Karteikarten
Baroque Slides for Final
Karten in diesem Stapel (67)
- 1—Triton Fountain
Bernini
1640
Piazza Barberini
Travertine
Bernini intentionally extends the fountain vertically so that it is visible, like an obelisk. He achieves this by sculpting the dolphins upright, Triton emerges upright, the conch point upward, and the stream of water also shoots upward. Also a multimedia experience - 2—Allegory of Divine Providence
Andrea Sacchi
1630
Fresco
Palazzo Barberini
Order, symmetry and pastel tones relate this fresco to the classicist strand of Baroque painting. It mirrors a tragic poem because it contains minimal figures, each of which is an archetype. It is also missing quadrature, so the viewing experience is worse.
- 3—Lamentation
Annibale Carracci
1600
Oil on Copper
Palazzo Barberini
The bodies and colors guide the eyes down and tell the viewer how to feel. Mary Magdalene is the uppermost figure and is wearing colors of passion. The next figure, John the Evangelist, is wearing red that is cloaked by green because he is controlling his emotions. The figure closest to Jesus is Mary, and she is wearing cool and calm colors.
- 4—Judith Beheading Holofernes
Caravaggio
1600
Oil on Canvas
Palazzo Barberini
This is a picture of virtue conquering vice. It is graphic but not realistic. Judith's arms are locked in determination, but her positioning is impractical for cutting off a head. Caravaggio juxtaposes Judith's reluctance, conveyed through her expression and positioning, with that of the eager maid servant on the left.
- 5—St. Francis
Caravaggio
1600
Oil on Canvas
Cappuchin crypt,
Caravaggio does not include any color in the painting, he uses only different shades of brown, which gives Francis a sense of humility. There is also an intense intimacy, the figure is completely absorbed in the image of the skull.
- 6—Saul Chasing David
Guercino
1650
Oil on Canvas
Palazzo Barberini
The figures are passing by the viewer, not poking out of the composition. David is far ahead of Saul and there is a large space in between them, decreasing the immediacy of the scene, and the brushstrokes are not very visible. These are all features of a classicism painting.
- 7—St. Jerome
Guercino
1630
Oil on Canvas
Palazzo Barberini
The figure is compressed and twisted and occupies almost the entire space. The brushstrokes are visible and make it appear as though light is spontaneously reflecting off the body, which is in motion. These are hallmarks of a painterly painting.
- 8—The Triumph of Divine Providence
Pietro da Cortona
1640
Fresco
Palazzo Barberini
This is a visual of epic poetry. It has an enormous amount of subplots and characters, many converging themes, and a double high ceiling contributing to the sense of wonder. Additionally, Cortona is the first person to start breaking space. He paints a tree coming up behind the architecture of the quadrature and hanging down
- 9—Sant'Andrea al Quirinale Exterior
Bernini
1670
Upon looking at the facade, you would expect the building to be narrow and long. The stairs are like rippling water
- 10—Sant'Andrea al Quirinale Interior
Bernini
1670
The building draws inspiration from the Pantheon, there is a surprise space, separate altars, and the dome defines the space of the building. Bernini utilizes a red, flesh colored marble, and the painting, architecture and sculpture all work together. The angel in the painting points towards the sculpture above him, which then breaks through the cornice.
- 11—SS Martina and Luca
Pietro da Cortona
1630
In order to draw focus on the altar, he makes one arm of the greek cross longer. His consistent use of ionic columns and white colors unites the church. There is a light blue continuing backdrop that provides an underlining structure that holds the church together.
- 12—Sacrifice of Polissena
Pietro da Cortona
1620
Oil on Canvas
Capitoline Museums
Influenced by Caravaggio's use of tenebrism, but he creates more of a background. the right hand side is indifferent while the left is passionate.
- 13—Rape of the Sabine Women
Pietro da Cortona
1630
Oil on Canvas
Capitoline Museums
Cortona uses brushstroke to add movement. The woman on the left is lifted, which captures the drama of the painting. Then there is a pause In the composition before a crescendo.
