Ch. 14 Image analysis
Johannes Vermeer. Woman Holding a Balance. c. 1664 C.E. Oil on canvas.
A woman dressed in a blue jacket with fur trim stands serenely at a table in a corner of a room. The scales in her right hand are at equilibrium, suggestive of her inner state of mind. A large painting of the Last Judgment, framed in black, hangs on the back wall of the room. A shimmering blue cloth, open boxes, two strands of pearls, and a gold chain lie on the sturdy table. Soft light comes in through the window and illuminates the scene. Color is another important element of art. The blue, gray and yellow color employed lends to the scene's cool tonality and harmony. This painting was done with oil on canvas. Vermeer was fond of using expensive materials, and inspection revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The inspiration for the woman in this painting is said to be his wife, Catherina Vermeer. Some viewers have imagined the woman is weighing her valuables, while others compare her actions to Christ's, reading parable into the pearls. Some art critics, including John Michael Montias who describes her as "symbolically weighing unborn souls", have seen the woman as a figure of Mary.[ Commissioned by a member of the Dutch upper merchant class. The painting was completed in 1664 during a time of religious divide in Holland. While most dutch christians were protestant, some remained faithful to the Pope. Vermeer's paintings tend to lean more towards the protestant faith, but could be swayed by the patron commissioning the work. The actual function of this piece is mostly unknown, but it's theorized that this might have a religious purpose, propping the woman up as a Mary-like figure, prophesying the future. It was also thought to have a moral function to teach women to be pious and Mary-like.
The Palace at Versailles. Versailles, France. Louis Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens. *Gardens
Although the Palace of Versailles spans over 2000 acres, the majority of that space is used for the gardens, which are massive in comparison to the palace itself. The vibrant colors of the trees, grass, bushes and various flowers contrast with the main part of the palace, which is mostly golden. The designs in each grove are all different from each other which adds uniqueness to each one. The geometric designs of each grove also contrast their rigid layout. It features many parterres, which were level spaces in a garden occupied by an ornamental arrangement of flowers. There was also an orangery, many fountains, and a canal. The trees in the gardens were a combination of trees from all over France.
Master of Calamarca (La Paz School). Angel with Arquebus, Asiel Timor Dei. c. 17th century C.E. Oil on canvas.
Asiel is shown positioned diagonally which we know is a characteristic of art of this time period. Although this is emphasized by his way of dress, his proportions seem exaggerated, as his head is vastly smaller than the rest of his body, the only exception being his skinny legs. The most prominent element of art in this piece is the use of space. The body/dress of the angel is noticeably disproportionate, and the body takes up most of the space. This places great emphasis on the style of dress and the ornate nature of the clothing. Mannerist style is represented through the extended lines of the angel's body. Although Mannerism came shortly after the Renaissance during the 1500s, Mannerism was still considerably popular in the New World. Balance is established with different aspects of the angel occupying each corner of the painting to offset the asymmetrical positioning of his attire. The hat occupies the top left corner; the tip of the firearm is near the top right corner; the edge of the angel's clothing is directed towards the bottom left corner; the shoe is pointed towards the bottom right corner. This painting, as signified by the title, Angel with Arquebus, Asiel Timor Dei, is centered around an Angel named Asiel holding a arquebus gun. An angel arcabucero, or arquebusier angel, is an angel depicted with an arquebus, which was a gun used by early Spanish colonizers in South America. This style of art was extremely prevalent in South America during the late 17th and early 18th centuries due to the political implications it has. This painting, being part of a series of angels, was likely accompanied by other angels holding various weapons. This painting combines ideas of celestial beings, an angel, with militaristic beings, as indicated by his gun. It also combines ideas of aristocratic beings, and the combination of cultures, especially as indicated by his outfit. His outfit originates from the dress of Andean aristocrats and Inca royalty. The feathers on his hat are specifically Incan, as feathers were reserved for nobles in pre-Hispanic society. Its face is androgynous as angels were seen as heavenly beings without gender and their lack of gender is consistent with biblical descriptions. Also the face of the angel is serene and not angered. This suggests that the angel, and by extension Christianity, is not a vengeful or vindictive religion. Represented celestial, aristocratic, and military beings all at once. The Latin inscription of Archangel with Gun, Asiel Timor Dei indicates the name of the angel, Asiel, and a particular quality: Fears God. The extended lines of the angel point back to mannerism. These angels were created in a time when missions first began in South America to convert the native population to Catholicism. The original audience of this painting would be Indigenous people in South America in order to enforce Catholic ideals and the ideals of Spanish-American society. This angel was part of one of two sets of angels, which all had the same context and audience. They would have been in a church, and functioned to be inspirational in the name of Catholicism. This painting was done in order to terminate the practice of pre-Hispanic religions and convert natives to Catholicism.
