Flashcards
Baroque Test Two
Cards in this deck (31)
- 1—Bernini, Aeneas, Anchises, Ascanius, 1618-19, 7’, Galleria Borghese, Rome
* Virgil dedicated the Aeneid to Octavian
* Julius Cesar was just a leader
* The first roman emperor was Augustus, aka Octavian
* It’s a take on the Odyssey, both Odysseus and Aeneas took ten years to travel
* Aeneas founded Rome, this is showing him and his father and son fleeing Rome after its attacked during the Trojan war
* Bernini was in his 20’s
* The cardinal Borghese was the patron - 2—Bernini, Pluto and Persephone, 1621-22, Marble, 7’, Galleria Borghese, Rome
* Pluto (Hades) wins the pursuit
* Pluto is based on the Laocoon
* The Laocoon is not a Roman copy, its a Greek original
* Abduction scenes are super popular
* She’s protesting violently
* Open mouths are emotional, so the baroque loves them
* Emotion, Action, Drama
* Cerberus is underneath them
* Pluto is powerful and muscular
* Big contrast of texture (skin vs drapery vs skin)
* Lots of diagonals
* There’s a tear on her cheek
- 3—Bernini, David, 1623-24, marble, 5', Galleria Borghese, Rome
* David knew god was on his side and took his armor off
* David's face is Bernini’s self portrait
* Bernini said himself he never surpassed the big 3
* Everything’s on the diagonal line which is more dynamic
* Open sculptures, the figures reach out towards the viewer
* Realism in the human body and expression
* David is biting his lip with his brow furrowed
* Face is realism but the body is probably idealized
* Bernini is looking back at Annibale’s Polyphemus
* Annibale was looking back at Michelangelo
* We’re told the person who held the mirror for Bernini’s self portrait was Cardinal Barberini who became Urban VII a few weeks after
* Normally artists are low on the totem, but now it’s elevated
* Contrast: smooth skin, wavy hair, drapery, metal in the armor
* David conquering Goliath symbolized the victory of Florence in various wars to native florentines
- 4—Bernini, Apollo and Daphne, 1623-24, marble, 8’, Galleria Borghese, Rome
* From Ovid's Metamorphosis
* Daphne is changing into a tree, the theme is loves of the gods
* Most of the Farnese ceiling is based on it
* Apollo is pursuing Daphne
* She screams for help for her father the river god Peneus
* He changes her to a laurel tree at the last second
* Baroque loves abduction scenes, often called rape scenes, but not in the way we use it today
* This is mid transformation, very dramatic, emotional, and virtuous
* Tons of contrasting texture
* Her fingers are turning into leaves and her toes are taking root
* The drapery and hair is blowing in the wind
* The laurel is sacred to Apollo because of this story
* Like the Apollo Belvedere
- 5—Bernini, Baldacchino, Gilded Bronze, 100 ft high, 1623–34, St Peters Basilica Vatican City
* Bees were the Barberini symbol, look for them in art
* Bronze is 10 times as expensive as stone
* Grandiose
* Ornamentation
* This is counter reformation trying to regain followers
* The Ornamentation and Grandiosity have two goals: to glorify God and to impress man
* They wanted to make the Catholic Church appealing to restore the centrality of the church
* Urban VIII got the bronze from the pediment sculptures on the front of the Pantheon
* The tassel and fabric looking ornaments are bronze too
- 6—Bernini, Tomb of Urban VIII, 1628-37, St. Peters, Vatican City
* Popes often start working on their tombs before they die
* He was working on it as the same time as the Baldacchino
* Charity, with the baby on her breast, is on the left
* Justice is on the right
* Bernini likes to use different colored marble
* He’s still in his 20’s here, he just finished the big 3
* Now he does it all by hand himself
* Later he takes on a huge workshop of assistants to do the physical work
* Urban VIII is in a blessing pose
* Theres a few bees for Barberini
* Bernini’s tomb reaches out into the space around them
* Its very dynamic and energetic
* The virtues Peace and Abundance are on the base
- 7—Guglielmo della Porta, Tomb of Paul III, 1549-75, St Peter’s, Vatican City
* The four cardinal virtues are usually at the base, these ones are justice and prudence
* Cardinal virtues: Prudence, temperance, fortitude, and justice
* Theological virtues: Faith, hope, charity
* The tombs are usually in a pyramid shape
* They fit their framing architecture
* His tomb got moved around a lot
* Its to the left of the Cathedra Petri
