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- Sta. Susanna
- Artist: Moderno
- Era: Italian Baroque
- Location: Rome
- Techniques:
- similar to Il Gesu
- greater focus on verticality
- more dramatic features
- double register
- double columns - Il Gesu had double pilasters
- tall center section projects out
- no arch framing pediment, instead, tympanum over door and then a pediment over the bottom register's entablature that projects into the second register
- strong cast shadows across surface from pilasters that create drama
- too many columns to pilasters
- surface articulation - in bottom register, pilasters on the edges then columns, and then double column framing the door - creates drama and rapidly moves the viewer's eyes to the center
- sculptural effect of the building (from High Renaissance) enhanced by recessed niches that contain statues
- scroll buttresses connect registers but they are at a sharper angle here than in Il Gesu
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- Facade of St. Peter's
- Artist: Moderno
- Era: Italian Baroque
- Location: Vatican
- Techniques:
- commissioned by Pope Paul V
- added 3 bays to the nave and facade
- thought it was too pagan by being central plan, so he extended nave to make it basillica style
- pulls facade far from the central dome
- dome looses affect of being dominated by the dome - now it is dwarfed by front facade and length of the nave
- largest basilica in the world
- reinforces distinction between laity and clergy
- 2 side towers not part of original plan
- pilaster, double column, column to break flow
- tiny cap added in and thrown on
- end sections (bell towers with barrel vaults) - beginning of baroque pavilion system
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- Piazza of St. Peter's
- Artist: Bernini
- Era: Italian Baroque:
- Location: Vatican, Rome
- Techniques:
- plaza - entire entrance way to St. Peter’s Basillica
- obelisk- given to area from Romans from Egypt
- created design in pavement for geometry to blend it all together
- Egyptian obelisk from Romans shows Christian triumph in Rome
- one fountain designed by Moderno
- longitudinal axis continues from church itself- ending in oval shape that is perpendicular to long axis
- plaza embraced by colonnades that join the facade creating 2 wings off of front facade
- 4 rows of huge Tuscan columns that make up the colonnades around the outside
- colonnades end in severely classical temple front facades
- colonnades resemble arms that embrace the obelisk and fountains
- design meant to embrace all of Christianity but also curves in to shut out lowly people who aren't worthy of the church
- provided pilgrims easy entrance to the church
- saints on top of all of the colonnades
- Baroque design- facade, nave, and piazza- help to create the church that connects to its environment
- trapezoidal space and oval- reminiscent of Campidoglio
- reversed effect of Campidoglio- brings facade closer to observer and heightens the building
- compensated for excessive width of the building to focus on height of the building - optical illusion (Baroque illusionism)
- desire of Catholic church to create awe-inspiring and authoritative vision of itself
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- Baldacchino
- Artist: Bernini
- Era: Italian Baroque
- Location: St. Peter's, Vatican
- Techniques:
- made entirely of gilded bronze
- from "baldacco" - Italian word for silk from Baghdad
- looks like cloth on a canopy
- functional and symbolic
- sight of the crypt of St. Peter
- stairs to go down to the crypt
- entire baldacchino is in harmony with church - bridges the gap between human scale, lofty vaults, and dome above - harmony of proportions
- frames Cathedral Petri
- decorative elements that symbolize power of Catholic church and Pope Urban VIII
- 4 unique, Solomonic columns (twisted and gilded with gold leaf)
- columns slightly fluted and have twisting vine wreaths denies the weight and mass of tons of bronze
- bronze stripped away from portico of the Pantheon - dominates Christianity over Rome
- resembles baldacchino of old St. Peter's to reinforce primacy of the church
- Baroque energy brought to old Greek column - seems like it's constantly moving upwards - sent from base of the columns to above columns - 4 colossal angels on top
- from those angels are 4 serpentine brackets that move up to elevate an orb with the cross on top - symbol of Christian dominance over the world in the days of Constantine
- lost wax process used to cast 5 pieces put together for columns
- bees in panels and in vines of columns - symbol of the Barborini papal family
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- Cathedra Petri
- Artist: Bernini
- Era: Italian Renaissance
- Location: Vatican, Rome
- Techniques:
- gilded bronze, stucco, and marble
- giant star burst that emits light from dove in window that represents the holy spirit
- high relief figures surrounding dove
- natural light from stained glass accentuated by bronze - illuminates sky and dematerializes wall behind it
