Introduction September 12th
General Overview – NO NOTES! Italy September 19th
Reformation: Challenge in the Catholic Church
Indulges – paying money to the Church to pay away your sins
Martin Luther
Launches protestant reformation
First real questioning of the Church in Europe
Sexualized objects
Printing Press: Colonization
Start of the New World
Contact with Asia
Trans-Atlantic exchange
Important Urban Centers
Saint Peter Basilica
Important for the development of the style
So many people involved and transformations to it
Steady progress to the Baroque era
Simple in design and massive
New St.Peter‘s
Old St.Peter‘s was torn down to build this in 1400‘s (very traumatic)
Beginning of the Christian Church
Each Pope put a lot of money into it – essentially bankrupting the Church
Last Supper
One point linear perspective
Groups of individuals creates harmony and symmetry (3)
Classical idea
David by Michelangelo
Controposto
Idealized bodies and forms (ripped)
Heroic
Moment of ―fight or flight‖
To fight Goliath or not Palazzo Rucellai
Arching
Roman style arch
Mimicking the coliseum
Elegant form
Santa Susanna
Not a pure renaissance façade
Traditional flat sides
Has depth
San Carlo Fontane
Convex and concave shapes
On a corner
Exterior echoes in the interior
Cassave Plant with Caterpillar and Butterflies
Artist: Maria Merian
Leonardo starts doing scientific observations
What can be classified as exotic others
Scientific audience
Baroque era is a time when races are being created. (―Racialized othering‖)
Genre Style:
Scenes of everyday life being produced in Baroque
Historical landscape
Nude women in the Church in paintings
All art produced at this time is done on commission
Insane amount of art production, made for decoration
Drawing Academy
Break from the guild system (you work for an artist and learn skill sets)
Don‘t have the inclusion of women in the academies till later Spain at this time:
Everywhere in the world
Global empire
United Kingdom of Spain
Runs through the Caribbean
Feast in the House of Levi
Veronese gets in trouble because he is creating controversial figures in what
is supposed to be the last supper
Taken to the committee to explain this, all he did was change the name
He claims ―artistic license‖
What is happening at the end of the 15 thcentury
Fresco – painting on plaster
The Last Judgment Sistine Chapel
Needed to paint over all genitals
Tomb of Giulano de Medici
New styles
Turned
Would‘ve been stacked on the tomb
Not classical ideas
Twisted and contorted figures
Adoration of the Shepherds
Layering of people
Everyone is in motion (energy)
Crowed canvas
Shortening of figures, not perfect
Manipulating the contortions of the figures
Colour palette is the late 16thcentury forms
Study of the Reclining Boy
Artist: Carracci Important because they were one of the first groups to form an academy to
train people in art practice
Depicts new subject matter
Transition to older narratives
Begin to go back and look at classical sculpture again, particularly Helonistic
art
Helonistic art shows ugly woman made wonderfully beautiful and dying
scenes
Group of Beggars
Washy work
Interesting creations
Butcher Shop
Daily life
Halbadier
Not everyday foot soldiers, royal guards
Elite portrayal
Contorted
Trying to understand the body in motion
Texture in the painting
Building up the forms
Pieta with Saints Francis and Clare
Carracci
Mary after his death
Hanging arms
Mary‘s left arm and Jesus‘ right arm
Madonna and the Pesaro Family Italy, Flanders, & Spain (The Americas) September 26th
Michelangelo Merisi da Caravaggio (1571-1610)
o Caravaggio
Francesco Sforza took care of him for a while
known for beginning of Baroque art
1584 began training (father not artist)
tied to guild system
dynamic character: 1600 criminal record, carried a sword &
murdered a tennis opponent in 1607
circa 1592 in Rome
first public commission in 1598
working for Cardinal Francesco Maria del Monte
fantastic paintings
ends up in Spanish Naples where he produces great pieces of art
did not produce preparatory drawings unlike most people
early images portraying youthful makes: most models or studio
assistants
moral overtures: devious behaviour, Flemish innovation
The Cardsharps, 1594, oil/canvas
o all well dressed
o young men
o clothing has rips and tears (fault in identity)
o cheaters
o type of image popular at the time
o tongue in cheek type of betrayal
Bacchus, 1595-96, oil/canvas
o made for Cardinal himself
o several half-length images
o generically titled Bacchus
o Bacchus is the god of wine and festivities
o Bacchus typically portrayed as drunk and half naked