Giovanni Battista Gaulli. The Triumph of the Name of Jesus and the Fall of the Damned. Vault of the church of Il Gesu, Rome. 1672-1685. Fresco with stucco figures.
Bio: Giovannie Bauttista Gaulli, also known as Baciccio was born in 1639 in Genoa, Italy, and died 1709 in Rome, Italy. His expertise was in frescos, and he worked on a lot of frescos for the church. Along with his frescos, he is known for his use of trompe "eloil which is an illusion technique to fool the eye. His dramatic compositions This ceiling fresco is very dynamic with what appears to be "moving lines" guiding the viewer's eyes to the center of the piece, where the source of light is coming from. There's also a great use of perspective with the way the figures are structured to be on the outside of the frame, and the use of foreshortening to make the figures appear as if the figures are coming out Even if Giovanni didnt paint his "frame", he still employed other tactics into following the eye, like foreshortening. He also chose to paint the darker shadows underneath some of the figures outside of the painting, meaning that he painted some parts of the ceiling to be some shades darker than it originally is. The piece uses tenebrism and stucco to create the various cloud forms and people on top of them. The entire fresco depicts two things. People ascending towards heaven, and people falling into hell. A majority of the piece however, depicts the ascension. The artist, Giovanni, chose not to depict Christ in the form of a man here, but as a ball of light with the three letters "IHS", which represents Jesus. This is called Christogram The other part of the painting also employs perspective to make it look as if the humans falling into hell are actually stumbling and tumbling out of frame. There are a lot more shadows over them as well. Comparing it to the fresco of the Sistine Chapel by Michelangelo, it is much more dynamic and connected to the audience than the one from the Renaissance period. The Baroque period, much like the Hellenistic period, is focused on high drama and engaging the audience emotionally, and showing figures in movements that may or may not be realistic, or at least to the proportional accuracy of the Renaissance period. The piece was commissioned by Gian Paolo Oliva, who is the Father General of the Jesuit Order. Speaking of which, the church, Il Gesu, is a Jesuit church.
Gian Lorenzo Bernini. Ecstasy of Saint Teresa. Cornaro Chapel, Church of Santa Maria della Vittoria. Rome, Italy. 1647-1652. Marble (sculpture); stucco and gilt bronze (chapel).
Color- rarely any constant colors or single colors used to paint an item, instead the artist uses blends and textured colors that add to the complexity and drama of the chapel as a whole. Space- really no empty space anywhere around the ecstasy's of Saint Teresa, the main sculpture takes up the entirety of the central area, and even the space holding the sculpture butts out from the chapel wall. Even side walls aren't empty or flat, they contain sculptures of viewers and patrons. The first thing I notice is the sweeping folds of drapery on both figures. There is a strong sense of wind-swept movement in what the angel is wearing. The lightness and silky texture of the clothes contrasts the heavy quality which the robe of Saint Teresa is made of. We also get the sense that her body is writhing under her clothes. The work is not an independent piece, but the crucial center of a more complex composition that brings together not only sculpture, but also painting and architecture—all designed by Bernini. The sculpture shows a small angel about to jab a golden spear into the body of Saint Teresa. There is much contrast between the two figures depicted. The angel is shown much younger, lively, and happy. Where Teresa is visibly older and in pain. Also the cloth used on the angel is wispy light and airy, where Teresa's garments are heavy and more "earthly". This sculpture is the centerpiece of the cornaro chapel, named after its patrons, the wealthy cornaro family in Rome. Here Saint Teresa is a woman who was recently canonized, and this is all based off of her account of a vision she had. In this vision, a beautiful angel who looked like he was on fire, was stabbing her in the heart repeatedly with a gold arrow also on fire. Thus, she was in religious ecstasy which is to say she was consumed by her love of God. Teresa describes an angel carrying a fire-tipped spear with which he pierces her heart repeatedly, an act that sends her into a state of spiritual rapture. "The pain," she writes, "was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one's soul then content with anything but God." Bernini's sculptural group shows a cupid-like angel holding an arrow. His delicate touch and lithe figure give him an air of grace. With her head thrown back and eyes closed, Teresa herself collapses, overcome with the feeling of God's love. In light of the counter reformation, Bernini wanted to use this piece to show people that the Catholic Church and members of it still could have personal connections with the heavens, just in a much more dramatic and flamboyant sense.
Gian Lorenzo Bernini. David. 1623. Marble.