- 8—Bernini, Cathedra Petri, 1657-66, St Peters Bascilica, Vatican City
* Michelangelo worked on the back when he was in St Peters
* The Dove, the Holy Spirit, is in the middle of wood
* Gilded wood and stucco (clouds and angels)
* Bronze throne
* On the left is Ambrose and Athanasius
* On the right is Augustine and John Chrysostom
* They’re from the east and west Catholic Churches
* They’re more than colossal
* Its huge and close to the Baldacchino
* Its super Grandiose
* Theatrical and Dramatic
* The chair symbolizes St Peter’s presence
* Now Urban VIII is dead, he’s working for pope Alexander VII (Chigi) (reigned 1655-67)
- 9—Bernini, Tomb of Alexander VII (Chigi), 1671-78, St Peters, Vatican City
* Only the face is by Bernini
* The rest is by his assistants
* Charity on the lower left, Truth on the lower right, Justice is behind the Pope, Prudence is behind truth
* The drapery is even more dramatic
* The marble is red
* There’s a bronze skeleton in the middle
* The door is half open like we can walk in
* This spills out of the niche even more
- 10—Bernini, Fountain of the Triton, 1642-43, Piazza Barberini, Rome
* The hotel behind it is the hotel Bernini
* It was a the Pope’s job to supply water to the citizens
* People actually drank from the fountains
* He made sure the Roman aqueducts were in repair to bring water from the springs in the mountains
* Triton is heavily muscled
* There’s lots of sea imagery
* Its near the Barberini palace
- 11—Bernini, Ecstasy of St Theresa, Cornaro Chapel, 1645-52, Santa Maria della Vittoria, Rome
* The Cornaros commissioned it privately
* Mr Cornaro wanted to be Pope
* Its all painted and very theatrical
* This time is the beginning of Opera
* Gilded wood rays come down
* St Theresa is in the middle of the opera stage with an angel
* She was a real person from Spain, from Avila
* She was a discount Carmelite, so she’s barefoot
* Theresa had a vision that a beautiful angel came to her and repeatedly pierced her heart with a golden arrow
* Its very sexual and sensual and emotional
* Her and the angel are done in marble
* But they’re on stucco clouds
* The jesuits believed that the more vivid and accurate the artist could make a scene the more the viewer could relate, and increase their devotion and piety
* The Cornaro family is in the opera boxes
* The columns are super realistic
- 12—Bernini, Fountain of the Four Rivers, 1648-51, Piazza Navona, Rome
* Innocent X (Pamphili) 1655-67 succeeds Urban VIII
* The Piazza was a racetrack of sorts
* Most of the fountain had to be carved there on the spot
* Men represent the four rivers
* The four rivers were signifying the four known continents, Danube, Nile, Ganges, and Plata
* The men reach out into the space around them
* They didn’t know where the Nile started so he has his face covered
* The very top has a reconstructed Egyptian obelisk
* Then theres a dove for the Pamphili family
* The message here is the dominance of the catholic church over paganism and the four corners of the earth
* Bernini took the flow of the water into consideration
* The water flows out into ribbons
* He’s sculpting water
- 13—Guido Reni, Aurora, 1614, fresco, Casino Rospigliosi, Rome
* Quadro riportato again
* Reni came from Bologna, like the Carracci
* Aurora is goddess of the dawn, Apollo is drawing the chariot
* Either Apollo or Heilos are the sun gods
* Aurora is pulling the curtain of clouds back for Apollo
* Casino Rospigliosi was the summer home of cardinal Scipione Borghese
- 14—Guercino, Aurora, 1621, fresco, Casino Ludovisi, Rome
* Same scene, just 7 years later
* Quadratura - a painted extension of architecture, when the illusion is so much that it looks like the walls below continue up into the painting
* di sotto in su - a view from below
* Casino Ludovisi - a rich family's house
* Pope Gregory VX - Ludovisi
* Aurora stands for the dawn of a new era with a new pope
* She’s married to Tithonus
* Theres a curtain and slung leg
- 15—Pietro da Cortona, Allegory of Divine Providence, 1633-39, fresco, Palazzo Barberini, Rome
* It depicts the personification of virtues
* Barberini Urban VIII is pope at the time so its celebrating him
* Under Urban, everything will be fine
* Its a great scene of tons of mythology
* There’s false architecture painted in the ceiling, its all fresco
* Urban VIII is from Florence, so instead of Bolognese artists, he brings an artist from Cortona, Tuscany
