Exam 2 Monuments

Yosa Buson: Cuckoo Flying over New Verdure

(hanging scroll), Japan, late 18th century (Edo) ink and colors on silk, Master writer of Haiku, exemplifies his fully mature style of literati painting that extended beyond knowledghe, he incorporated basic elements of chinese literati painting by rounding the m=landscape forms and rendering their soft texture in the fine fibrous brushstrokes, and by dense foliage patterns, the cuckoo, is a motif specific to Japanese poetry and literati painting, although Buson imitated the vocal of brush strokes associated with the Chinese literati, his touch was bolder and more abstract and the gentle palette of pale colors was very much his own.

Joseph Wright of Derby: A Philosopher Giving a Lecture at the Orrery

(oil on Canvas) ca. 1763-65 (Enlightenment) Wright specialized in dramatically lit paintings celebrating the modern scientific instruments of he Industrial revolution . A scholar demonstrates an orrey, ( model of the solar system.) light from the lamp pours forth from in front of the boy, creating shadows that heighten the drama of the scene. displays fascination by composing his image in a circular fashion, echoing the devices orbital design. The glances and postures focus in on the design, Chooses realism in depicting them, the exciting and tune of history and industrial revolution is in tune with the new era of enlightenment.

Antoine Watteau: Pilgrimage to Cythera

(oil on canvas), 1717 (Rococo) Depicted the outdoor amusements of the French upper-class society, the haze of color suited the new Rococo taste and was the hallmark of the Royal Academy. Created a painting genre called fete galante(amorous festival) Luxirously costumed lovers who have made a "Pilgrimage " to Cytheram the island of eternal youth and love, The elegants figures move gracefully which are Watteau's style both in ambitious multi-figure compositions such as **PILGRIMAGE to CYTHERA

Jean-Baptiste-Siméon Chardin: Grace

(oil on canvas), 1740 (Enlightenment) Modest room, the mood of quiet attention is at the hushed mellow lighting, and mellow color, still life worn surfaces tell own humble domestic history, The viewer witnesses a moment of social instruction, supervising the young of saying prayer, The simplicity of the composition reinforces the subdued charm of the scene -Chardin embraced naturalism and celebrated the simple goodness of ordinary people, especially mothers and children, who lived in a world far from frivolous Rococo salons of Paris.

Jean-Baptiste Greuze: The Village Bride

(oil on canvas), 1761 (Enlightenment) A narrative of an abandon rustic dwelling, A father blesses his daughter and her husband to be. The happy climax of a rural romance, moral is happiness is the reward of "natural " virtue. The newly important middle class embraced art, distracting a new audience

Joshua Reynolds: Lord Heathfield

(oil on canvas), 1787 (Enlightenment) In this grand Manner Portrait** Concept of nobiltiy, - depicts the English commander who defended Gibraltar, as is typical for this genre, Heathfield stands in a dramatic pose and his figure takes up most of the canvas, controlled pose, landscape setting, and low horizon line, Sitter was perfect: a burly, ruddy english officer, he holds the huge key to the fortress the symbol of victory, stands infron of a arge curtain of dark smoke rising from the battle ground, Portrays the features heavy, honest face and his uniform with unidealized realism. Posture and the setting dramaticallly sggest the heroic themes of battle, courage, patriotism.

Marie-Louise-Élisabeth Vigée-Lebrun: Marie Antoinette

(oil on canvas), 1787 (Enlightenment) Nothing about the pose appears contrived

Marie-Louise-Élisabeth Vigée-Lebrun: Self Portrait

(oil on canvas), 1790 (Enlightenment) "Naturalistic" Self portrait genre, few women admitted to the Royal Academy, she depicts herself confidently , natural stance of a women whose art has won her an independent role in society, her costume echos the serpentine curve of Rococo artists that wealthy patrons loved. a close up intimate view work on one of Queen Marie Antoinette. - emergence of a new more personal and less pretentious mode of portraiture

William Hogarth: Breakfast Scene, from Marriage à la Mode

(oil on canvas), ca. 1745 (Enlightenment) Won fame for the paintings satirizing English life with comic zest, The home is palatial, but is filled of clues, erotic paintings above the mantle, It's a carefully chosen detail heightens the comedy of a moral narrative, appeal to the democratization of knowledge and culture that the enlightenment fostered and exploration of new printing technologies that opened the way for more affordable visual culture. one of a series of six paintings in which he chronicled the marital immoralities of the moneyed class.