Compared to earlier works on the same theme, the sculpture broke new ground in its implied movement and its psychological intensity. In the High Renaissance we saw the composition in the form of a pyramid—a very stable shape. But in the Baroque era we see compositions in the shape of diagonal lines. The piece of art was unlike its predecessors done by Michelangelo and Donatello. Theirs were more tranquil while Bernini's David is amidst the action. His eyes appear to focus on an object we cannot see which is assumed to be the Goliath of the philistine army. The way the light hits his body casts a shadow on his neck and lower torso which was a drama in itself as well as pulling in the viewer around the body as if to join him in the battle. The statues of the Renaissance masters had been strictly frontal, dictating the spectator to view it from one side, and one side only. Bernini's David is a three-dimensional work that needs space around it and challenges the viewer to walk around it, in order to contemplate its changing nature depending on the angle from which it is seen. The armor of Saul, the King of Israeli, was given to David and it lies at his feet. There is a harp at his feet as a gadget of David being a talented harpist in the book of Psalms. Portraying David as throwing stone illustrated a novelty since throwing figures were rare in post-anquility sculptures. The statue refers to an invisible force, in the disguise of a giant, as well as the observer being the heat of a struggle. In the sculpture, David is said to be right about to sling the rock at Goliath. On the floor lies the armor given to him by the king as David felt it limited his body and felt unnatural. The piece was commissioned by the cardinal scipione borghese and was the last piece commissioned by the cardinal. The audience for the piece was said to be faithful Catholics. Meant to really understand a different relationship and path to God as the path to God in the Baroque era is more direct, more emotional, more bodily, and that of course relates to the embattled position of the Church, which felt as though it needed to appeal directly to the faithful.
Artemesia Gentileschi. Judith and her Maidservant with the Head of Holofernes. 1625. Oil on canvas.
Diagonal arcs cast down from the top left. Tenebrism is used here. She used oil on canvas. Depicts Judith cutting off the head of the king Halophernace. She has a bracelet, symbolizing Artemis, goddess of the hunt. Gentelesky was raped as a young girl by a close friend of her father, her artistic mentor. It was customary to get married. But she refused, so her father took the man to court, and she spoke about how she tried to ward him off with a knife. Her servant betrayed her to let them be aalone for her attack. This is reflected in the painting. Cultural significance- paintings of Judith were popular as she was a symbol of female empowerment. the story of judith-a biblical story (included in the catholic bible) of a widow that saves the city of bethuli, israelites, from the assyrians. she takes her widow clothing off to use her beauty and eloquence to move out the town where she was immediately caught by the assyrians. she was then brought to the leader of the assyrians where they ate and drank till the leader, holofernes, was drunk. then taking up his sword, she cut his head off. the moment caught in this painting is directly following the severing of holofernes' head. there seems to have been a sound outside that tent that prompted a sudden stop of movement in fear of getting caught. the sword, head, and bag, are dripping and soaked in blood as judith shields her eyes from the candlelight. Judith is also wearing a bracelet that seems to symbolize or depict that ancient goddess of both chastity and the hunt, artemis.
The Palace at Versailles. Versailles, France. Louis Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens. *façade
Jules Hardouin-Mansart was the original architect who worked on Versailles, and some of his work was redone by Louis le Vau later in the process. He was Louis XIV's favorite architect and was responsible for most of the architectural creations of Versailles. The facade was mainly created with masonry, stone, wood, and iron. There was the use of gold leaf to input in the facade, where the arched window was, but far less gold was used for the exterior compared to the interior of the palace. There was also use of marble and bronze, which was mostly centered on the interior, and for sculptures based on Louis XIV. Gold leaf, iron, wood, bronze, marble, glass, oil paint all of these were of many materials used throughout the building. The main floor (second floor) was lined with enormous arched windows that were separated by ionic columns or pilasters. The attic level had smaller rectangular windows flanked by pilasters while the ground and main floor had tall arched windows. The roof is flat and terraced. On the main floor of the facade, there are 3 colonnaded porches that project out from the rest of the palace with the larger one being in the center to give it symmetry. The Palace of Versailles was built to house the king and family when he moved his entire court out of Paris. Before moving to Versailles, he stayed in the Louvre Palace, but it was too small. Since Versailles was just a small hunting lodge before Louis XIV decided to move there, many redesigns and renovations were done by multiple artists and architects. Versailles is a prime example of the over-the-top excess of French nobility which ultimately led to the French Revolution. The main teams which worked on renovating Versailles were led by Louis le Vau, who was an architect to the aristocracy, Andre le Notre, a landscape designer who worked on the gardens, and Charles le Brun, who was an interior designer as well as painter. Louis moved the nobles here due to a revolt early in his reign by the bourgeoisie in which they rebelled against the monarchy due to their growing power and increase in taxation.
Francesco Borromini. Interior view and dome of the Church of San Carlo Alle Quattro Fontane. Rome. 1638-1667. Stone and stucco.