- 14—Portrait of Urban VIII
Cortona
1620
Oil on Canvas
Capitoline Museums
The artist juxtaposes the smoothness and elegance of the face with the various textures of the fabric. The heavy velvet realistically crinkles because of the application of the painter's brushstrokes, the ruffles add movement and there is a sprinkling of lace at the bottom.
- 15—The Fortune Teller
Caravaggio
1600
Oil on Canvas
Capitoline Museums
The is a scene of everyday life and the figures are life-size, making the viewer feel as if they are a bystander. The two figures demonstrate a difference in social class, with the man having a full face, clean fingernails, and clothes of silk and velvet. The woman's face is in the shadows, her hands are dirty, and she is stealing the ring from the man's finger.
- 16—Death of St. Peronilla
Guercino
1620
Oil on Canvas
Capitoline Museums
The dobbing of paint creates reflections and the hand emerging from the bottom edge of the painting is painterly. There are also two groups of people, one is emotional and the other is teaching/learning. The top and bottom halves of the painting are connected through the use of the gigantic order and the use of the color blue.
- 17—St. Sebastian
Guido Reni
1615
Oil on Canvas
Capitoline Museums
The body of St. Sebastian is idealized, he is elegant, hairless and graceful. There is no blood and he is in no pain.
- 18—Four Rivers Fountain
Bernini
1650
travertine
Piazza Navona
The artist hides the weight of the obelisk and makes it appear as though it is floating. The four corners have 4 men that represent the the 4 biggest rivers and their characteristics
- 19—St Agnes in the Flames
Ferrata
1660
Marble
Location????
Clever perspective of the dark marble arches make it appear as though you are looking down a hallway, and the artist shows off his technical skill In his construction of the flames.
- 20—Death of Cecilia
Raggi
1660
Marble
Location????
the artist curves the flat plane and uses different levels of relief so that some figures are semi detached and others are etched. This helps differentiate the important characters from the unimportant ones
- 21—Landscape with St Augustine
Dughet
1650
oil on canvas
Galleria Doria Pamphilj
Artist takes a theological subject matter and integrates It into the landscape. This elevates the landscape and makes it more valuable.
- 22—Pilgrims to Delphi
Lorrain
1645
Oil on Canvas
Galleria Doria Pamphilj
The landscape is elevated not by human figures, but by the grand, classical building in the background. This shows that man has control over nature
- 23—Sacrifice of Isaac
Chiesa
1645
Oil on Canvas
Galleria Doria Pamphilj
This painting catches the moment Isaac is about the be sacrificed and is a powerful representation of biblical subject matter. The painterly strokes add movement and the scene is close to the viewer
- 24—Cain and Abel
Tornioli
1650
Oil on Canvas
Galleria Doria Pamphilj
This painting has a triangular composition formed by a raised arm slanting down, light is used to emphasize the draftsmanship, and it leans painterly. The brushstrokes are visible, the scene is close to the viewer, and the leg is twisted.
- 25—Portrait of Olympia Maidalchini Pamphilj
Algardi
1650
Marble
Galleria Doria Pamphilj
This portrait portrays the sitter as powerful and determined. Her stance suggests her hands are on her hips, she has a disapproving motherly stance, and her face contains powerful muscle groups in preparation for speech. There is a balance of femininity and power.
- 26—Bust of Camillo Pamphilj
Algardi
1650
Marble
Galleria Doria Pamphilj
The face is subdued and subtle, and there is no speaking likeness. The technical virtuosity involved in making the ruffle distracts from the face.
- 27—The Flight into Egypt
Annibale Carracci
1600
Oil on Canvas
Galleria Doria Pamphilj
Carracci elevates the subject matter by including the figures of Jesus, Mary, and Joseph and also by adding buildings. This shows that man has dominion over nature, and it is a familiar landscape. It shows the holy family in a setting reminiscent of the pantheon.