François Boucher: Cupid A Captive

(oil on canvas),1754 (Rococo) -Painted a pyramid of rosy infant and female flesh and fluttering draperies set off against a cool leafy background. Drapery both hiding and exposing nudity, used the full range of Italian and French Baroque devices: - Dynamic play of crisscrossing diagonals, - Curvilinear forms, - Slanting recessions= to create his masterful composition. playfulness and curves of decorative flourishes, Lively an lighthearted fantasies became mirrors for his well-to-do French patrons to behold the ornamental reflections of their cherished pastimes.

Jean-Honoré Fragonard: The Swing

(oil on canvas),1766 (Rococo) Exemplifies Rococo style, Pastel colors ad soft light complement a scene in which at young lady flirtatiously kicks off her shoe at a statue of Cupid while her lover gazes at her, The landscape emulates Watteau's a luxuriant perfumed bower in a park that very much resembles a stage scene for comic opera.

Clodion: Nymph and Satyr

(terracotta), ca. 1780 (Rococo) The erotic playfulness of Boucher and fragonard is evident in Clodion's tabletop terracotta sculptures reps. sensuous fantasies often invoking mythological creatures and the followers of Bacchus. Two followers of Baccus the Roman god of wine, and nympth,

Suzuki Harunobu: Evening Bell at the Clock, from Eight Views of the Parlor

(woodblock print), Japan, 1765 (Edo) From a sharply elevated viewpoint, he depicts two beautiful women in an intimate setting, the Edo artists NISKIKI-E** (pg.1064) tool their name from their costly pigments and paper, The maid who attends her mistress turns her head toward a chiming clock, he based his prints on a Chinese series feat. temple bells, but sensated a Japaneses clock for Chinese bells. His prints focus on the daily lives of japanese women, a subject he pioneered. Erotic themes are quite common in UKIYO-E**. She is dries herself on her veranda after bathing. From a series of which each image focuses on a particular time of the day, The viewer gets a glimpse of a private moment,

Katsushika Hokusai: Great Wave off Kanagawa, from Thirty-Six Views of Mount Fuji

(woodblock print), Japan, c. 1825-33 (Edo) Huge foreground wave dwarfs the artist representation of the distant mountain, the contrast and the whitecaps' ominous fingers magnify the wave's threatening aspect, enhanced by the fact Japs viewers knew Mount Fuji was an active volcano, the men in the trading boats. Print draws on western techniques and incorporates the distinctive European color called Prussian blue, engages the Japanese pictorial tradition. Against a background with the low horizon typical of Western painting, placed the foreground the waves more traditionally flat and powerfully graphic forms, mainly curved triangles. - Adopting the low horizon line of western painting, master woodblock print maker Hokussai used the flat and powerful graphic forms of Japanese art to depict the threatening wave in the foreground AA Notes: Polychrome woodblock print on paper Shows disaster is about to strike three narrow boats with their cargo of fish. Snowcapped mount fuji in the background. Low horizon line and small scale mountain reflect his understanding of western perspective.

David Vases

1351 (Yuan China), Porcelain, colt blue underglaze, from the Jingdezhen Kilns, has an inscription citing the emperors regnal year(the western calendar) it also says that the vases were used for a buddhist temple, the tainted decoration consists of bands of floral motifs btw broader zones containing auspicious symbols including the phoenixes in the lower part of the neck and dragons on the main body of the vessel, both among clouds,. These motifs may suggest the donors high status or invoke prosperity blessings, their vast power and assco. w/ nobility and prosperity the dragon and the phonies also symbolize the emperor and the empress, respectively. The dragon may rep the YANG, the principle of active masculine energy, while phoenix may rep the YIN, the principle of passive feminine energy.

Palace(Chateau) and gardens of Versailles

Begun 1669, Verasailles, France, Louis XIV wanted to convert a royal hunting lodge at Versailles into a gigantic palace and vast park / a satellite city with three radial avenues whose axes intersect in the kings bedroom. Geometric plan, gardens provide transition from frozen architectural forms to the natural living ones.