Moving inside, we have an elegant movement as well, so intricate that at first glance, we likely do not realize the underlying shape is an oval. The repetition of engaged columns separating niches and curved rectangular panels and massive, elongated arches all work to draw our eyes upward towards the magnificent oblong dome, decorated with geometric shapes. There are octagons, hexagons, and crosses decorating this dome and they decrease in size as we move closer to the top, which adds perspective and depth to make it seem like the dome raises us closer to heaven. The Church of San Carlo was commissioned by the Trinitarians, a religious order dedicated to the freeing of Christian slaves. However, the Trinitarians were not wealthy and had little money. As a result, the materials used to create this tiny church were rather inexpensive. Stucco, a soft cement like plaster, was used to build this architecture and was also helpful because it was easy to carve. The ceiling was made in a coffered pattern to make it lighter, similar to what the Romans had done as well. On the interior of the church, he made the oval shaped dome appear as if it is inflating upwards. He did this, by making the design of the coffered ceiling get smaller as it went up to the highest point of the dome, called the apex. Borromini created a very intricate pattern for the coffered ceiling, which creates an almost honeycomb like pattern that includes shapes like; crosses, elongated hexagons and octagons. Also on the interior of the church, there are massive columns that support a massive entablature in which the oval dome seems to float over. All of this work sets the stage for the elaborate oval dome. At the center of this dome is another oval, inside which is a white dove in a triangle symbolizing the Holy Spirit. The dove and triangle are important in conveying the three-part nature of God: the Holy Trinity, which makes sense given the church was commissioned by the Trinitarians who were devoted to this Holy Trinity idea. Because the Church of San Carlo was commissioned by the Trinitarian Order, they intended for Borromini to build them a monastery and church in a very small and compact space (at the corner of the intersection of two roads). Borromini eagerly took on the challenge, because it would allow for him to display his skills to the public and launch his career.
Gianlorenzo Bernini. Baldachino. St. Peter's basilica, Vatican, Rome. 1624-1633. Gilt bronze.
St. Peter's Baldachin is a large Baroque sculpted bronze canopy over the high altar of St. Peter's Basilica in the Vatican City. The baldachin is at the center of the crossing and directly under the dome of the basilica. The base and capital were cast separately and the shaft of each column was cast in three sections. There is an undeniable symmetry within the sculpture as well as a strong sense of movement upwards to the cross adorning the top as the spiraling columns draw the eye upward. The columns are quite ornate and distinguished by their spiral form and ornate golden-black decoration. All over, there are bees that are the hallmark of the coat of arms of the Barbenini family. The columns sit on marble pedestals and each of them are decorated yet again with the coat of arms of the Barbenini family, as well, a woman's face in various stages of pregnancy and childbirth, who is rumored to be the Pope's pregnant niece, is featured on the sides of the four pedestals. Right to the bottom of that, are four giant bronze angels, two pairs of putti with tiara and St. Peter's keys, and two pairs with book and sword, St. Paul's emblems. This baldachin was commissioned by Pope Urban VIII, who was a part of the Barberini family, a leading family of Rome. As it is the site of St. Peter's tomb, it marks the legitimacy of the Catholic Church, led by the Pope in the Vatican. This is a little bit more than 100 years of the Protestant Reformation, so it is almost a reassertion of the supremacy of the Pope during the counter reformation. A baldachino, or known as a baldachin in English, is a ceremonial canopy that is typically made of stone, metal or fabric, bronze in this case, and is placed over an altar or throne. Bernini's baldachin is made up of four columns and a bronze canopy, sits atop St. Peter's tomb, which holds great importance to Catholics.
Rembrandt van Rijn. The Company of Captain Frans Banning Cocq (The Night Watch). 1642. Oil on canvas.
Tenenbristic, lots of characters submerged in darkness except for a few bathed in light/color. In the front is captain Francis, leader of a guild. There is a mysterious girl popping out of the darkness. She is a personification of the guild and not a real person. The guild's emblem was golden chicken claws, so you can only see the claws of the chicken. There is another girl. The painting was hung in a guild building, where they all lived. The dark colors used bring drama to the painting as it depicts a lively and important scene. They also highlight important figures such as the Captain who is wearing bright illuminated red, and the lieutenant and girl who are the only ones in white and seem to be glowing. Rembrandt's The Night Watch depicts a military unit, under the leadership of Captain Frans Banning Cocq and Lieutenant Willem van Ruytenburch, assembling for patrol of the city of Amsterdam. Centrally, the Captain and Lieutenant are calling the unit to arms: the Captain, draped in a crimson sash and holding a staff symbolic of his power, standing beside the draped-in-yellow Lieutenant, himself holding a foreshortened sword.
