Karteikarten
Baroque Slides for Midterm
Karten in diesem Stapel (30)
- 1—NAME: Calling of Saint Matthew
ARTIST: Caravaggio
DATE: 1600
LOCATION: S. Luigi de Francesi
MEDIUM: Oil on Canvas
SIGNIFICANCE: The light is not natural, it is meant to be Jesus. The light shining on Matthew's face reveals that he has been chosen as a follower - 2—NAME: St. Matthew writing the gospel
ARTIST: Caravaggio
DATE: 1600
LOCATION: S. Luigi dei Francesi
MEDIUM: Oil on Canvas
SIGNIFICANCE: The orange and red colors on Matthew's clothing is reminiscent of the color of fire because the artist is trying to convey that he was inspired by the flame of the Holy Spirit. Also, the book and stool appear to be coming out of the painting towards the viewer
- 3—NAME: Martyrdom of Saint Matthew
ARTIST: Caravaggio
DATE: 1600
MEDIUM: oil on canvas
LOCATION: S. Luigi dei Francesi
SIGNIFICANCE: This is an action scene with a triangular composition. The use of light is meant to highlight key figures, the horizontal light leads Matthew on a mission and the vertical light leads him to heaven
- 4—NAME: Santa Cecilia giving away her worldly goods
ARTIST: Domenichino
DATE: 1610
MEDIUM: fresco
LOCATION: S. Luigi de Francesi
SIGNIFICANCE: Color and movement is used to draw the eye towards Cecilia, as well as a triangular composition. There is a chaotic family scene closest to the viewer, and the scene gets more dignified the closer you get to Cecilia. The colors used are faded and bleached because the scene is outside
- 5—NAME: Death of Santa Cecilia
ARTIST: Domenichino
DATE: 1614
MEDIUM: fresco
LOCATION: S. Luigi dei Francesi
SIGNIFICANCE: The colors used are richer and darker because the scene is inside. The light shining on Cecilia shows her spirituality at the moment of her death
- 6—NAME: Pilgrim's Madonna
ARTIST: Caravaggio
DATE: 1600
MEDIUM: Oil on Canvas
LOCATION: Sant'Agostino
SIGNIFICANCE: This was painted to reinforce the idea that pilgrimage was important. Mary Is etherial and her feet are not touching the ground, she is a vision. The pilgrims are dirty but the expressions on their faces are that of love and admiration. They are separated from Mary by a walking stick. There is a triangular composition with a missing piece, and the viewer fills in the space and is immersed in the painting.
- 7—NAME: Crucifixion
ARTIST: Reni
DATE: 1640
LOCATION: San Lorenzo in Lucina
MEDIUM: Oil on Canvas
SIGNIFICANCE: Jesus' body is thin, elegant and luminous, she appears to be suspended between heaven and earth. His body is idealized and the crucifixion is fused with the resurrection
- 8—NAME: Funerary Monument to Giulio de Corno
ARTIST: Ferrata
DATE: 1660
MEDIUM: Marble
LOCATION: Chiesa Gesù e Maria
SIGNIFICANCE: Color and movement is used to create a cinematic effect that adds theatricality.
- 9—NAME: Assumption of the Virgin
ARTIST: Annibale Carracci
DATE: 1600
MEDIUM: Oil on Canvas
LOCATION: S. Maria del Popolo
SIGNIFICANCE: The buoyant colors and compressed composition emphasizes the glorious nature of the mystery. The foreshortening of her foot makes it appear as though she is floating upward, and her face is radiant as she flies above the darkness of the tomb.
- 10—NAME: Crucifixion of Saint Peter
ARTIST: Caravaggio
DATE: 1600
MEDIUM: Oil on Canvas
LOCATION: S. Maria del Popolo
SIGNIFICANCE: There are three muscle groups highlighted in different colors and the faces are shrouded in darkness, emphasizing that these figures are intellectually unaware and are simply machinery in motion. Light is used to illuminate Peter's body and face because he has knowledge of Jesus and the mission.
- 11—NAME: Conversion of Saint Paul
ARTIST: Caravaggio
DATE: 1600
MEDIUM: Oil on Canvas
LOCATION: S. Maria del Popolo
SIGNIFICANCE: The horse occupies the majority of the painting and minimalist tones of brown and beige are used. Paul, however, is painted with orange and red colors which ignite him and emphasize his transformation. The light shining on Paul highlights his spiritual awakening.
- 12-Prophet Daniel -Bernini -1660 -Marble -S. Maria del Popolo -arms project out into space-Prophet Habbakuk
-Bernini
-1660
-Marble
-S. Maria del Popolo
-The angel appears as though it is about to take flight. The space of the two sculptures is organized so that the viewer is standing between them and feels like they are in the composition
- 13—-Council of the Gods
-Lanfranco
-1620
-Fresco
-Galleria Borghese
-Quadratura is used, the ceiling is meant to be light and playful. The color palate is lighter and the figures are careless and having fun. signature Carracci school Foreshortening is used
- 14—Entombment
Raphael
1510
Tempera on panel
Galleria Borghese
The bodies of Jesus and Mary are separated but connected at the same time through their similar coloring and positioning. Additionally, The hand of Mary Magdalene cradling Jesus' juxtaposes life and death. The painting is showing motion as the figures move the dead body of Jesus, which is unique for a lamentation
- 15—Sacred and Profane Love
Titian
1515
Oil on Canvas
Galleria Borghese
The clothed figure is profane love while the nude figure is sacred love. Profane is finite, and so the landscape behind the clothed figure ends. The landscape behind the nude figure is endless, and goes on for as far as the eye can see. Profane love is superficial while sacred love is everlasting.