Shen Zhou, Lofty Mount Lu, hanging scroll

1467 (Ming Dynasty) It bears a long poem that the artist composed in the teacher's honor. Never seeing the mountain he chose the subject bc he wished the lofty mountain peaks to express the grandeur of his teachers virtue and character. The immense scale of the Mount Lu by placing a tiny figure at the bottom center of the painting , sketched in lightly and partly obscured by a rocky outcropping. The composition owes a great deal to fan Kuan and other early masters. The characteristic of literati painting in general, the scroll is in the end a very personal conversation btw artist and the teachers honors. - Inscriptions and seals are essential elements in the hanging scroll.

Wu Zhen: Stalks of Bamboo by a Rock (hanging scroll)

1347 (Yuan China) A women artist, and one of the leading artists of the the Yuan Literati(scholar artists) Bamboo plant symbolized the ideal Chinese gentleman, her landscapes are misty atmosphere she achieved by restricting the ink tones to a narrow range and by blurring the bamboo thickets in the distance, suggesting not only the receding terrain but fog as well, and she also features black Chinese calligraphic characters.

Huang Gongwang: Dwelling in the Fuchun Mountains (handscroll)

1347-50 (Yuan China) Ink on paper, great works of Yuan literati painting, built up textured mountains with richly layered brushstrokes, interweaving dry brushstrokes and placing dry over wet, The rhythmic play of brush and ink captures the landscapes inner structure and momentum, to represent the essential beauty of natural world through the artful depiction of mountains, streams, and trees.

Basawan and Chatar Muni: Akbar and the Elephant Hawai, from the Akbarnama (miniature)

1590, Miniature, (mughal India), Opaque water color on paper, Portraying the young emperor Akbar bringing an elephant under control, showing the moment of maximum danger and chaos, it's an allegory of Akbar's ability to rule, the composition is a bold one with very high horizontal and two strong diagonal lines formed by the bridge and the shore. Together they at the same time flatten create a sense of depth by diminishing the size of the figures in the background. The figures have vivid gestures and details.

Hall of Supreme Harmony, Forbidden City) **LOOK OVER

15th century and later, Beijing (Ming China) Is the climax of the imperial palace complex long north-south axis, it is the largest wood building in China and has 72 gigantic columns carved from Sichuan trees, inside is the emperors throne room, here the Ming Son of Heaven would sit. AA Notes(, woood, paint, plaster, and ceramic tiles; Forbidden City, Beijing, Most importance building, standing to the back of the expensive courtyard,, hosts banquets and ceremonies, marking the lunar year and winter solstice & emperors bday, then became and audience hall, {built using post and beam, and double hipped roof)

Forbidden City (Aerial view)

15th century and later, Beijing (Ming China) Has 3 gates that only be entered by level of rank, surrounded outside was is a moat, symmetry plan symbolized the order that the Ming emperor, the son of Heaven, brought to the world, Throne room centered at the center of the world. First gate, Noon Gate has 5 portals, Only the emperor could enter through the center, The two entrances were reserved for the imperial family and high officials, The northern end of the central axis if the Gate of Divine prowess which servants would gain access to complex

Wen Shu: Carnations and Garden Rock (fan)

1627 (Ming China) Fan, ink and colors on gold paper, format imported from Japan, the artists paints on flat paper, the folds the completed painting and mounts it on sticks to a fan form, she focused on a few essential elements, a central rock formation and three sprays of flowers,, using delicate brush strokes and a restricted palette, she brilliantly communicated the fragility of the red flowers, contrasting them with the solidity of the brown rock. The square composition creates a quiet mood of contemplation, was the finest flower painting of the Ming era.

Landscape with cattle and Peasants, By: Claude Loraine

1629, (French Baroque) Uses 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, uses a distinctive foreground, middle ground, & background, dim background recede in serene orderliness, until all form disables in a luminous mist, used tiny paint stroke, infusion of nature with the human feeling and his recomposition of nature in the a calm equilibrium greatly appealed to many landscape painters.

Et in Arcadia Ego, By: Nicolas Poussin( --> was the leading prophet of classicism in the 17th c. Rome)

1655, (French Baroque) Poussin was the leading proponent of classicism in the 1¶th -century Rome, his ' grand manner' paintings are models of "arrangement and measure" and incorporate figures inspired by ancient statuary. Features a lofty subject rooted in the classical world and figures based on antique statuary. rather than movement and intense emotions, he emulated the rational order and stability of Raphaels paintings. Dominating the foreground are 3 shepherds living in the idyllic land f Arcadia, studying an inscription on a tomb as a statuesque female figure places her hand on the shoulder of one. She may be the spirit of death reminding the mortals that death is found in aradiciacal(an ancient city) bliss. The youth stance w/ one foot forward from statues of gods, has even light and the thoughtful and reserved mood complement Poussins classical figures.