The Palace at Versailles. Versailles, France. Louis Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens. *courtyard
The center-block or garden facade and the courtyard of the Palace of Versailles is very geometric since it has a rectangular shape. It is also symmetrical with the largest colonnaded porch being in the center while the smaller ones are on either side. There is a sense of repetition created by the windows that appear on every floor which kind of opens up the palace to the outside and would have allowed a great amount of light inside. Marble Courtyard: This courtyard is the oldest part of the Palace of Versailles, dating back to the reign of Louis XIII when it was still just a small hunting lodge. In the courtyard we see a lot more influences from the Baroque style, since there are a lot more extravagant, golden embellishments that add to the grandeur of the entire palace. The overall layout with the 3 floors is similar to the garden facade, but instead the ionic pilasters are on the ground floor in pairs instead of blanking every window on the main floor.
Rembrandt van Rijn. Self-Portrait with Saskia. 1636 C.E. Etching.
The etching shows both Rembrandt and Saskia presented in half-length and are seated around a table in front of a plain background. The image of Rembrandt dominates the entire image as he looks straight forward at the viewer with a sense of seriousness. His hat along with the curls of his hair create one of the strongest shadows that darkens his eyes, adding an air of mystery to his countenance. Etching is a printmaking process in which a metal plate(usually copper) is coated with waxy and acid resistant material.So the artist draws through with an etching needle to expose the metal.Then the plate is dipped in acid in which the exposed metal leaved behind the lines in the plate.The artist can make lines that or deep or heavy by controlling how much time the acid stays on the plate.After the coating is removed, the plate is inked which then is a put through a high printing press together with a sheet of paper to make the print. Rembrandt and his wife married on June 22, 1634 and remained together for thirteen years until Saskia's death at the age of 30 and this seems to be the only etching Rembrandt made of him and wife, Saskia together. Rembrandt has been dubbed the greatest practitioner of etching in all of artistic history, as well as the first to popularize the technique as a major form of artistic expression. His work in this medium spans almost the entirety of his career with close to 300 etchings to his name.
Screen with the Siege of Belgrade and hunting scene. Circle of the Gonzalez Family. C. 1697-1701 C.E. Tempera and resin on wood, shell inlay. 2 images: *Siege of Belgrade
The first thing the viewer notices when looking at this image, is how busy it is due to the repetition of figure after figure. There are countless warriors who are shown in battle gear and engaged in combat, and on the reverse side there is repetition of plants, hills, and other natural features. This piece incorporates the styles of Spanish Colonial, Flemish, and Dutch, while also drawing influence from Japan. A very delicate, thin painting can be seen, along with brilliantly illuminated shell pieces. The prevalence of reds with an almost yellow tinge conveys more activity and energy on this side of the screen. On the other side, however, the screen is a greenish hue, which is much more delicate and relaxed. This is a wooden set of panels forming a screen, called a Biombo. This comes from the Japanese word for a wooden screen, Byobu. There are many Japanese influences in the content of the piece, specifically at tops and bottoms of the screen on either side. Though the medium is oil paint, the base and top reflect Japanese lacquer designs with their black background and colorful/vibrant floral and natural designs. This is specifically a Biombo enconchado, which translates to a screen with inlaid shells. Tempera: a method of painting with pigments dispersed in an emulsion miscible with water, typically egg yolk. The method was used in Europe for fine painting, mainly on wood panels, from the 12th or early 13th century until the 15th, when it began to give way to oils. Resin: a sticky flammable organic substance, insoluble in water, exuded by some trees and other plants (notably fir and pine). The painting was also inlaid with pearl to show off the Viceroy's wealth. Pearls, gold, silver, etc. were excavated in the colonies usually at the expense of the indigenous peoples; forcing them to do backbreaking work. Battle side: The battle side of this Biombo depicts a brutal military conflict between the Turks (a central Asian nomadic group of people) and the Hapsburg Empire (Empire that once controlled Spain). This is specifically the battle of Belgrade. In the siege of Belgrade, the Ottoman Turks tried to take over the city and turn it into a military fortification to help them advance into Europe. Belgrade held its ground though and the turkeys were unsuccessful in conquering the city. The piece shows active battle scenes, including gruesome dead bodies covered in blood, and live soldiers engaging in physical warfare. Hunting scene: While the hunting scene is a calmer image focused on nature, like the reverse side, there is still a theme of death and destruction. There is a landscape with flowering and blooming trees with fruit, grassy hills, and a floral motif at the top and bottom of the frame (Japanese lacquerware inspired). One part of the subject matter included on this side is a wild cat pouncing on a fallen hunter, with several other hunters coming up behind the animal, ready to attack. There are men with hunting dogs, and men galloping on horseback with their weapons raised for the hunt. The Viceroy was an advisor to the king in Spain. The hunting side of the Biombo is thought to have been intended for the view of women, whereas the battle side was intended for the viceroy's guests. The panels' literal function served as a room divider and decorative piece of furniture in the viceroy's palace. On a more contemplative level, the piece was a way that people in New Spain could learn about and visualize conflicts that were happening/had happened in Spain. This connected them to the empire, and thus to their own colony.
