baroque italy and spain
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Religious movement is much of the Baroque art in Catholic countries
associated:
The Counter-Reformation.
List three adjectives or phrases that describe its style:
Dramatic theatricality.
Grandiose scale.
Elaborate ornateness.
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Carlo Maderno
Santa Susana
Rome, Italy
1597-1603
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Giacomo della Porta
faade of I l Ges
Rome, Italy
ca. 1575-1584
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Giacomo della Porta
faade o f Il GesRome, Italyca. 1575-1584
Three ways in which Maderns Early Baroque church of Santa Susanna resembles the
church of Il Gesu:Each building has scroll buttresses connecting the upper and lower levels of the faade.
Each building has two pediments, one for each story.
Sculptures in niches frame the central doorway in each building.
Carlo Maderno
Santa SusanaRome, Italy1597-1603
Three ways in which Maderns Early Baroque church of Santa Susanna
differs from the church of Il Gesu:The faade has a greater verticality, concentrating and dramatizing the major
features of its model.
The faades tall central section projects forward from the horizontal lower story.
Strong shadows cast by the vigorously projecting columns and pilasters mount
dramatically toward the emphatically stressed central axis.
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Carlo Maderno
Santa Susana
Rome, Italy
1597-1603
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Four architects who worked on St. Peter's and note the primary
contribution of each.Donato dAngelo Bramante: The original plan and the concept of a
hemispherical dome.
Michelangelo: The reduced plan and the ogival dome with drum.Carlo Maderno: the faade.
Gianlorenzo Bernini: the colonnaded piazza.
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Carlo Maderno
Aerial view of Saint Peters
Vatican City, Rome, Italy
1506-1666
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Gianlorenzo Bernini
baldacchino Saint Peters
Vatican City, Rome, Italy
1624-33
gilded bronze
approximately 100 ft. high
Baldacchino
Canopy-like structure on
columns, frequently built
over an altar.
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Gianlorenzo Bernini
Scala Regia
Vatican City, Rome, Italy
1663-1666
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Gianlorenzo Bernini
David
1623
marble
approximately 5 ft. 7 in. high
Four major characteristics of
Bernini's sculpture that are typical
of Baroque art in general.
Expansive and theatrical.
The element of time usually plays an
important role.
Dynamic quality conveying a bursting
forth of energy.
Refusal to limit itself to firmly defined
spatial settings.
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Gianlorenzo Bernini
David
1623
marble
approximately 5 ft. 7 in. high
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BerniniMichelangelo
Buonarroti
Donatello
Michelangelo's is shown before, Bernini's is during and Donatello's is after the fight
with Goliath.Michelangelo and Bernini depict David as more of a man, Donatello shows him as a young
boy, also lots of sexual symbolism in Donatello's, like the feather from Goliath's hat
running up David's inner thigh.
Donatello's is bronze, the other 2 are marble.Donatello's is very early Renaissance- he is going towards more realistic features, as is seen
in the pouchy stomach and saggy behind of David.
Michelangelo's musculature is consistent with the thoughts of the Renaissance: a look
back at idealized figures and tension-creating scenes- he hasn't fought yet, we still don't
know what will happen.
Bernini is working in a more baroque style, combing motion and concentration (in
David's face) to achieve a dynamism in the work not found in the earlier
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Gianlorenzo Bernini
in teri or of the Cornaro Chapel
Santa Maria della Vittoria, Rome, Italy
1645-1652
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Gianlorenzo BerniniEcstasy of Saint Theresa
Cornaro Chapel,
Santa Maria della Vittoria, Rome, Italy
1645-1652
Bernini depiction of the vision
of St. Theresa:
As light (shining from behind
a hidden window of yellowglass) pouring down on
bronze rays suggesting the
radiance of Heaven.
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Francesco Borromini
faade of
San Carlo al le Quattro Fontane
Rome, Italy1665-1676
Who developed the
sculpturalarchitectural
style to its extreme?
Francesco Borromoni.
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Francesco Borrominifaade of
San Carlo al le Quattro Fontane
Rome, Italy
1665-1676
Two buildings designed by him.San Carlo alle Quattro Fontane.
Chapel of Saint Ivo.
Both are located in the city of Rome.