- 16—Flight of Aeneas
Barocci
1600
Oil on Canvas
Galleria Borghese
The color makes the painting appear as though it is changing and shifting and gives a sense of motion to it. Additionally the three ages of man is portrayed with the old man a the top, the young man in the middle and a baby at the bottom. Shows Scipione Borghese as the crutch to the papacy
- 17—Boy with a Basket of Fruit
Caravaggio
1590
Oil on Canvas
Galleria Borghese
This is a still life self portrait painting. The figure is emotive in the way the body is posed and the expression. There is a yellowing leaf in the fruit basket, and the fruits have spots, must and fuzz and are about to become overripe. This represents the passage of time
- 18—Madonna dei Palafrenieri
Caravaggio
1605
Oil on Canvas
Galleria Borghese
This painting was intended for st. Peters but was taken down due to lack of decorum. The figures are shown as common people because piety begins in the home. Jesus is a naked child, Mary is showing too much breast, and Saint Anne is old and wrinkly. The composition draws the eye towards the bottom of the painting.
- 19—Bust of Scipione Borghese
Bernini
1630
Marble
Galleria Borghese
Bernini captures the model in a moment of movement. His face is animated, his head turning and his lips parted
- 20—Aeneus and Anchisis
Bernini
1620
Marble
Galleria Borghese
Figura serpentina is used to create movement, but it is nothing new. Bernini does something with this sculpture that only a painter would do: the three ages of man. The old man's wrinkly skin contrasts with that of the young, muscular man holding him, and there is a child at the back.
- 21—Pluto and Proserpina
Bernini
1620
Marble
Galleria Borghese
Bernini captures the money shot, or the very moment that Proserpina is captured. The two bodies are intertwined on the bottom and separated up top because they are together for half of the year and apart for the other half. The two bodies are juxtaposed, Pluto is the god of death and his body is hard and unyielding. Proserpina is the goddess of spring and her body is soft and delicate.
- 22—Apollo and Daphne
Bernini
1625
Marble
Galleria Borghese
Bernini shows an entire story in stone. With this one position he portrays the chase, capture and transformation. The expression on Daphne's face reveals how desperately she is trying to run away from Apollo, but he is already holding he, triumphant. In his arms, she begins to transform into a tree
- 23—David
Bernini
1620
Marble
Galleria Borghese
Unlike Michelangelo's David, Bernini's is sculpted during the culminating moment, or the action shot. The viewer is caught in the middle of the conflict. Anticipation vs moment of. The furrow in the brow of Bernini's David is the same as on Michelangelo's David
- 24—Truth Unveiled by Time
Bernini
1650
Marble
Galleria Borghese
Bernini intended to portray truth symbolically through a nude young woman being unveiled by a figure of time above her, but the figure of time was never executed. He used light and shade to emphasize truth.
- 25—Crucifixion
Celio
1590
Fresco
Il Gesù
Jesus' body is elongated and designed to draw the viewers eye towards the altar
- 26—Jesus Carrying the Cross
Celio
1590
Fresco
Il Gesu
the painting is designed to draw the viewer's eye towards the alter. The soldier on the left turns his body towards Jesus, who is in the center of the painting and is both elongated and looking at the altar. Additionally, the source of light is drawn from the altar
- 27—Triumph of the Holy Name of Jesus
Gaulli
1680
Fresco/stucco
Il Gesu
Baroque hates boundaries and this painting is especially designed to break them. The artist creates a space and then intentionally paints an array of figures spilling out of it.
- 28—Tabernacle
Torrigiani
1590
Bronze
Saint Mary Major
The tabernacle is designed to look very light, almost like it is floating. The artist achieves this effect by giving the angels a very relaxed pose, and by having them use only one finger to support the weight of it.
- 29—Funerary monument of Sixtus V
Domenico Fontana
Marble
Saint Mary Major
This shows Sixtus's devotion to God, as it was the first funerary monument of a Pope to be kneeling in prayer. There is a humble expression on the statue's face as it looks at the tabernacle. Additionally, the tiara next to the statue expresses the authority of the papacy
- 30—Altar of St. Ignatius
Andrea Pozzo
1700
Silver, Lapis, bronze
Has a broken pediment with angels coming out for theatrical effect. There is also a sound and light show which adds to the theatricality
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- Beschreibung
- Karteikarten am Baroque Slides for Midterm , erstellt von Juliana Ferreira am 07/10/2019.
- Erstellt von
- Juliana Ferreira
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