Wangshi Yuan (Garden of the Master of the Fishing Nets)

16th century and later, Suzhou (Ming China) Scientific arrangements intended to reproduce the irregularities of uncultivated nature. The design is a typical sequence of carefully contrived visual. This approach is the opposite of the formality and axiality of the Ming palace. Asian Art 1200 Notes(wood-&-tile structures, lime-plaster-&-brick walls, rocks, plantings, paving stones, and pond, Suzhou, Jiangsu province, symbolizes yin and yang, had many literally inspirations: plantings, paintings, the dramatically swooping eyes of its roof woodwork, he made it visually appealing.)

Shitao: Reminiscences of Nanjing: Riding the Clouds (album leaf)

1707 (Qing China) Album leaf, ink and colors on paper, the solitary rider scaling a steep mountain path expresses the themes of loneliness and perseverance. The sharp angle Shitao used to record the landscape and the amusing of thick ink alternating with sinuous lines and large blank areas are characteristic features of this innovative artist;s distinctive style. unlike traditional literati , Shitao did not so much depot the landscapes appearance as animate it, applying ink with unprecedented expressive force. " experienced with usual compositions and extreme effects of massed ink.

Giuseppe Castiglione (Lang Shining): Auspicious Objects

1724 (Qing China) Ink and colors on silk, was painted in honor of the birthday of the third Qing ruler, it exemplifies his yhprid Italian -Chinese painting style, emphasis on a single light source of light, cast showdown and three dimensonal volume are unmistakably European Stylistic concerns, in the composition of the branches and leaves of the overhanging pine tree and the rock formation in the lower half of the scroll. The subject is purely Chinese, the white eagle, pine tree, the rocks, red plants, are tradition Chinese symbols. the eagle connotes imperial status, courage and military achievement, the evergreen pines and the rocks cnnote long life--> according to chances believe eating the red plant will promote, all are fitting motifs for a painting celebrating the birthday of an emperor.

Ustad Ahmad Lahori (?): the Taj Mahal "Crown Palace" (exterior view)

Agra, India, 1632-47 (Mughal India)White marble, A mausoleum tomb memorial to his favorite wife, Dome-on-cube shape of the central block has earlier Islamic antecedents, weightless marble, seems to float magically above the broad water channels and tree-alined reflecting pools punctuating the fountain filled garden, Follows the traditional Char-bagh ("four plot") plan of Iranian garden pavilions symbolizing the Koranic Garden of Paradise. NOW it stands northern end edge go Yamuna River, Pietra dura* inlays, pointed arches create movement to the dome, which is shaped as a crown, four minarets and two flanking triple-domed pavilions enhance and stabilize, balance between vertically and horizontally, Is a fusion of Islamic , Hindu, and Byzantine elements

Lion Hunt BY: Peter Paul Rubens

Antwerp, 1617-18, (Flemish Baroque) to depict heavily muscles, deeply impressed by Michelangelo heroic twisting sculpted and painted nude male figures shows his prowess in representing foreshortened anatomy and the contortions of violent action. , dynamically across, enhance drama by tenebrisim

Elevation of the Cross By: peter paul Rubens

Antwerp, The Netherlands, 1610, (Flemish Baroque) Oil on Wood, triptych, explored foreshortened anatomy and violet action, whole composition seethes with a power that comes from heroic exertion, tension is emotional as well as physical not in christs face but also in his followers (michelangelo & caravaggio) heavily muscled men in unusual poses straining to lift jesus,heroic twisting sculpted and painted nude figures(michel) Bright highlightss & areas of deep shadow (cara) Enhances drama, tilted jesus adds depth

Louis XIV, By Hyacinthe Rigaud

France, (French Barodue) Oil on canvas, Absolutism, Stands w/ his hand on his hip and gazes directly at the viewer, robe hangs loosely suggesting haughtiness, it also exposes his legs, depicting his youth and was so proud of his well-toned legs, his sun king face is the focal point looking down at the viewer = majesty, the detailed environment also contributes to the stateliness and grandiosity as does the paintings size.