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Francesco Borromini
plan of
San Carlo al le Quattro Fontane
Rome, Italy1665-1676
While the circle had been the ideal
geometric figure to Renaissance
architects, Baroque planners
preferred the oval.
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Francesco Borrominidome of
San Carlo al le Quattro Fontane
Rome, Italy
1665-1676
They preferred the oval
because the oval is a more
dynamic form of the circle,
creating an interior that appearsto flow from entrance to altar,
unimpeded by the segmentation
characteristic of Renaissance
buildings.
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Francesco BorrominiChapel of Saint I vo
Col lege of the Sapienza
Rome, Italy
begun 1642
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Francesco Borrominiplan of the Chapel of Saint I vo
Col lege of the Sapienza
Rome, Italy
begun 1642
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Francesco Borrominidome of the Chapel of Saint I vo
Col lege of the Sapienza
Rome, Italy
begun 1642
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Francesco Borrominidome of the Chapel of Saint I vo
Col lege of the Sapienza
Rome, Italy
begun 1642
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Guarino Guarini
Palazzo Carignano
Turin, Italy
1679-1692
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Guarino Guarini
Palazzo Carignano
Turin, Italy
1679-1692
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Guarino Guarini
Chapel of Santi ssima Sindone
Turin, Italy
1667-1694
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Guarino Guarini
Chapel of Santi ssima Sindone
Turin, Italy
1667-1694
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Bramante and Raphael
Dome of Sant Eligio degli Orefici
Rome, Italy
ca. 1509, reconstructed ca. 1600
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Caravaggio
Conversion of Saint Paul
Cerasi Chapel, Santa Maria del Popolo
Rome, Italyca. 1601
oil on canvas
approximately 7 ft. 6 in. x 5 ft. 9 in.
Three characteristics of
Caravaggio's style.
Injected naturalism into both
religious and classical subjectswith unidealized figures.
Sharply, dramatically lit figures
emerging from a dark
background.
Invites the viewer to participate
in the scene.
The common purpose of Caravaggio's Conversion o f St Paul and
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CaravaggioConversion of Saint Paul
Gianlorenzo BerniniEcstasy of Saint Theresa
The common purpose of Caravaggio s Conversion o f St. Paul and
Bernini's The Ecstasy o f St. Theresa:To produce the representation of a vision, using actual light from each chapels
windows.
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Caravaggio
Calli ng of Saint Matthew
Contarelli Chapel, San Luigi dei Francesci
Rome, Italy
ca. 1597-1601
oil on canvas
11 ft. 1 in. x 11 ft. 5 in.
Caravaggio attempted to
compel the viewers interest
and involvement in the
scenein his religious
pictures.
Caravaggio
accomplished this
by using pictorialdevices such as
showing action
taking place in the
foreground; low
horizon line;dramatic light.
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Tenebroso
Shadowymanner of
dark settingsenveloping their
occupants.
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Caravaggio
David Victor ious over Gol iath
oil on canvas
43 1/4 x 35 7/8 in.
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Caravaggio
Entombment
Chapel of Pietro Vittrice,Santa Maria in Vallicella
Rome, Italy
ca. 1603
oil on canvas
9 ft. 10 1/8 in. x 6 ft. 15/16 in.
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Self-Portrait as a Martyr
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Artemisia Gentileschi
Judith Slaying Holofernes
ca. 1614-1629
oil on canvas
6 ft. 6 1/3 in. x 5 ft. x 4 in.
Characters from the Apocryphal Book of
Judith; Holofernes was an Assyrian general
who was seduced by Judith and then
beheaded by her.
Techniques:
Artemesia uses tenebrism, spurting
blood, the physical strain of the
women struggling with the sword, and
controlled highlights on the action inthe foreground to portray the drama
of the theme.
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Judith Slaying Holofernes
(Caravaggio).
c. 1598-1599
Oil on canvas
1.44m by 1.92m
Galleria Nazionale d'Arte
Antica,
Barberini, Rome.
The artists most influenced the style of
Artemesia Gentileschi was Caravaggio and her
father, Orazio Gentileschi.
O f A t i i ' b t k thi i
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Artemisia Gentileschi
Judith and her Maidservant
ca. 1612-1613
oil on canvas
44 7/8 x 36 13/16 in.