- 28—Crossing the Ford
Domenichino
1600
Oil on Canvas
Galleria Doria Pamphilj
This is an allegorical painting where the figures are telling a story of past, present and future. The red figure represents that past, the figure crossing the river is the present, and the figure pointing at what's to come is the future. The buildings in the background help to elevate the painting and shows man's dominion over nature
- 29—Ermina Finds the Wounded Tancred
Guercino
1620
Oil on Canvas
Galleria Doria Pamphilj
This is painterly, the brushstroke makes her sleeve appear as though it is shimmering and adds movement to the painting. The story looks like its going to burst out and like she's going to trip and fall on the viewer.
- 30—Portrait of Innocent X
Velazquez
1650
Oil on Canvas
Galleria Pamphilj
There is a symphony of reds: red backdrop, matte red of velvet chair, scarlet robe, blushing face. The strokes give the face a blotchiness so that it appears to be filling with energy, his eyes are fixed on the viewer, and there is a sense of immediacy.
- 31—Portrait of Innocent X
Bernini
1650
Marble
Galleria Doria Pamphilj
The portrait has a "speaking likeness" and the buttons are half undone. This makes the portrait less stiff and formal.
- 32—The Fall of Man
Brueghel the Elder
1610
Oil on Copper
Galleria Doria Pamphilj
The workmanship is extremely detailed and there is a sheen resulting from the copper. The velvet fur of the leopards and the spray of the peacock gives the painting texture, and the figures of Adam and Eve in the background elevate the landscape.
- 33—Rest on Flight to Egypt
Caravaggio
1600
Oil on Canvas
Galleria Doria Pamphilj
This is a familiar setting using still life, and the angel divides the painting. Joseph is on the left and is surrounded by leaves, rocks and earthly colors because he is the most mortal of the figures. The background behind him is finite. On the right, Mary holds Jesus, the landscape is infinite, and bright, golden colors are used.
- 34—Magdalene Penitent
Caravaggio
1600
Oil on Canvas
Galleria Doria Pamphilj
This is a still life painting that is elevated by the biblical figure. The angle is odd and the foreshortening of her lap reveals the painter is looking down on her.
- 35—St. John the Baptist (Youth with ram)
Caravaggio
1600
Oil on Canvas
Galleria Doria Pamphilj
The painting is completely dominated by the figure, it utilizes radical tenebrism, and the details on the ram's horns make it appear extremely realistic.
- 36—Allegory of the Jesuits
Andrea Pozzo
1690
Fresco
S. Ignazio
There are two types of perspective, linear and aerial, and it is an illusionistic painting that changes shape as you move around it. The painting represents globalization and the mission of the Jesuits to spread throughout the world.
- 37—Illusionistic dome
Andrea Pozzo
1690
S. Ignazio
The illusion fools the viewer into thinking the painting is a dome and causes them to question their senses. The message is that your senses can only take you so far, you must have faith.
- 38—Annunciation
Filippo della Valle
1750
marble
S. Ignazio
Composition is complex, the angel bursts out of the space with its body tilted forward. There is a huge figure of Mary with a deep hole by her arm, which contrasts with the flat plane and creates a large degree of relief.
- 39—Death of St. Joseph
Trevisani
1715
Oil on Canvas
S. Ignazio
The artist uses tenebrism to put emphasis on Joseph instead of Jesus to remind the viewer that he is the patron saint of good death. The angels are hidden in shadows because they are a hidden reality.
- 40—Portrait of Cardinal Bernardino Spada
Guido Reni
1630
Oil on Canvas
Galleria Spada
The cardinal is set back from the edge of the canvas and there is a setting, it is not a blank background. Reni does not like passionate, hot colors, so he cools down the red and makes it mauve, and thus it is less intense.