o Bacchus is alone in picture
o inviting us into the scene by handing viewer wine
o creates intimacy, sexual engagement
o unusual since woman were used to seduce
o fruit = fertility o untying his robe with other hand
o homoerotic
o similar paintings: Boy with a Basket of Fruit (1583) & Boy
Bitten by a Lizard (1596)
dramatic foreshortening
shows skill of Caravaggio
dramatic expression
Boy Bitten by a Lizard has historical longevity (widely
recognized for skill and technique)
Rest on the Flight into Egypt (1594-5) oil/canvas
o first religious work (not criticized for sexuality)
o Joseph important during church reforms (Protestantism and
colonialism)
o parental involvement
o by 1590‘s you have 100 years of explorations taking place,
Africa explored, connections with a lot of places
o Joseph really takes an active role, meant to show concept of
family
Contarelli Chapel, S. Luigi dei Francesci, Rome
o one of his BIG first commissions
o large panels in chapel
o chapel dedicated to St. Matthew
o contract was quite specific
o quiet contemplation
Tenebrism (gloom, darkness)
incorporates outside source
light: ―the way of light, the way of truth‖
true baroque idea
Calling of St. Matthew, 1599-1600, oil/canvas
o first scene in the chapel
o Tenebrism is very obvious
o referring to Michelangelo‘s creation of Adam
o intellectuals at the time would have recognized reference
o light comes in and shines on Matthews face (his conversion)
o Matthew still in modern attire since it is at his moment o coins and objects on table related to tax collecting (what
Matthew did)
o interesting how people are responding to moment (facial
expressions)
o Bacchus type of youth imagery
o Christ and Peter are quickly recognized by Matthew
o youths are more Baroque idealized
o Peter, Matthew & Christ look like just normal people
o CONTRAST between youth and Peter, Matthew & Christ
o Counterreformation, these figures are made more real in
order for people to relate to them
Martyrdom of St. Matthew, 1599-1602
o another moment of spiritual conversion and shows the last
moment when the executer of Matthew realizes that he is like
one of the God like figures
o more dynamic composition
st
The inspiration of St. Matthew, 1 version, 1602, oil/canvas
(destroyed) & 2 nd version, 1602, oil/canvas
o pieces very different
o animosity towards painting on left which is destroyed is
shown in black & white
o first on rejected and Caravaggio was forced to redo it
o shows too much sexuality in the first one
o presentation of Matthew as almost illiterate, and the angels
are telling him what to write
o readable Hebrew text seen on bible
o very innovation in creation of it
o reflective of older traditions (angel floating in)
o stool is falling out of frame into us (making a connection in
second painting)
o angels fingers are touching each other (counting which points
he has covered while writing)
Conversion of St. Paul, 1601, oil/canvas
o piece made part of larger contract
o rejected, forced to repaint
nd
o 2 copy made on cypress wood o in 2 nd piece hard to see what happened to him
o contrast of light and dark
o in 1 piece he has arms up in air
nd
o juxtaposition of those involved (2 piece)
o servant is checking up on horse, unaware of the spirituality of
the event
Conversion and Crucifixion
o asked to be hung upside down, unlike Christ
o raising of the cross
o struggle and agony
o clean feet on Saint, rather than dirt on feet like executioners
Victorious Cupid, 1602, oil/canvas
o Marches Giustiniani patron (owned 13 works)
o laughing cupid, musical instruments, crowns, armor
o everything works together to enhance male genitals in
painting
o right wing points to genitals, and well as object in left hand
o sexualized nude make
o ‗X‘ composition helps emphasize sexuality
o similar to St. Bartholomew, Last Judgment, 1536-41, fresco,
Sistine Chapel, Vatican, Rome
o similar to St. John the Baptist
Death of the Virgin, 1601-2, oil/canvas
o another painting criticized and rejected by patron
o chapel in the Santa Maria della Scalla
o Mary is represented as rustic
o not idealized
o She is very sad, and solemn
Entombment of Christ, 1603-4, oil/canvas
o wasn‘t criticized
o lots of recognition
o image was for alter
o moment Christ died
o being placed in tomb
o multiple figures present
o 3 Mary‘s o counterreformation connection
o Mary Magdalene is very expressionistic
o finger going into womb of character holding him
o mortality of Christ shown through that action
o Christ‘s face looking up
o since it was an image for alter, alter also acts as a tomb
o drawn into painting when receiving body of Christ in church,