One of Artemisia's best works, this scene is
tense with imminent danger as Judith and
Abra prepare to flee Holofernes's tent with
his severed head. Dramatic and unusual
chiaroscuro, especially the shadows
Judith's hand casts on her face, together
with vigilant expressions and posture, add
urgency to the scene.
Artemisia chose another biblical theme picturing a
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Jael and Sisera.1620.
Oil on canvas.
0.923m by 1.275m
Szepmuveszeti Museum, Budapest.
Artemisia chose another biblical theme picturing a
woman slaying an aggressor. Sisera was a cruel
Canaanite leader who ruled the Israelites for twenty
years. Barak defeated his nine hundred charioteers by
a surprise Israelite attack. Sisera escaped and sought
refuge in the tent of Jael, wife of Heber the Kenite.
She gave the terrified Canaanite sanctuary. When he
fell asleep, she drove a tent peg into his brain. The act
fulfilled the prediction of Debora, prophetess and
Israelite leader, who foresaw that a woman would
slay Sisera.
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Artemisia Gentileschi
Susannah and the Elders
1610
oil on canvas
66 7/8 x 46 7/8 in.
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Three assumptions that were basic to the teaching of art at
the Bolognese academy.Art can be taught.
The teaching of art must include the classical and
Renaissance traditions.
The teaching must also include the study of anatomy andlife drawing.
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Annibale Carracci
F li ght into Egypt1603-1604
oil on canvas4 ft. x 7 ft. x 6 in.
Ann ibale Carracci is credited with developing the "classical"
or "ideal" landscapeIts roots were the landscape backgrounds of Venetian
Renaissance paintings.
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Annibale Carracci
Loves of the Gods
Gallery, Palazzo Farnese
Rome, Italy
1597-1601fresco
Carracci achieved heightened
illusionism as the chiaroscuro is
not the same for both the
paintings and the figuressurrounding them. The painter
modeled the figures inside the
quadri in an even light. The
outside figures seem to be lit
from beneath, as if they wereactual three-dimensional beings
or statues illuminated from below.
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Annibale Carracci
Loves of the Gods
Gallery, Palazzo Farnese
Rome, Italy
1597-1601
fresco
quadro riportato
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Annibale Carracci
Loves of the Gods, Tri umph of Bacchus
Gallery, Palazzo Farnese
Rome, Italy
1597-1601fresco
Transferred frame painting, or simulation of easel painting for
ceiling decoration. The framed pictures are flanked by polychrome
figures who turn their heads to gaze at the scenes around them,
and by Atlas figures painted to resemble marble statues.
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Annibale Carracci
Loves of the Gods
Polyphemus, Acis and Galatea
Gallery, Palazzo Farnese
Rome, Italy
1597-1601
fresco
Two influences blended by Reni in his Aurora fresco:
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Guido Reni
Aurora
Ceiling fresco in the Casino Rospigliosi, Rome, Italy1613-1614
fresco
Roman reliefs.
Coins depicting emperors in triumphal chariots accompanied by flying
Victories and other personifications.
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Pietro da Cortona
Triumph of the Barberi ni
ceiling fresco in the Gran Salone
Palazzo Barberini, Rome, Italy1633-1639
fresco
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Pietro da Cortona
Triumph of the Barberi ni
ceiling fresco in the Gran Salone
Palazzo Barberini, Rome, Italy
1633-1639
fresco
Three ways in which Pietro da
Cortonasfrescoed cei l ing in the
Palazzo Barberini praised hispatron:
Divine Providence holds a crown of stars to
bestow eternal life on the Barberini family.
The laurel wreath, another symbol of
immortality.
The papal tiara and keys announcing the
personal triumphs of Urban VIII.
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Giacomo della Porta
faade of I l Ges
Rome, Italy
ca. 1575-1584
Three devices he used to achieve
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Giovanni Battista Gaulli
Triumph i n the Name of Jesus
ceiling fresco with stucco figures
in the vault of Il Gesu, Rome, Italy1676-1679
fresco
Effect Gaulli created with the
fresco he painted on theceiling of Il Ges in Rome:
A dramatic, transcendent
spiritual environment as well
as the glory and power of theCatholic Church.