Arches of St. Hadrian By: frans Hals

Haarlem, The Netherlands, 1633 (Dutch Baroque) Oil on Canvas, portraying each individual in a group portrait while retaining action and variety in the painting as a whole. Some engaged the viewer directly, some stern, some reconginizable, Uses colors to create a lively rythm, using light and rapid brushstrokes, intensified the caualness, immediacy & intimacy.

White Heron Castle

Himeji, Japan, 14th-17th centuries (Momoyama) Name because of the white plaster fire-resistant coating of its wood walls, residential complex hides high above masonry steep walls ro keep enemy's out. completed with a moat, and interior gates and narrow passage ways, Top building is only access by ladder and 4 views of the country side, Despite the militaristic aspects, it exudes a sense of weightlessness, achieved in part by f the bright white walls, which reflect the sunlight, curving tiled roofs lead the viewers eye in the pyramid fashion to the narrow top story silhoutted against the sky, winglike profiles of its elegant tile roofs

David By: Gainlorenzo Bernini

Italy, (Italian Baroque), Marble, Moving through time & space by the expansive and theatrical elements, Reps. the combat itself& aimed to capture the spolit-sec of maximum action, rejected armor at his feet symbolize his faith in the lord, left hip suggs. fight would be tough, moves into the space around it, face= intense concentration and dramatic is diff then the classically Donatello's & Verrocchico's.

Judith Slaying Holofernes By: Artemisia Gentileschi

Italy, (Italian Baroque), Oil on canvas, Narrative involing herioc women a favorite theme of her. The dramatic lighting of the action in the foreground emulates her tenebrism. Controlled Highlights on the action hieghten the drama, theatrical, naturalism.

Hamada Shoji: Large Plate (stoneware) LOOK OVER ASAIN NOTES

Japan, 1958 (Showa) with casuals lip designs are unsigned, but easily recognized them as his, this stoneware is coarser and heavier than porcelain and lacks the latter's fine decoration. people who appreciate simpler, earthier beauty, this dish holds great attraction. it influenced a n extended beyond the production of pots. A leading figure in the modern folk art movement in japan, hamada shoji gained international fame, unsigned features casual slip design.

Kogan water jar (Shino glazed stoneware)

Japan, late 16th century (Momoyama) w/ underglaze iron slip decoration. The vessels used in the Japanese tea ceremony reflect the concepts of WABI**, (the aesthetic of refined rusticity)and SABI** (value found in weathered objects) suggesting the tranquility of old age. Name kogan= Ancient stream bank, comes from the brown and black painted design - marsh grass- on the jars surface as well from its coarse texture and rough form. both reminiscent of earth cut by water. It has surface cracks, an irregular rim, and sagging contours ( all intentional to suggest the accidental and natural qualities essential to the values of wabi and sabi.

Katsura Imperial Villa

Kyoto, Japan, 1620-63 (Edo) Became the standard for Japanese residential architecture, the design relies on subtleties of proportion, color, and texture instead of ornamentation for its aesthetic appeal. Westernized structure and decor, it incorporates tea ceremony aesthetics and incorporates elements of courtly gracefulness. Colors and and textures enriches the villa's lines, planes and volumes. bring out natural beauty AA Notes: designed as a place for contemplation and creative pursuits. Mentioned in the tale of genji. Has a moon viewing platform with a bamboo floor. Rooms are made at a staggered diagonal axis in order to see gardens from the windows.

Karesansui Garden

Kyoto, Japan, c. 1488 (Muromachi), (dry Landscape) is surrounded by low walls, situated adjacnent to the abbots quarters, unknown designer intended the monks to view the garden from a stationary position but from any vantage point it is possible to see only 14 rocks at one time= the sense of incompleteness a monk experiences before achieving enlightenment, it's an abstract composition but the arrangement of irregular rocks and racked lines, striking in its severity and emptiness especially in contrast to the dense and colorful foliage that from a backdrop to the enclosed garden. The purpose is to inspire meditation and to direct the attention of the monks inward, not to the natural world. for meditation for Zen budgets monks.