The Palace at Versailles. Versailles, France. Louis Le Vau and Jules Hardouin-Mansart (architects). Begun 1669 C.E. Masonry, stone, wood, iron, and gold leaf (architecture); marble and bronze (sculpture); gardens. *Hall of Mirrors
The hall of mirrors uses a great amount of mirrors in order to reflect the light of the sun, which symbolizes Louis XIV's power. Also, the repetition of gold can be seen throughout the entire palace which emphasizes his power, wealth and success as a leader. Created by Hardouin-Mansart, this is probably the most famous part of the Palace of Versailles, it runs along the entire length of the central body of the palace. On the side of the hall which faces the exterior, the giant windows overlook the gardens, which spanned to almost 2000 acres. On the opposite side, there are 357 giant mirrors that reflect the rays of the setting sun inside the palace, as a way to remind the people inside the palace of Louis XIV's power. The vaulted ceiling pays tribute to the political, economic and artistic successes of France, organized into 30 compositions which were painted by Charles Le Brun. Many paintings depict military victories of Louis XIV and glorify him as a leader.
Diego Velazquez. Las Meninas. 1656 C.E. Oil on canvas.
There is a range of colors that are seen in this painting. The Princess is wearing a bright-colored dress indicating her importance. We can see Velaquez in the painting himself in the background. There is a sense of space seen with how Velaquez incorporated the viewer in the painting. The individuals in the painting all look out towards the viewer emphasizing their importance. There is also a lack of movement seen throughout the painting with how everyone has stopped their actions to look over at the viewer. Las Meninas is known as Velazquez's greatest work. It receives this honor on the basis of Velazquez's intricate and varied strokes of oil paint onto the canvas. At times, the stroke appears almost swift and carefree; at others, it is flowing and calculated. Nonetheless, the image is beautiful. Velazquez's use of color is guided by his awareness of the differences between cool and warm colors, and the possibility of modifying hues by contrast. Thus he rarely used primary colors, and instead of using a brilliant red, preferred to create an optical illusion of it. Master of chiaroscuro. Velazquez has incorporated himself into the painting and he's seen in the act of painting. The Princess is seen attended by the maids of honor, dwarf, governe Historians believe that the mirror reflects the image that's been painted on the canvas by Velazquez. Additionally, many believe that the mirror reflects the image before it but the King and Queen still stand before the painting which is why everyone in the painting is so attentive. Everyone also looks out towards the viewer which could be explained if it was the King and Queen. Standing behind Isabel de Velasco is Margaret Theresa's chaperone, Marcela de Ulloa. She seems to be dressed in mourning and is talking to an unidentified figure who is probably a bodyguard. There is a figure standing in the doorway who has been identified as the Queen's chamberlain Jose Nieto. The Princess is Margaret Theresa who would've been around 5 when the painting was created. She has two ladies-in-waiting standing next to her, however she pays no attention to them and looks directly out towards the viewer. Standing on the left side of Margaret Theresa is Isabel De Velasco, who is ready to curtsy. On the right is Maria Agustina who knees before her and offers her something to drink from the tray. Overall, Las Meninas shows the people that would've been important to the king himself. Las Meninas is ultimately a court painting depicting the daughter of King Philip IV of Spain and Queen Mariana of Austria, Princess Margarita Teresa of Spain. All eyes are drawn towards either the princess or the royal observers, and as such, the metaphysical barrier is broken - the viewer is observing the painting from the eyes of the Spanish nobility. This painting was made specifically for King Phillip IV of Spain and it would've been placed in his study to look at. Velazquez was the King's personal court painter. This piece was used to show the importance of the Princess. It was also important because it was used to show the status of the artist and Velazquez himself. It would've been used for the enjoyment of the king and his personal study. It was also used to show the everyday life of the royal family.
Gianlorenzo Bernini. St. Peter's Basilica and Square(piazza design). Vatican, Rome. 1656-1657.