- 41—Pastor Fido
Tornioli
1640
Oil on Canvas
Galleria Spada
There are lots of figures packed into a small space, and the diagonal line of the executioner is meant to produce drama. The artist also pays an unusual amount of attention to the clothing, adding lots of detail.
- 42—Cain and Abel
Tornioli
1650
Oil on Canvas
Galleria Spada
The viewer feels uncomfortably close to the scene and the extended arm adds a diagonal line which increases the drama.
- 43—Gli Astronomi
Tornioli
1650
Oil on Canvas
Galleria Spada
The figures are crammed together and close to the viewer, which creates a sense of intensity. This is a debate between the theoretical and the empirical, with Aristotle representing the old school of Astronomy and Copernicus representing the new. The powerful diagonal of the hands helps to contribute to the intensity of the debate.
- 44—Death of Dido
Guercino
1630
Oil on Canvas
Galleria Spada
This is classicism, it Is the moment after and there Is a lot of open space in the composition. The textures and colors are very rich and are meant to catch the eye. There are two groups of people, one is emotive and one is dispassionate and intellectual.
- 45—David with the Head of Goliath
Orazio Gentileschi
1610
Oil on Canvas
Galleria Spada
The body of David is beautifully composed but it is still naturalistic. His skin puckers and is not smooth, and he has a farmers tan.
- 46—Madonna and Child
Artemisia Gentileschi
1610
Oil on Canvas
Galleria Spada
This is an intimate scene, Jesus is tenderly holding his mothers face and Mary's eyes are closed as she experiences her son with every part of her body.
- 47—Perspective Gallery
Borromini
1650
Galleria Spada
"Forced perspective" is used to make the gallery appear longer than it is. The floor and ceiling are converging, the sides are narrowing together, and the ceiling and floor squares get increasingly smaller, giving the sense that they are getting farther away.
- 48—Love of the Gods
Annibale Carracci
1610
Fresco
Farnese Palace
This gallery was commissioned for a wedding and shows the union of terrestrial and celestial love. Carracci utilizes quadro riportato and quadratura and borrows motifs from Michelangelo's Sistine Chapel. The colors are bright and fun and the foreshortening in all of the scenes is expertly done.
- 49—Cappuchin crypt
1730-1780
The cappuchins were concerned about the passage of time, so they constructed this crypt to be a reminder of mortality. It is meant to make death familiar and present.
- 50—The Spanish Steps
Sanctis/Specchi
1740
One of the major buildings projects meant to make the city more appealing to grand tourists. The stairs are are fluid, elegant, and curve outward before anthropomorphically embracing the church at the top.
- 51—Barcaccia
Bernini
1630
Bernini cleverly created the concept of this fountain to solve the problem of it being connected to the same aqueduct as the Trevi. The sagging sides of the boat contrasts to the two ends that are lifting upward. It is also a metaphor for the church.
- 52—St. Michael the Archangel Defeating Satan
Guido Reni
1640
Cappuchin Crypt
Oil on Canvas
The angle shows restraint and is graceful, elegant and idealized. This contrasts to Satan, who is ugly, wrinkly and painted in ruddy colors. His face and body ooze passion and energy while Michael is dispassionate.
- 53—Trevi Fountain
Salvi
1760
This was created to appeal to the grand tourists. There are two horses that allude to the dual nature of water, it is both dangerous and life giving. One part of the building is crumbling to show that everything manmade is subject to time, and it is theatrically constructed. The fountain is hidden away and takes you by surprise, it gives an impression that it is about to burst out of the space.
- 54—Moses Fountain
Fontana
1590
This was designed to look like 3 triumphal arches, reminiscent of the trinity. Moses is in the middle and is striking a stone with water, which is symbolic of baptism.