Sen no Rikyu: Taian teahouse

Kyoto, Japan, c. 1582 (Momoyama) (CHASHITSU**) two interior standard feat. of Hapanese redidential architecture of the Late Muromachi period; very thick, rigid straw mats(tatami) and an alcove (tokonma) these accommodate the Japanese tradition of them not wearing shoes indoors and sitting on the floor, room dimness and tiny size produce a cave like feel and encourage intimacy amoung the tea host and guests., The guest entrance from outside by crawling through emphasizes a guest passage into a ceremonial space set apsrt from the ordinary world. - Summary: The dimness and tiny size of the Taian tearoom and its aclove produce a cavelike feeling and encourage intimacy amoung the host and guests who must crawl through a small door to enter.

Banqueting House, By: Inigo Jones

London, 1619, (English Baroque) Jones was a great admirer of the classical architecture of Palladio, he adopted motifs from the Italian architect's villas and palaces, used for royal banquets and other festive occasions. Has symmetrical black of great clarity and dignity, two orders (ionic, corinthian) The balustraded roofline, uninterrupted in its horizontal sweep, predates the Louve's east facade,

St. Paul's Cathedral (facade), By: Christopher Wren

London, England, (English Baroque) Remoleded gothic church based on Roman structures form his trip to France, Jones work strongly influenced him, in this he harmonized Paladian, french an dItlalian Baroque features, two foreground towers act effectivey as foils to the great dome, Other influences of Palladio and Borromini into monumental unity.

Cathedral of Mexico City, By: Claudio de Archiniega and others

Mexico city, Mexcio, (Baroque in New Spain) Largest building, built on the religious center of the aztec captial. Deisgn (lower facade) reflects roman baroque church exteriors, uses stones from aztec pyrmid temple of Huizilopchtl, twin cupola capped towers.

Frederick W. Stevens: Victoria Terminus / Chhatrapati Shivaji Terminus (exterior)

Mumbai, India, 1878-87 (Colonial India) Monumental to colonial rule celebrating modern technology, designed by a British architect, it is a European transplant to India but incorporates traditional South Asian motifs. Has an Indo- Saracen style with an already Gothic Revival style, Has a allegorical state of Progress stands on top.

The surrender at breda By: Diego Velazquez

Museo del Prado, Madrid (Spanish Baroque)1634-1635, Oil on canvas,Spanish victory over the Dutch, celebrating recent spanish military successes, in the new world &europe, organized and well armed= Spanish=right, Dutch/left= bedraggled & disorganized. This encounter never occured, this fictional record glorifies the strength of military and benevolence of spain. The mayor kneeling= the surrender

Germain Boffrand: Salon de la Princesse, Hôtel de Soubise

Paris, France, 1737-1740 (Rococo) Reflects the taste and social initiative of women, Featuring sinuous curves, gilded moldings and mirrors, small sculptures and painting and floral ornamentation, were the center of Parisian social and intellectual life.

Claude Perrault, Louis le Vau, and Charles le Brun, Louvre, (East Facade)

Paris, France, A synthesis of French and Italian classical elements, has a central and two corner protecting columnar pavilions resting on a stately podium. Central Pavilion= Classical temple front, the sides folds out like wings, even roofline, over a traditional French pyramidal roof, all symbol of centrally organized authority

Conversion of St.Paul By: caravaggio

Rome, Italy (Italian Baroque) Oil on canvas, Tenebrism, evoke a response from the viewer & interact w/ the viwer, blinded by the light "holy" - moment of intese action, harsh light, emotion intenisty, black backround- more emphasis and focus on light, depicts a light source.

Chapel of St. Ivo (facade) by: francesco Borromini

Rome, Italy, (Italian Baroque) A unification of space, concave against convex, Pilasters restrain the forces outward. An ornate lantern toppe dby a spiral fasten the building to the sky. Centralized Plan,

St.Peter's (east facade) by: Carlo Maderno

Rome, Italy, (Italian Baroque) Symbolic seat of the papacy, it's an expansion of the elements of Santa Susan's first level, But smaller facade,The two outer bays with bell towers were not part of his plan and detract from the versatility. Spatial org. of the longitudinal basilican plan reinforced the symbolic btw clergy & Laity for religious processions.