becoming a participant when looking at painting
Michelangelo, Pieta
o carved his name into sculpture so people who know it was by
him
o pity concept (same as Entombment of Christ)
o Mary‘s hips are extremely large
o firm foundation
o she acts as an alter to hold Christ
Beheading St. John the Baptist, 1608, oil/canvas
o signed by Caravaggio in blood
o blood coming from John
o Co-Cathedral of St. John
o different style
o widely liked
David with the Head of Goliath, 1609-10, oil/canvas
o dating problems
o collection of Cardinal Scipione Borghese
o self portrait
o closer to early works in design
o traveled to Sicily
o died before his pardon
Caravaggio‘s Italian Followers
o never had students that really stuck around
o most were just followers
o Orazio son of Pisan goldsmith
trained in Florence before going to Rome in 1577-78 moved to Genoa in 1621-23 before going through Paris to London
where he remained in 1626
Caravaggio didn‘t really like him too much
Orazio emulated his style (main difference is colouring)
o Orazio Gentileschi, The Rest on the Flight into Egypt, 1610, oil/canvas
typical subject matter
Christ is suckling
Joseph is sleeping
Joseph exhausted
several versions
new arrangement or just colour variations
Christ is shown very large
o Orazio Gentileschi, Finding of Moses, 1633, oil/canvas
complicated painting
Philip IV of Spain in 1633
rich colours (dress and landscape)
right: sister Miriam watched over him and his mother (wet nurse for
the pharaoh‘s daughter)
pharaoh‘s daughter points to his genitalia, Jewish baby
o Artemisia Gentileschi (1593-1652/3)
more important than her father
mother: prudential montoni
1611 May 6, Rape by Agostino Tassi
1612 May 14, to November 28 Tassi trial
November 29 she marries Pierantonio
Susanna and the Elders, 1610, oil/canvas
o signed by Artemisia
o narrative of attempted seduction: bathing in her garden, men
approach, demand sexual favors, rejects them
o Susanna is a model of virtue, chastity, and martial fidelity
o 16 th century temptress
o similar to her father‘s painting: David slaying Goliath (one of
the real Baroque images of David & Goliath)
o Gentileschi VS. Tintoretto‘s Susanna and the Elders
different colouring
more interaction in Artemisia‘s painting discreet in Tintoretto‘s
Artemisia‘s is more personal, you can feel what she is
feeling and relate to her struggle with the men
Susanna in Tintoretto‘s shows more curiosity towards
the men coming at her
Artemisia‘s Susanna is aggressively place in the front
o Artemisia, Judith and Her Maidservant with the Head of
Holofernes, 1625, oil/canvas
another version of the subject
at least 4
o Artemisia, Sleeping Venus, 1625-30, oil/canvas
painted many female nudes
patron unknown
more sexualized than others
cupid raises peacock feather to fan her
o Artemisia, Self Portrait as the Allegory of Painting, 1630,
oil/canvas
unusual in the sense of how it portraits self portrature
in the act of painting
can‘t tell what she is painting
personify painting
o Adam Elsheimer, The Flight into Egypt, 1609 oil/copper
night scene
unheard of, only about 3 night paintings
contrast between light and dark
light source in foreground illuminating Mary & Joseph
ambiance
Carracci Succession in Rome and Bologna
explored classical imagery and forms
artists and architectures figure out what the Roman‘s are all about
Roman‘s didn‘t follow just one set of guidelines
Domenichino, St. Cecilia Distributing the Alms, 1612-14, fresco
Commissioned: Polet Chapel in San Luigi dei Francesi (Carrivaggio
painted Contarelli Chapel)
her ascension into heaven refusal to sacrifice to non-Christian idols, martyrdom
one of the most well preserved
tried to be martyred many times, but because of divine
circumstances didn‘t work
Distribution of Alms painting
relics in Rome
juxtaposition of fabrics and materials
marriage chest at top
individuals on street grabbing materials
contrast between Roman inspired architecture to foreground space
figures twisted creates engagement with viewers
Domenichino, Last Communion of St. Jerome, 1614, oil/canvas
Commissioned for San Girolamo dell Carita
based on Agostino‘s Carracci (copied)
did this in order to help in receive a commission
images are flipped
space between Jerome and priest
emphasis becomes the bread for communion
tied into being the body of Christ
richness of the colours create a darker contrast to the white piece
of bread (Domenichino)
he makes a parallel to angelic form
more effective than Caracci‘s
Domenichino, Archery Contest
unusual scene
developed on his own
not a common subject
dealing with archery contest & goddess Diana