* Immortality is holding a crown, as if to crown the pope and make him immortal
* The three theological virtues, Hope, Faith, Charity, are holding laurel leaves for honor
* There’s three bees in the middle for Barberini
* On top of them is Rome and Religion
* There’s a tiara for the pope and keys for what Jesus said to Peter
* Foreshortening is there in the putto
* But the bees and women are not
- 16—Baciccio and Raggi, Triumph of the Sacred Name of Jesus 1676-79, Il Gesu, Rome
* The first three greek letters of Jesus’s name are in the light
* The framing is real gilded architecture
* The fresco has been painted over it
* Its divine light
* The people on the bottom are sinners (maybe Protestants)
* Propoganda for post reformation
* Baciccio did the fresco
* Raggi did actual 3D stucco figures for angels
* Theres brown paint to look like the fresco clouds are casting shadows
* This is the height of illusionism
- 17—Maderno, Palazzo Barberini, 1628-33, Rome
* Caravaggio’s Judith is here
* The columns get fancier as they move up
* That and round arches are like the colosseum
- 18—Borromini, San Carlo alle Quatro Fontane, 1638-41
* The facade comes from the 1660’s
* Its a monastery church of Spanish monks
* They were discout Trinitarians (God, Jesus, Holy Ghost)
* They collected money to free Christians who’d been collected by non christian moors
* The facade is curving and undulating
* Borromini had no assistants, he did it all by himself
* He had stonecutters but not other architects
- 19—Borromini, San Carlo alle Quattro Fontane, interior, 1638-41, Rome
* The Triangle in the middle is a symbol of the trinity
* The geometric shapes are bigger around the periphery
* They get smaller towards the middle, making it look taller than it is
- 20—Borromini, Sant’Ivo, 1642-50, Rome
* The sides are part of the University of Rome
* Giacomo della Porta did the side arcading
* Borromini attached the church to the middle
* The arcades are open arches
* The simpler order is on the bottom like the colosseum (tuscan and then ionic)
* Borromini did the same
* The church has attached arches
* Both have round arches
* Concave and convex again
* The ornamentation is Chigi, a mountain with a star (or just stars)
* Borromini is also following the colosseum
* The top part is middle eastern in influence
* Orb on top is for catholic influence on the world
(Round Flower shaped ceiling)
- 21—Giacomo della Porta, Church of Il Gesu, Facade 1575-84
* Giacomo finished Michelangelo’s dome of St Peters
* There’s a big push still to make more churches and make them inviting
* There’s over 400 churches in Rome
* Sant Ignazio is Ignatius of Loyola, he founded the Jesuit order
* He’s buried at Il Gesu
* Both are Jesuit churches
* Jesuits were missionaries
* In Urban VIII Visiting Il Gesu, it didn’t have a ceiling painting
* Later in the 1600’s it gets painted
* St Ignatius’s tomb is in here
- 22—Ribera, St. Jerome with the Angel of Judgement, 1626, Capodimonte, Naples
* Ribera mostly painted martyrdoms, and male saints, and Jerome was ascetic
* Jerome translated the Bible into the Vulgate (vulgar/common tongue)
* His version was made the standard for the catholics at the council of Trent
* Its showing Jerome in his older days with an angel telling him he’s going to die
* Originally for Sta. Trinita della Monache, a monastery in Naples
* Repetion of the angular bent elbows, Ribera likes regularity
* The angel and Jerome are looking at each other for drama
* Ribera was a Caravaggisti, with light and dark and naturalism
Jusepe de Ribera
1591-1652
* Dramatic chiaroscuro (key-ar-a-scuqro) clear / obscure
* Realism/naturalism
* Emotional intensity
- 23—Ribera, Immaculate Conception, 1637, Columbia Museum of Art, South Carolina. Originally for Convent of Augustines Descalzas, Salamanca
* It was made for a Convent in Salamanca
* Descalzas - Discount (no shoes)
* They follow the writings of St Augustus
* The debate at the time was whether she was divine
* Anna and Joachim were her parents, but they debated if she was immaculately conceived
* Franciscans were for immaculate conception, the Dominicans believed it wasn’t
* The white (instead of red) of her undergarment is for purity
* The Italians came up with the imagery
* Ludovico’s Madonna delgi Scalzi is the same scene
* Revelations 12:1 “And there appeared a great wonder in Heaven, a woman clothed with the sun, and the moon under her feet, and upon her head crown of stars.”