St. Peter's (Piazza) by: Gainlorenzo Bernini Be More specific about structure **

Rome, Italy, (Italian Baroque) Tuscan columns make up the two colonnades extand dramatically symbolize the welcome that Romain Catholic Church give its member during Counter-Reformation Gods arms opening up and welcomeing the people in

Ecstacy of St. Teresa By: Gianlorenzo Bernini

Rome, Italy, (Italian Baroque), Marble, displays emotion and motion, S.T correlate w/ ideas of Ignatius Loyola, who argued threat the recreation of spiritual experience would encourage devotion and piety. rays of heavan behind. Achieved Counter-Reformation goals,

Glorification of St. Ignatius By: Andrea Pozzo

Rome, Italy, (Italian Baroque), fresco, Impress on worshipers the glory and power of the catholic church, create transcendent spiritual enviroments, created the illusion of heaven opening above, extention of the churchs architecture, roof seems liefted off. Heaven & earth commingle, four corners of the world. Merging real and painted architecture.

Chapel of St. Ivo (interior,dome) By: francesco Borromini

Rome,Italy, (Italian Baroque) organic form that evoloves out of and shares the qaulities of the supporting walls & can't seperate them, hexagonal star & aspes on all sides, single cornice

Saint Serapion by: francisco de Zurbaran

Spain, (Spanish Baroque) Oil on canvas, The light shining on serapoin calls atention to his tragic death and increases the paintings dramatic impact. Monk's coarse features label him as common, evoking empathy from a wide audience. Self sarcifice, two visible tree branches, small note next to the saint, idenifies him,

Philip IV BY: Diego velazquez

Spain, (Spanish Baroque), Oil on Canvas, another painting of military strength and power

Martydom Of saint Philip By: Jose de Ribera

Spain, (Spanish Baroque), Oil on canvas, Scorning idealization of any kind, hoistin ghim into the position to die on a cross, Naturalism and compelling drama primary, reflecting the harsh times of the counter-reformation showcasing courage and devotion. Grim & Dark in both subject and form, His body: rough, heavy body & swarthy= kinship btw him & his tormentors

Immaculate Conception of The Escorial by: Bartolome Esteban Murillo

Spain, (Spanish Baroque), Oil on canvas, established the canonical image of the Immaculate Virgin- a beautiful young prayering women ascedning to Heaven on clouds, accompied by angels bearing symbols of her purity, scene of weightlessness,

Water carrier of Seville By: Diego Velazquez

Spain, (Spanish Baroque), Oil on canvas, has clarity & dignity, convincing of water jugs in foreground complete w/ dropplets od water= scenes credibility. Nature of figures & contrast of darks and lights influence Caravaggio.

Las Meninas By: Diego Velazquez

Spain, (Spanish Baroque), Oil on canvas, setting in the art studio, notwworthy for visual and narrative complexity, is it informal or a portrait of King and Queen whose relfections appear in the mirror, some think its the portrait he is painting infront of him,|| It's attempt to elevate both himself and his profession, wear's orders red cross, all figures are royal presence placed equal diginity to him. Setting is of seen and being seen, a primary audience. Thought himself and art was noble. Reality, of spaces, immortals, pictures within pictures, it's a pictorual summary and commentary on the essi\entail mystery of the visual world, ambiguity of different levels interact, Visual compleity= depth in both directions: open doorway, mirror. Form & Shadow: values of grey btw extremes, like photography.

Self-Portrait by: Rembrandt van Rijn

The Netherlands, (Dutch Baroque), Oil on canvas, revealing the soul by the expresssive face, controlled use of light and nonspecific setting contribute to the focus. Try to paint a mood of tranquil meditation by merging softly and subtly dark and light,

The art of Painting by: Jan Vermeer

The Netherlands, (Dutch baroque), oil on canvas, This is a historical painting, the artist= historical Burgundian clothing, trumpet and book= attributes to Clio(muse of history), the map, The light hitting model and painting is an alegory another reference to history.

Self-Portrait By: Judith Leyster

The Netherlands, 1630, (dutch Baroque), Oil on canvas, Portrays herself in elegant attire placing her socially as a member of a well-to-do family, (Hals inspired) Her contact with the viewer and relaxed pose revel her self assurance and her identity.

