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Visual Arts History 1040 Study Guide - Final Guide: Gerard Van Honthorst, Rembrandt, Anthony Van Dyck

Visual Arts History
Course Code
VAH 1040
Cody Barteet
Study Guide

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Carlo alle Quafro Fontane
-Italian Baroque
-Borromini rejected the traditional notion that a
building’s façade should be a flat frontispiece.
He set San Carlo’s façade in undulating motion,
creating a dynamic counterpoint of concave
and convex elements on two levels.
-He emphasized the three-dimensional effect
with deeply recessed niches.
- It is an engaging component inserted between
interior and exterior space, provide a fluid
transition between the two.
- Engaging with the environment, it faces an
intersection, and there is a narrow bay tracking
the curve street
2. GIANLORENZO BERNINI, Ecstasy of Saint
-Italian Baroque
-A masterpiece of Christian art of the Catholic
- displays the motion and emotion of Italian
Baroque art and exemplifies Bernini’s refusal to
limit his statues to firmly defined spaces
- Bernini depicted the saint a mingling of
spiritual and physical passion, swooning back
on a cloud, while the smiling angel aims his
-visual differentiation in texture among the
clouds, clothes, smooth flesh, and feathery
wingsall carved from the same white marble.
-the beams are coming down on the saint,
suggesting spiritual light, and the heavenly
glory painted on the ceiling adds to the mystical
sense of the event.
3. Caravaggio, Entombment
-Italian Baroque
-This work includes all the hallmarks of
Caravaggio’s distinctive style:
- Plebeian figure types
- the stark use of darks and lights
- the invitation to the viewer to participate in the
scene, Caravaggio positioned the figures on a
stone slab whose corner appears to extend into
the viewer’s space. This suggests that Christ’s
body will be laid directly in front of the viewer.
- This serves to give visual form to the doctrine of
transubstantiationa doctrine central to
Catholicism that Protestants rejected.
4. Artemisia Gentileschi, Susanna and the
-Italian Baroque
- Artemisia Gentileschi, one of a very few
female artists of her time, used the story to
stress the dark nature of men.
- Artemisia takes the female perspective and
portrays Susanna as vulnerable ,and
frightened, while the men loom large, leering,
menacing in her direction.
5. Artemisia Gentileschi, Judith Slaying
-Italian Baroque
- Narratives involving heroic women were a
favorite theme of Gentileschi.
-In Judith the controlled highlights on the action
in the foreground recall Caravaggio’s paintings
and heighten the drama. (inviting viewers, use
of darks and lights)
-Emotional, engaging as blood spurts
everywhere as the two women use all their
strength to wield the heavy sword.

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6. ANNIBALE CARRACCI, Loves of the Gods
-Italian baroque
-Arranged the mythological scenes in a quadro
riportato formata fresco resembling easel
paintings on a wall.
-interpretations of the varieties of earthly and
divine love in classical mythology.
- Carracci derived these motifs from the Sistine
Chapel ceiling, but he did not copy
Michelangelo’s figures. Carracci modeled the
figures in an even light. light from beneath
seems to illuminate the outside figures, as if
they were tangible, three-dimensional beings.
-mixture of Raphael’s drawing style and lighting
and Titian’s more sensuous and animated
figures. It reflects Carracci’s adroitness in
adjusting their authoritative styles to create
something of his own.
7. Pietro da Cortona, Triumph of the Barberini
-Italian baroque
-This is the most important decorative
commission of the 1630s
-Divine Providence appears in a halo of radiant
light directing Immortality, holding a crown of
stars, to bestow eternal life on the family of
Pope Urban VIII.
- The virtues Faith, Hope, and Charity hold aloft
a gigantic laurel wreath (also a symbol of
immortality), which frames three bees (the
family’s symbols).
- It shows both the triumph of the Barberini and
the personal triumphs of Urban VIII.
8. Diego Velázquez, Las Meninas (The Maids
of Honor)
- Las Meninas is noteworthy for its visual and
narrative complexity.
-Visually complex, cunning contrasts of true
spaces, mirrored spaces, and picture spaces
-Authentic in every detail, shows different levels
and degrees of reality.
-The open doorway and its ascending staircase
lead the eye beyond the artist’s studio, and the
mirror device and the outward glances of
several of the figures incorporate the viewer’s
space into the picture as well.
-Velázquez also masterfully observed and
represented form and shadow. Instead of
putting lights abruptly beside darks, Velázquez
allowed a great number of intermediate values
of gray to come between the two extremes.
9. Peter Paul Rubens, Arrival of Marie de’
Medici at Marseilles
-the sea and sky rejoice at the queen’s arrival in
-An allegorical personification of France,
draped in a cloak decorated with the fleur- de-
lis (the floral symbol of French royalty),
welcomes her.
-Rubens enriched the surfaces with a
decorative splendor that pulls the whole
composition together. The audacious vigor not
only enlivens the artist’s figures, but also
vibrates through the entire design.
- Rubens loved pomp and drama, which is
shown by: depicting the arrival in elegant/
flamboyant clothing, the extravagance of the
golden vessel, and his marrying of real figures
with mythological figures. He is showing that
heaven and below the ocean are celebrating
her arrival. His distortion of the women creates
movement and theatricality. Additionally, the
classical building in the background adds

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prestige to the piece.
10. Anthony Van Dyck, Charles I Dismounted
- Van Dyck developed a courtly manner of great
elegance that was influential internationally.
-Van Dyck depicted the absolutist monarch
Charles I at a sharp angle so that the king,!a
short man, appears to be looking down at the
- The portrait is a stylish image of relaxed
authority, but no one can mistake the regal
poise and the air of absolute authority
- The king’s placement in the composition is
exceedingly artful. He stands off-center but
balances the picture with a single keen glance
at the viewer.
11. Gerrit Van Honthorst, Supper Party
-Northern Europe Baroque
-Typical of 17th-century Dutch genre scenes
-Caravaggio’s influence is evident in the
mundane tavern setting and the nocturnal light
of Supper Party.
-Van Honthorst placed a hidden light source in
his picture and used it to work with starkly
contrasting dark and light effects.
-Supper Party can be read as a warning against
the sins of gluttony (represented by the man on
the right) and lust
12. Rembrandt Van Rijn, The Company of
Captain Frans Banning Cocq (Night Watch)
-Rembrandt !amplified the complexity and
energy of the group portrait
-The title (night watch) is a misnomer!the
painting is not of a nocturnal!scene.
-The painting’s darkness is due to the varnish
the artist used, which darkened considerably
over time
- Rembrandt’s inventiveness in enlivening
conventional portrait format. Rather than
present assembled men in orderly fashion, the
artist chose to portray the company more
lifelike and organized, and thus, animates the
image considerably
-Shows great details as he managed to record
the three most important stages of using a
13. Jan Vermeer, Allegory of the Art of Painting
-Dutch Baroque
-The scene's 'theatrical' quality is deliberately
highlighted by the prominent curtain which is
pulled back to the left as if revealing a stage
-Jan Vermeer used the painting to give his
opinion on painter’s place in society that
painting was the equal of any other art.
-the picture uses linear perspective and
chiaroscuro (the management of shadow and
light to create an illusion of three-dimensional
forms) to create a three-dimensional depth and
solidity of form.
-Vermeer used one of the world’s most
expensive color pigment for the cool blue hue
of natural ultramarine.
14. Georges de La Tour, Adoration of the
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