggest radiance of heaven recreation of spiritual experiences to increase devotion and piety in the cornaro chapel, bernini, the quintessential baroque artist, marshaled the full capabilities of architecture, sculpture, and painting to create an intensely emotional experience for worshipers.
san carlo alle quattro fontane. rome, italy. francesco borromini (architect). 1638-1646 ce. stone and stucco
undulating motion, dynamic concave and convex elements deeply recessed niches three dimensional effect pulsating, engaging screen between exterior and interior two facades, a narrow bay with a small tower response to an awkward site variation on a centrally planned church hybrid of greek cross and an oval-long axis between apse and entrance side walls undulate, reverse the facade's motion deeply coffered oval dome, seems to float on light variations on the basic oval borromini rejected the notion that church should have a flat frontispiece. he set san carlo's facade in undulating motion, creating a dynamic counterpoint of concave and convex elements.
woman holding a balance. johannes vermeer. c 1664 ce. oil on canvas.
young woman wearing a veil and fur trimmed jacket in a room light from a window precious possessions on the table, reflect in the sunlight perspective orthogonal converge at the hand in which she holds the balance for weighting gold scales are empty, perfect balance-jesuit idea of leading a temperate life and balance sins last judgment painting on the wall furthers this idea stability of rectilinear shapes colors true to optical facts advanced understanding of color "out of focus" vermeer's woman holding empty scales in perfect balance, ignoring pearls and gold on the table, is probably an allegory of the temperate life. on the wall behind her is a depiction of the last judgment.