Three devices he used to achieve
that effect :
Gilded architecture opens up in the
center of the ceiling to offer viewers a
glimpse of Heaven.Jesus is represented as a barely
visible monogram in a blinding
radiant light that floats heavenward.
Gaulli painted many of the sinners on
three-dimensional stucco extensionsthat project outside the paintings
dome.
Th i t b id G lli h k d f th J it i RThe device did he use to merge heaven and earth was he
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Fra Andrea Pozzo
Glori fi cation of Saint I gnatius
ceiling fresco with stucco figures
in the nave of SantIgnazio, Rome, Italy
1691-1694fresco
The painter beside Gaulli who worked for the Jesuits in Rome
was Fra And rea Pozzo. He painted the ceiling of the church of
SantIgnazioin Romefor them.
The device did he use to merge heaven and earth was he
illusionistically continued the churchs own architecture into the
vault so that the roof seems to be lifted off.
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Fra Andrea Pozzo
Glori fi cation of Saint I gnatius
ceiling fresco with stucco figures
in the nave of SantIgnazio, Rome, Italy
1691-1694
fresco
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Jos de Ribera
Martyrdom
of Saint Phil ip
(Bartholomew)ca. 1639
oil on canvas7 ft. 8 in. x 7 ft. 8 in.
The goal of many
Spanish Baroque
religious artists was to
move viewers and toencourage greater
devotion and piety.
A theme that was
particularly popularamong them was
death and martyrdom
scenes.
Ribera's style was
influenced by the
"dark manner" ofCaravaggio.
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Francisco de Zurbarn
Saint Serapion1628
oil on canvas3 ft. 11 1/2 in. x 3 ft. 4 3/4 in.
The type of lighting did Zurbaran
use in his pating of Saint
Serapionwas Bright light shining
on the figure with a darkbackground, to call attention to
the saints death and to increase
the dramatic impact of the
image.
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Francisco de Zurbarn
Stil l L ife with Pottery Jarsoil on canvas
18 1/8 x 33 1/8 in.
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Francisco de Zurbarn
Agnus Deioil on canvas
15 x 24 3/8 in.
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Alonso Cano
Saint Bernard and the Virginoil on canvas
105 1/8 x 72 7/8 in.
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Bartolom Esteban MurilloThe Immaculate Virgin of Soultc. 1678
oil on canvas
107 7/8 x 74 3/4 in.
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V l t
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Diego Velzquez
Water Carr ier of Sevil leca. 1619
oil on canvas
3 ft. 5 1/2 in. x 2 ft. 7 1/2 in.
Velazquez was court
painter to King Phillip IV.
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Diego Velzquez
Los Borrachosca. 1619
oil on canvas
64 3/8 x 87 7/8 in.
Velasquezs Surrender of Breda commemorate the Spanish
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Diego Velzquez
Sur render of Breda1634-1635
oil on canvas
10 ft. 1 in. x 12 ft. 1/2 in.
Velasquez s Surrender of Bredacommemorate the Spanish
victory over the Dutch in 1625.
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Diego Velzquez
King Phi li p I V of Spain
(Fraga Phil ip)1644
oil on canvas
4 ft. 3 1/8 in. x 3 ft. 1/8 in.
The subject of LasMeninas is the InfantaThe composition extends indepth both in front of (through
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Diego Velzquez
Las Meninas1656
oil on canvas
approximately 10 ft. 9 in. x 9 ft.
Meninas is the Infanta
Margarita with her two
maids-in-waiting, her
favorite dwarfs, and alarge dog, as well as a
man and a woman in the
background.
depth both in front of (through
the mirror and the gazes of the
figures) and behind the painting
(through the open door). Formand shadow are represented
realistically. A great number of
intermediate values of gray
come between lights and darks,
instead of putting them side by
side as Caravaggio did.
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Diego Velzquez
Las Meninas
1656
oil on canvas
approximately 10 ft. 9 in. x 9 ft.
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Diego Velzquez
Las Meninas
1656
oil on canvas
approximately 10 ft. 9 in. x 9 ft.
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Diego Velzquez
Las Meninas
1656
oil on canvas
approximately 10 ft. 9 in. x 9 ft.
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