- cloud burst above grouping - papal throne surrounded by cloud bursts and angels - held up by serpentine brackets
- 4 gigantic figures look like they’re carrying throne
- 4 figures - 2 saints to represent Latin church - 2 others represent eastern - unity and sub serviance - unity of 4 corners of the world and subserviants from eastern church to western church
- 2 charabs above the throne - holding up papal crown - as if they are crowning the victor - giving papal crown to church itself to assert triumph of Christianity and world supremacy
- not literally throne that human sits in figures are larger than life
- no clear lines of structure - but by forces that unfold from central violent energy energy and drama everything moves, nothing is distinct
- light dissolves massvisionary effect
- everything emerges from one point
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- David
- Artist: Bernini
- Era: Italian Baroque
- Techniques:
- marble sculpture
- older David, beard and mustache
- in the action of using the sling
- twist around the body as the body twists around
- muscular legs that are widely and firmly planted that begin a pivoting motion- most dramatic position out of a sequence of poses
- bursting energy from a central point
- sculpture takes part in the physical space around it and with viewer
- expression of intense concentration
- deeply set eyes under heavy brow line
- tosselled hair
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- Ecstasy of St. Theresa
- Artist: Bernini
- Era: Italian Baroque
- Location: Cornaro Chapel, Sta. Maria Della Vittoria, Rome
- Techniques:
- combination of architecture, marble, stained glass, gilded bronze, and stucco
- St Theresa was a nun of the Carmelite order and a mystic during the Spanish Counter-Reformation
- she had lots of visions
- she entered into trances, heard voices, and felt pain
- experienced pain and ecstasy
- persistent pain because the angel is thrusting repeatedly into her heart the fire tipped arrow of divine love from god
- swoons in delightful anguish
- extremely sexual
- Bernini's interpretation of her expression
- sprawled across cliff
- angel has malicious grin
- placing her in a theater-like box
- multicolored niche
- surrounded by double columns
- broken pediment and rounded stage adds drama
- perspective given to focus on event
- deeply undercut folds creates high play of light and shadow which therefore creates more drama
- gilded bronze rays
- stained glass window with natural lighting
- sky with holy spirit accentuated by paint and stucco
- side panels
- - carved in marble relief are members of the Cornaro family discussing this event in dramatic fashion
- - high relief done in strong perspective
- - background is low relief
- - barrel vaulted coffered ceilings
- mix of spiritual and physical passion
- difference in textures from clouds to cloak go flesh to wings
- visual illusion of theatricality and sensitivity for achieving the Counter-Reformation's goals
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- San Carlo Alle Quattro Fontane
- Artist: Borromini
- Era: Italian Baroque
- Location: Rome
- Techniques:
- losing power of eminent domain - utilized every aspect of land they could get
- innovation of highly undulating surface area
- rounding out walls with concave and convex surfaces
- sculptural effect of a building
- contours give the building an elastic quality
- architectural innovation
- combination of central and basilica plan gives fluidity of surface area, Greek cross hybrid
- oval creates a long axis between entrance and apse
- side walls are moving in a undulating flow in reverse motion of the facade
- secondary facade has a narrow bay with tiny a bell tower
- corner faces and intersection
- double register facade
- undulating surface area separated by double columns
- doors and window mimicked from top to bottom registers
- columns are rapid projections out of the walls
- projection out of concave surface
- coffered oval dome
- windows hidden in its base
- unimpeded by segments and bays and aisles
- oval mosaic on the floor that mimics the rest of the structure
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- Chapel of St. Ivo
- Artist: Borromini
- Era: Italian Baroque
- Location: College of Sapienza, Rome
- Techniques:
- inside college of wisdom
- concave facade
- convex and concave forms that project on the lower and upper levels
- powerful pilasters on drum that are used to restrain the forces of the dome - seem to be pushing the dome back in
- buttresses just above pilasters that curve upwards to brace the lantern that spirals into the sky
- no straight lines
- contoured edges
- star with rounded points
- rounded apses
- interior in flower shaped, organic
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- Conversion of St. Paul
- Artist: Caravaggio
- Era: Italian Baroque
- Techniques:
- light source is above picture frame
- light comes down from heaven and makes him fall off of his horse
- arms outstretched as an allusion to the crucifixion
- seems like a stable accident
- horse fills the picture frame, horse's butt