Anatomy Lesson of Dr. Tulp by: Rembrandt Van Rijn

The Netherlands, 1632, (Dutch Baroque), Oil on canvas, He had an unusal layout with a cluster group on the left, Diagonally placed and forshortened the corpse, activitating the space, depict each individual, one gazes at the viewer,

Christ with the sick around Him ('Hundred-Guilder Print') By: rembrandt van Rijn

The Netherlands, 1649, (dutch Baroque), Etching, Used both engraving and etching, Use of light and dark to draw attention to christ as he preaches to blind and lame. The use of light from 2 different light sources

View of Haarlem from the Dunes at Overveen, By: Jacob van Ruisdael

The Netherlands, 1670, (Dutch Baroque), Oil on canvas, a specfic realistic view of Haarlem, also imbued the landscape with a quiet serenity approaching the spiritual, low horizon line,

Still life with Flowers, Goblet, Dried Fruit, and Pretzels by: Clara Peeters

The netherlands, 1611, (FLemish Baroque) Reveals her virtuosity in depicting a variety of objects, from the smooth, reflective surfaces of the glass and silver goblets to the soft petals of the blooms in the vase, dark background for a sense of deep space, expanding by placing leaves and stone on the egde as in encroaching the viewers space. She laid the ground work for still-life in Dutch.

Hall of Mirrors (interior), By: Jules Hardouin-Mansart & Charles Le Brun

Verasailes, France, (French Baroque) A defining statement of French Baroque style and a grandiose symbol of Louis XIV's power and ambition, overlooks Le Notre park, mirrors opposite side of the windows, alleviate the hall's tunnel like quality an illusionistically extend the wish of the room. The mirror, that ultimate source of illation, The majesty and rational design of Versailles proudly proclaims the mastery of human intelligence over the disorderliness of nature.

Royal Chapel, By: Jules Hardouin-Mansart (interior) (Salon of Hercules)

Versailes, France, (French Baroque) Marble, gilding, The interior is rectangular but the apse is as high as the nave the fluid central space takes on a curved, Baroque quality Clerestory windows lacks the Italian Baroque, which illuminates the interiors chiseled details brightly and evenly, corinthian columns defining the royal gallery, the pew is accessible directly from the kings apartments, then added Antoine Coypel citing paintings were added suggesting drama and complexity of Italian Baroque art

Bichitr: Jahangir Preferring a Sufi Shaykh to Kings (miniature)

c. 1615-18 (Mughal India)Opaque watercolor on paper, Sits on a hourglass throne symb: seated abouve time, The radiant halo of sun and moon behind his head indicates that the Mughal emperor is the center of the universe and it's light source, as the sand of time run out, two cupids inscribe Jahangirs hourglass throne with a wish for the Mughal emperor to live a thousand years, The artist signed his painting but also inserted a self- portrait. Bitter bows before Jahangir and holds a painted of two horses and an elephant costly gifts to the painter from the emperor.

Maharaja Jasawant Singh of Marwar (miniature)

c. 1880 (Colonial India), Opaque watercolor on paper, Maharaja Jaswant Singh, had himself portrayed as a British gentleman in his sitting room, but the artist employed the same materials that indian miniature had used for centuries, Chose to sit in an ordinary char, rather than on a throne simply sitting, to represent as an ordinary British gentleman in his sitting room, a Western style, left no question about his regal presence and pride, his turban of rich fabric and jets a marker of kingship and more power, The powerful chest and arms, along with his sword and leather riding boots indicate his abilities as a warrior and hunter. The curled beard sign. fierceness to Indians of that time, his gaze= confidence, The two neckless= two worlds; heritage of his family's rule, the other order of British overlords, looks like painted from a picture= realism,

Sahifa Banu: Shah Tahmasp (miniature)

early 17th c. (Mughal India) Depicts a tribute to the Persian emperor Shan Tahmasp, two of his court painters went to india to train Mughal imperial book illustrators, he sits on a magnificent Persian carpet at the edge of a stream underneath the windblown branches of a tree, has different viewpoint within the frame; himself, the tree= eye level, carpet, ground stream seen from above, border has textile like quality and resembles Tahmasps carpet

Balthasar Neumann: Interior of Vierzehnheiligen, looking east

near Bad Staffelstein, Germany, 1743-1772 (Rococo)Neumann: Adapted the intimate Rococo style to ecclesiastical architecture, Vierzehnheiligen, 's interior is light and delicate it reveal the influence of the great Italian Baroque articulated Borromini with the curved plan and interior. But the Baroque church designs are heavy and dramatic (CONTRAST) Ovals circles, undulating space is in continuous motion creating variety of surprise effects.