There is a remarkable symmetry to the square, which is in an elliptical shape outlined by colonnades, which opens the path towards the basilica. The use of space in the center along with the obelisk creates a sense of balance, and the repetition of the Doric columns encloses the visitor with "the maternal arms of Mother Church" in Bernini's expression. The Vatican Obelisk in the center is one of the oldest parts of the square, having been transported from Ancient Egypt. The trapezoidal shape of the piazza, which creates a heightened perspective for a visitor leaving the basilica and has been praised as a masterstroke of Baroque theater, is largely a product of site constraints. The paving is varied by radiating lines in travertine, to relieve what might otherwise be a sea of setts. In 1817 circular stones were set to mark the tip of the obelisk's shadow at noon as the sun entered each of the signs of the zodiac, making the obelisk a gigantic sundial. Below is a view of St. Peter's Square from the cupola (the top of the dome) which was taken in June 2007. The Catholic Church commissioned this church. They added on the arms because they wanted it to seem as though they are reaching out to all the people who want to be catholic, wanting to welcome more people into the church. The arms do not fully close and it consists of an open double colonnade because it symbolizes how open the Catholic Church is and how they have open arms for everyone. Made as a place of worship for Roman Catholic christians. As one of the holiest sites in Catholic belief, St. Peter's is famous as a place of pilgrimage and for its liturgical functions. The Pope presides at a number of liturgies throughout the year, drawing audiences of 15,000 to over 80,000 people, either within the Basilica or the adjoining St. Peter's Square.
Rachel Ruysch. Fruit and Insects. 1711 C.E. Oil on wood.
There is an overall great sense of mystery in the painting. Ruysch employs tenebrism, which is a very extreme form of chiaroscuro. The fruit is emerging from the darkness and there is a warm spot light that illuminates it. Although it's a still life there still is a great sense of movement throughout the painting. The vines of the grapes and the leaves' unruly, however they are placed in a sort of diagonal and zigzag form that leads the viewer's eyes throughout the piece. This piece is Oil paint on wood. Ruysch would have mixed dry powder pigments with a binder, most commonly used is linseed and walnut oil. With a long drawing time oil paints allowed artists time to carefully and meticulously blend their paints with one another to achieve the realistic style in their paintings. There are many thoughts to what this piece truly depicts. Some agree that this is a scene showing the beginning of autumn and the harvest. As seen with the corn, squash, wheat, as well as the leaves from the grape vine are beginning to show a tint of golden hue to them. Which most commonly indicates the start of autumn. The nest represents the new life that is to come. The butterfly seen in the painting is a Red admiral which resides in the temperate regions of Europe. Specifically, in northern Europe it is one of the last butterflies to be seen before winter. Thus emphasizing the idea of the harvest and before winter sets in. Ruysch's style of painting and choice of subject rarely changed throughout her career. Her flowers seem to glow with an inner light, even though their delicate petals and overgrown blooms show signs of the ravages of time. Still lifes portraying decay, or other similar symbolism belong to a genre known as vanitas painting or Memento Mori. In addition the Netherlands went through what is known as the "Dutch Golden Age" where the Dutch art, trade, science, and military were the most praised in the world. At this time the microscope showed its prominence and the world began looking at everything under a watchful eye. This is reflected in Ruysch's artwork as her paintings have immense detail with each individual flower petal or insect of fruit. Her artwork is reminiscent of the progressive movement of science and how she blended both art and science into one. In later years Ruysch served as court painter to Johann Wilhelm of Bavaria, where she remained until 1716. The flowers she painted were popular and exotic; a status symbol among the middle wealthy classes. In 1716 Ruysch returned to Holland, where she remained painting flower pictures for clients until her death at the old age of 85.
Facade designed by Carlo Maderno. Church of Sta. Maria della Vittoria (façade). Rome. 1642-1652.
There is symmetry seen with how alike both sides of the facade are. If you were to split the facade down the middle it's almost identical. Movement is seen with how your eyes move when you view this facade at first. You start at the bottom by the stairs and make your way to the top. This shows an upper window at the top which is a light source. There is emphasis on the entrance of the church and how tall the door is. The work is in travertine, with white limestone throughout, and is in two stories. The design follows baroque architectural style, making it more accessible to the emotions visible statement of the wealth and power of the Church. Marble is used in the interior for relief works. Church facades during the Baroque period focused on the center of the building, giving one an idea of what the interior looks like. Curves and counter-curves became the dominant motif during this era which can be seen on the top sides of the facade. Baroque artists wanted to play with different shapes and forms for the sake of visual movement. The first story of the façade of the Church of Santa Maria della Vittoria has six Ionic pilasters, two pairs on either side of the entrance and a pair on the outer corners. The latter are doubled around the sides, as there is another pair of Ionic columns where the façade meets the nave walls. The capitals of these pilasters are decorated with flowers, and above each is either a dragon or an eagle. These two creatures occur on the arms of the Borghese family. There is only one entrance, but this is unusually tall and is approached via a formal flight of steps. The lintel of the doorcase has a winged putti's head, and above this is a raised segmental pediment. This is broken in order to insert a relief copy of the original (now destroyed) icon of the Nativity. The construction of the Church began in 1608 under the direction of Carlo Maderno. In 1624 he was joined by Giovanni Battista Soria, who designed the facade. This church was originally dedicated to Saint Paul, but before it was finished it was officially dedicated to the Virgin Mary. It was commissioned by Cardinal Scipione Borghese, which is reflected in the inscriptions that Battista Soria included in the lower entablature. This Church was created during the Baroque period meaning that the facade was important and used to bring people into the church. This was during the counter-reformation and churches were looking for more individuals to join so the architects used emotional designs in their architecture to lure people in.