- supernatural lighting - a beam of light that shoots across the darkness of the image
- light falls centrally on st paul and the horse
- perspective and chiaroscuro bring viewer closer to the scene
- originally placed on a chapel wall at eye level
- optical experience used to stage a visionary one
- meant to seem commonplace at first glance
- attaining sainthood could happen to anyone
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- Calling of St. Mathew
- Artist: Caravaggio
- Era: Italian Baroque
- Techniques:
- oil on canvas
- tenebrism lighting in a diagonal
- set in a tavern
- light source is a another window outside the picture frame
- every figure was modeled after a criminal
- almost can not see Christ
- light hits Christ's halo
- arm position is similiar to Creation of Adam by Michelangelo - influence of Michelangelo and alludes to the idea that Christ is the second Adam
- St. Mathew's face is highlighted by the light
- no halo on St. Mathew
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- Death of the Virgin
- Artist: Caravaggio
- Era: Italian Baroque
- Techniques:
- oil on canvas
- originally intended as an altarpiece
- awkward stiffness of virgin, unceremonious
- her body is swollen and her limbs are uncomposed and feet are bare (sacreligious)
- prostitute posed for Mary
- looked at a local dead woman that had drowned
- heads are well illuminated
- Renaissance device of curtain pushes figure to foreground and creates a stage-like setting
- viewer is part of the ceremony
- harsh light with tenebrism
- differentiates between textures of fabrics
- focussed on piety
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- Entombment
- Artist: Caravaggio
- Era: Italian Baroque
- Techniques:
- plebian figure types
- all of the action is in the foreground
- figures are positioned on a stome slab that corner faces the viewer
- planned to have been placed behind an altar so that it looks as though they a going to place his body on the altar
- gives a visual form to the Doctorine of Transsunstantiation
- based on setting
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- Judith Slaying Holofernes
- Artist: Gentileschi
- Era: Italian Baroque
- Techniques:
- tenebrism - lighting highlights main action and projects it into the foreground - heightens the drama
- story from the Old Testament
- Judith seduces Holofernes and then kills him
- blood poors down soft white sheets - provides contrast
- it does take two women to kill him
- strain is realistic
- verticality places focus on tension - sword accented with his arm, the maidservant's arm, and his other arm
- Judith is off-center with diagonal arms to help accentuate the drama of the vertical
- line and lighting*
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- Judith and the Maidservant with the Head of Holofernes
- Artist: Gentileschi
- Era: Italian Baroque
- Techniques:
- look up as if they here a noise
- lighting is inside picture frame with candle - tenebrism
- heavy curtain, Renaissance, more oppressive space - alludes to the oppression of the people
- hand interrupts the lighting - creates drama
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- Flight into Egypt
- Arist: Carracci
- Era: Italian Baroque
- Techniques:
- ideal Classical landscape
- nature that is ordered by divine law and human reason
- influence of Venetian Renaissance paintings
- tranquil hills and fields, quiet gliding streams, serene skies, unruffled foliage, and shepards with flocks of sheep - props of a pastoral scene, things required to create this mood
- screen of trees in the foreground - dark against the even lighting of the sky
- terraces of land create a zig zag through the terrain and lead the viewer's eye to the middleground
- depicted architecture like Renaissance
- Mary and Joseph are small in the foreground to make them props in the landscape
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- Aurora
- Artist: Guido Reni
- Era: Italian Baroque
- Techniques:
- quadro riportato style
- Aurora is the goddess of dawn who leads Apollo's chariot
- dawn is breaking in the piece while the allegory of the hours are dancing around Apollo
- uses body proportions of Raphael but are more graceful
- more sucessful in articulating the female figure
- females have soft modelling
- inspired by Classical Antiquity
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- Triumph of the Barberini
- Artist: Pietro da Cortona
- Era: Italian Baroque
- Techniques:
- ceiling fresco
- commissioned by Pope Urban VIII (of the Barberini papal line)
- overwhelm the spectators with the glory of the Barberini popes
- flat ceiling
- allegories
- -Divine Providence in a halo of radiant light directing Immortality who is holding a crown of stars - she is bestowing eternal life on the Barberini family
- - laurel wreath is their eternal legacy floating around Barberini v's
- - virtues of Faith, Hope, and Charity support the wreath and their legacy
- papal tiara and two keys that announce the personal triumphs
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