* She has 3 roles: Mother of God, Queen of Heaven, Intercessor
* Intercessor means she goes to god on their behalf
* God is seen as the harsh judge, bringing plagues and famine for punishment, but Mary is seen as sweet and kind
- 24—Ribera, Boy with a Club Foot, 1642, Louvre
Probably for the Viceroy of Naples Don Ramiro Felipede Guzman
* His note says “Give me alms, for the love of God”
* Normally the beggar would be below the viewer, like from a carriage
* He’s looking down and standing in the way
* It could be saying you don’t get into heaven if you don’t do good works
- 25—Ribera, St. Sebastian, 1651, Museo di San Martino, Naples
Originally for Monastery of San Marino, Naples
* Most Spanish art was for Royalty or the Church
* St Sebastian was martyred under Diocletian
* They tried to kill him with arrows but he lived
* Then they clubbed him to death and threw him in the sewers
* The Italians didn’t paint body hair
* The Spanish did paint it
* The ancient people thought Apollo’s arrows were what made us sick
* So St. Sebastian became the saint of keeping away sickness
* The Plagues were an issue since the 1300’s so he was very popular
* Naples was hit by a bubonic plague in 1656, five years after this
* The monks prayed to this to keep the plague away
- 26—Velazquez, Old Woman Frying Eggs, 1618, NG of Scotland, Edinburgh
* There’s tons of realistic textures
* Theres two contrasting ages too
* Real models and a bunch of still life pieces
* Velazquez was discovered by the king
Diego Velazquez
1599-1660
- 27—Velazquez, Immaculate Conception, 1618, NG Of London, Originally for Convent of Shod Carmelites
* Stars and Moons are like Ludovico Carracci’s and Ribera’s
- 28—Velazquez, Triumph of Bacchus, 1628, Prado, for Phillip IV
* They’re in contemporary clothes like Caravaggio
* Its bacchus giving wine to modern day people
* In 1623, Velazquez became Philip IV’s court painter
* Its super similar to Caravaggio’s bacchus
* Velazquez painted alla prima too
- 29—Velazquez, Surrender of Breda, 1634-35, 10 x 12, Prado
Originally for Hall of Realms in Buen Retiro Palace, Madrid
* The Dutch are trying to hold on the the Netherlands, but the Spanish want Breda
* The Royal family’s collection went into the Prado, so theres 50 Velazquez paintings there
* There was a series of 12 paintings for the audience hall in the royal palace and all depicted the Spanish winning battles
* 1625: surrender of Dutch town of Breda to Spanish and Burgundian troops
* Dutch Leader: Justin of Nassau
* Genoese leader: Ambrogio Spinola
* Dutch recaptured Breda in 1637
* The composition alone tells us who won
* The strong vertical lines of the spears on the right show their power
* Justin of Nassau is giving the keys of Breda to Spinola
* It shows the kindness and humbleness of a great leader
* Spinola is touching him nicely on the shoulder
* Velazquez’s self portrait is on the far right
* Its very painterly
* You can see the actual texture of the paint
* Velazquez liked different textures of canvas
* He liked to let the texture of the canvas show through
- 30—Velazquez, Count-Duke de Olivares, 1638, 10 x 7, Prado
* Phillip IV was too young to be king at the time, but this man took his place until he grew up
* Its the largest portrait ever painted by Velazquez
* The count was too old to even get on a horse at the time
* Its super painterly
* There’s a theory that painters get more painterly as they age because of eyesight, but its likely that they just became more expressive and less inhibited
- 31—Velazquez, Portrait of Philip IV, 1644, Frick, NYC
* It was painted in Fraga, Spain so its called Fraga Philip
* Most of Velazquez’s portraits are full length, but this was painted in a shack in the battlefield so its cropped to avoid the muddy floor
* Its Painterly
* Reubens was very painterly
* The blank background is popular at the time for portrait painters
* Phillip II patronized Titan in the 1500’s
* Reubens and Velazquez were friends and they both loved Titian
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- Art History Flashcards on Baroque Test Two , created by Caroline Groppe on 26/03/2017.
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