Caravaggio. Calling of Saint Matthew. 1597-1601 C.E. Oil on canvas.
This painting expresses a sense of movement, because this painting was meant to depict the singular moment in time from Matthew 9:9 where Christ calls him. There's a sense of movement because of how the figures are just reacting to Christ, as if he's just appeared in front of them. A muted palette of colors is utilized, however an ambiguous light source is cast upon his subjects in brighter colors in order to illustrate this. This painting is a depiction of spiritual awakening and conversion in a scene where Christ is calling Matthew to be his apostle. The painting is very earthbound, the only other-worldly element being the halo above Christ. The painting depicts the story from the Gospel of Matthew (Matthew 9:9): "Jesus saw a man named Matthew at his seat in the custom house, and said to him, "Follow me", and Matthew rose and followed Him." Caravaggio depicts Matthew the tax collector sitting at a table with four other men. Jesus Christ and Saint Peter have entered the room, and Jesus is pointing at Matthew. A beam of light illuminates the faces of the men at the table who are looking at Jesus Christ. Christ's entrance appears to also be the entrance of light into the dark room and a sense of spiritual awakening into the greedy life of Matthew. It was originally commissioned a decade before its production by Cardinal Matthieu Cointerel for a chapel centered on his namesake, St. Matthew. This piece was one of Caravaggio's earliest religious commissions, part of the decorative program of the private chapel of the Cointrel family in French community church in Rome. This image shows off how the divine has entered everyday life.
Francesco Borromini. Exterior view and plan of the Church of San Carlo Alle Quattro Fontane. Rome. 1638-1667. Stone and stucco.
Turning our attention to the physical church structure, we see Borromini make expert use of movement and motion. Starting on the exterior, we see the repetition of four large columns on the facade, standing in front of an undulating surface. The concave, convex, concave structure of the wall moves our eyes in, out, and in again. These undulations also give the facade a sense of depth and dimensionality, as the style no longer stops at a simple two-dimensional wall. This movement continues as we move up: the entablature and cornice also undulate, something we can see from the plan as well. This church is made of a combination of stone and stucco. This church took Borromini many years to plan and construct (1638-1641) Borromini worked on this project for no fee, as he waved it, due to the fact that this was his first independent commission in Rome. Borromini played with the materials on the interior of the church, making it look as if it was curved. On the exterior facade, we have these niches filled with statues of Saint Charles Borromeo made by Anotonio Raggi, as well as Saints St. John of Matha and St. Felix of Valois, who were founders of the Trinitarian Order. A windowed niche covered by a canopy comes next, then a massive forward-leaning cartouche is held up by angels. These angels are carved in high relief and appear to hover in front of the wall because of their position and depth. On the corner of the church is one of the four fountains that gives this church its name. This church was created for the Trinitarian Church of Rome. They wanted a church made on this busy intersection of two roads in Rome. They gave much of the design control to Borromini, as he waived his commision fee. Borromini made sure to include the ideals and beliefs of the Trinitarian church when created this church, in ways such as the layout of the interior of the church, and the way he spaced out the church by drawing triangles to create an oval shape, and the painting that is behind the altar piece. Because the Church of San Carlo was commissioned by the Trinitarian Order, they intended for Borromini to build them a monastery and church in a very small and compact space (at the corner of the intersection of two roads). Borromini eagerly took on the challenge, because it would allow for him to display his skills to the public and launch his career.
Peter Paul Rubens. Henri IV Receives the Portrait of Marie de' Medici, from the Marie de' Medici Cycle. 1621-1625 C.E. Oil on canvas.
Zeus and Hera, surrounded by eagles and peacocks. Portrait of Catherine de Medici, held up by Cupid and Eros. They are showing it to Henry 6th. Behind him is a personification of France, wearing blue robes decorated with Fleur de Lis. Background shows a fire, symbolizing a battle. Henry 6th is leaving the battle, and trading war for love. Catherine de Medici commissioned these paintings to glorify her own life. Reubens probably had a lot of help by his workshop, due to the time frame this was made in. There is Movement in this piece because half of the figures are depicted floating/flying. Also the viewer's eye moves in a zig-zag pattern, from the putti, to the king, to the portrait, and up to Zeus and Hera.