she is the main figure above
showing a type of creativity and new interest in new subject and
narratives
several figures can be related to Roman sarcophagi
Domenichino, Vault of the Tribune, 1625-27, fresco
sequence of monumental scenes
related to Peter & Andrew
spent 3 years at the church he painted along side Lanfranco
had accused him of plagiarism
complex foreshortending and angles
convex surface that he moves across and has to paint figures in
space, not an easy task
twisting and spiraling figures
subjects straight forward
no hidden iconography
Giovanni Lanfranco, Virgin and Child
was his rival
painted much different than Domenichino
straightforward panting
Giovanni Lanfranco, Assumption of the Virgin
based on Correggio‘s painting
Correggio‘s ceiling was very well known and influential at the time
Guido Reni, Crucifixtion of St. Peter, 1604-5, oil/canvas
Classical artist trained with Carracci
Classical style
Hallmark of style
Nice contrast of light and dark
Tinebrism of Carrivaggio
stable composition
however, uneasy to appoint
early roman public commission
Peter had to be crucified upside down, so wasn‘t the same as Christ
Guido Reni, The Annunciation, 1609-11, oil/canvas
series of images relatd to the Virgin Mary
traditional
Madonna kneeling
Guido Reni, Aurora, 1614, fresco
easel painting on ceiling
Apollo guided by Aurora
represented in stable, rich composition
almost opposite of that of Bacchus
Guido Reni, Virgin and Child with Patron Saints
imagery that deals with community issues being addressed
older tradition having groups in sacred conversation
Guido Reni, Cardinal Bernardino Spada, 1630-31, oil/canvas
one of his full length portrait
typical Bolognese style
typical to see model engaging in task that they are known for (like
a monk working on a religious writing)
Guido Reni, The Abduction of Helen, 1631, oil/canvas
Philip IV (of Spain)
Helen doesn‘t resist
no interest in eroticism
Paris (Trojan priest) holds hands
black child
early reference to servitude
child is represented as servant
Guido Reni, The Archangel Michael, 1635, oil/silk
rich colours
one that is dealing with popular religious figures
warrior saint
tied into issues of conquering the devil & sin
expressionistic
associated with noble orders
here uses color and contrast and materials to contrast good and evil
Guido Reni, Ecce Homo, 1640
devotional painting
used to reflect about trials and tribulations of Christ
simple & serene
no narrative content
encourage mediation
Guercino, Erminia Discovering the Wounded Tancred, 1618,
oil/canvas
dramatic presentation
has to engage with figures
Guercino, Aurora, 1621
ceiling has been broken down to look like images ascent into
heaven different presentation
different that Reni
dramatic illusionistic ceiling
Guercino, The Mystic Marriage of St. Catherine Baroque Italy October 3rd
Roman Developments
o in Rome major work carried out under Alexander VII (1655-67)
Pietro da Cortona
o civility equated to the uniform characteristics of urban environments
ordered to chaos – good vs. sin
o important theories by Vitruvius, New Jerusalem, and new cultures
o additionally by reordering cities, individuals who could afford to exert
such pressure and resources were seen to have high prestige and
influence upon society
Architecture and City Planning
o major development relating to urban development
numerous treatises on architecture produced based on Vitruvius
important set of urban policies created
o laws of the indies
o relate to the foundations of new towns in the Americas
o influences major rebuilding programs of European cities
o Pietro da Cortona, Santa Maria della Pace, Rome, 1656, engraving
commissioned for Santa Maria della Pace
pilgrimage church to Madonna of Peace
challenging location (bad intersection)
Baroque features
o convex façade – most Renaissance facades were flat
o segmented arch that breaks the surface
not a lot of statuary
temple looking front
double pediment (rounded and triangular forms)
structure projects out
soft molding of forms above
Francesco Borromini
o one of the most famous of Baroque architects Carlo Maderno,(G.L. Bernini and Francesco Borromini, Palazzo
Barberini, Rome, 1628-33
all 3 worked on façade
o Borromini, San Carlo alle Quattro Fontane, Rome
bad location
new to Baroque design
outside façade and interior space don‘t always compliment each
other
creation of visual forms to create energy
creates the façade into the building itself
the dome is supported by other smaller semi-domes
in interior can see progression of shapes on exterior
interior/exterior conceived as whole based on Roman language
composite style (?)