- 55—The Ecstasy of St. Theresa
Bernini
1650
Marble
Santa Maria della Vittorio
This is a story of heavenly love and it is designed like a theatre, where the viewer has the best seat. Top part is gold and white, represents heaven. Bottom part decorated in colored marble, represents earthly materials. Painting, sculpture and architecture all work together, and the sculpture is illuminated by a natural light that shines through a hidden window. Theresa is floating on a cloud, and we enter into her vision which is out of space and time. The drapery is Bernini's way of telling you the interior state of the figure.
- 56St. Peter's BasilicaThe dome is designed to tell the viewer exactly where St. Peter is buried. When the church was extended to contain more people, the dome was no longer visible from the front door and something had to be done. This is why Bernini created a 3 story high bronze baldacchino
- 57—Pieta
Michelangelo
1500
Marble
St. Peter's Basilica
Michelangelo did two things differently, he did not create a gruesome rendition of the pieta, and he changed the emphasis from Jesus to Mary. He did this by creating a triangular composition, with Mary's head at the apex. Mary is encroached by darkness and shadow, and by contrast, the body of Jesus is smooth, polished, and light. Additionally, he makes the body of Jesus both ideal and realistic.
- 58—The Baldacchino
Bernini
1620
Bronze
St. Peter's Basilica
Bernini used twisting columns for the sake of continuity, it is 3 stories high, and it was carefully designed so as to not impede the view of the altar and the throne of St. Peter. The canopy was designed so that it was always framing the throne, regardless of the viewers position.
- 59—The Throne of Saint Peter
Bernini
1660
Marble, Bronze, stucco
St. Peter's Basilica
This is a massive monument with a giant, bronze chair that is appears to be floating in midair. It is being held up by the golden light of heaven itself, which shines in from a large, oval window. Bernini utilizes painting, sculpture, and architecture to create the experience of the Holy Spirit.
- 60—St. Longinus
Bernini
1630
Marble
St. Peter's Basilica
This sculpture Is meant to represent the shock of realization. His arms are wide open, the drapery Is kinetic and meant to create the charge of realization. His legs and arms are locked, his hips are tense, and it captures the moment of Longinus' conversion.
- 61—St. Veronica
Mochi
1630
marble
st peters basilica
figura serpentina in its purest form. The artist uses this spiral throughout the clothes and the body of the statue.
- 62—St. Andrew
Duquesnoy
1630
marble
St. Peter's
The figure is in controposto and the soft folds of the drapery excentuates his body. This is less passionate than the statue of Longinus.
- 63—Monument to Alexander VII
Bernini
1680
marble, bronze, jasper, stucco
st. Peters basilica
The upper part of the monument is decorated in gold and white, heavenly colors, while the Bottom portion Is decorated with colored marble, indicative of earthly materials that weigh one down. The model is kneeling, which has only been done once before, in the monument of sixties v, shows his desire for a good death
- 64—Tomb of Leo XI
Algardi
1630
marble
St. Peters basilica
Algardi uses white marble because he prefers simplicity of all white. He also includes a relief in the sarcophagus, the deep pleats of the robe creates a shadow that make the face become more luminous by comparison, and the tumbling coins show Algardi's attention to detail.
- 65—St. Peter's square
Bernini
1670
The square was created when the Basilica was not large enough to accommodate everyone. The arms of the church reach out and embrace everyone, but the arms remain open to send pilgrims back into the world to share the knowledge they have learned.
- 66—Astronomer
Passerotti
1570
Oil on Canvas
Galleria Spada
This is a painting that shows the prestige of teachers and others who think and discover. The positioning of the figure tells the viewer the man is a teacher, and the globe that represents the heavens reveals he is an astronomer.
- 67—Botanist
Passerotti
1570
Oil on Canvas
Galleria Spada
This is a painting that shows the prestige of teachers and others who think and discover. The positioning of the figure tells the viewer the man is a teacher, and the flowers reveal he is a botanist.
Informationen
- Beschreibung
- Karteikarten am Baroque Slides for Final, erstellt von Juliana Ferreira am 04/11/2019.
- Erstellt von
- Juliana Ferreira
- Aufrufe
- 11
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