giant order (2 story columns/pilliars)
Italian Sculpture
o Giambologna, Rape of the Sabine Women, 1580-82
not just one viewing perspective
not Baroque, but influential for period
main focus is on the movement of the image
tight spiral running through the figures
complex work (cuts, and grooves)
o Bernini
most famous in Baroque period
maintained production through his numerous church commissions
subjects ranged from Christian imagery to that of ancient gods and
goddesses
Bernini, Aeneas, Achises, and Ascanius, 1618-19
o 1 in series
o Bernini & Giambologna
Bernini best seen at one perspective while other can be looked at
from all views
shift in contraposto
Bernini makes marble seem soft like real flesh o Bernini‘s David
unlike Michelangelo‘s David, he is in action
about to let sling shot go
Baroque is about energy and expression
basing piece on antiquity
COMPLETELY different than Donatello
Donatello‘s is more youthful, elegant
less defined and not as muscular
o Bernini well known for his portraits (sculpture)
bust portrait
Cardinal Scipione Borghese, 1632
fine dressed
sculpted many popes
**what makes these sculptures effective for portraiture?**
o looking up
o gives a sense of station and standing
o drapery hides sharp angles, critical!
o hides awkward angles so doesn‘t just look like marble bust is
placed weird
o creates a little bit of composition
o gives figures more of a naturalism
o not static
o easier to look at and understand
o Algardi
competed with Bernini
o Bernini, Tomb of Alexander VII, 1671-8
faces alter
death (skeleton coming for him)
charity (left)
truth cradles sun (right)
originally nude
justice and prudence
labor intensive
marble fabric draped over skeleton
interesting power o Alessandro Algardo, Pope Leo I Driving Attila from Rome (not that
important)
most expensive commission
o Bernini, Cornaro Chapel, Rome (important)
really engaging
spectacular
perfect example of what is a dynamic baroque sculpture/norm is
overall composition is important
up above (elevated position)
pure theatrics: chapel transferred into a stage
basic structure: referencing a church façade partially, within a
transcept, gallery space to sit in front and on the sides to make it
look stage like (theatrical)
elevated up on platform
golden rods coming up from around sculpture
main focal paint illuminated because uses real window behind
golden rods to bring in natural light
theatrical space
enhances spiritual experience
experience quite complex however
o Bernini, Ecstacy of st teresa, 1645-52, marble, Cornaro Chapel
hallmark of the chapel is Teresa and the angel
spiritual experience important
piercing heart of st. teresa with his love
describing sexual experience
penetrated over and over again until pleasure (moment of ectascy)
spiritual experience related to physical
angel happy to be helping her along with her journey
o Bernini, trioton fountain
fountains really important
without fountains didn‘t have fresh water
Bernini known for making fountains
tapping into wells
o Bernini, Four Rivers Fountain
enhanced by image of Noah up above
main focus is around the four rivers seen represented global environment (images of other parts of world)
o Nile river
o Danube (important for trade)
o Ganges (Asia)
o Plata (America) (Amazon river)
did not know source of Nile
palm tree coming out of Nile
large imagery with reptiles, horses, etc
complicated narrative
nice aesthetics
engages kids today Painting in Rome October 10th
End of Italy…
o Pietro da Cortona, Sta. Bibiana Refusing to Sacrifice to Pagan Idols
typically recognizes standards of proportion of classical architecture
frieze above in right corner which connects upper part across,
doesn‘t necessarily belong however he still works with it
o Cortona, Triumph of Bacchus
based on Titan‘s Bacchanal
epitomizes the coloring and forms of Baroque era
how to tell if a painting is Baroque & not renaissance
o active (action of figures, not just posing)
Titian‘s piece creates a different type of aesthetics
o really compressed of foreground
o background not suppose to contribute to narrative
Cortona puts figures in a more complex space
o narrative extends back
o weird mixing of forms and figures
o nymphs, and strange looking human/goat figure with demonic
face
o calculated presentation that is still fun
o unexpected post of naked man in left corner reaching over
other figure
o narrative of body in motion
o Cortona, Rape of the Sabine Women
moment of abduction
Romulus orders seizure of Sabine women
retelling of narrative
Romulus giving symbol of ‗Ok‘ from above left/middle
unusually because they are all clothed
break from naked narrative
during counterreformation, started covering up nudes, what was
deemed as decent portions then had to be dressed
presented in a more reserved way
Cortona always get some sense of a background
o Cortona, Martyrdom of St. Lawrence
breaks away from tradition, he is clothed o Cortona, Allegory of Divine Providence
one of his most important
self representation and glorification
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