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- Triumph of the Name of Jesus
- Artist: Giovanni Battista Gaulli
- Era: Italian Baroque
- Techniques:
- in church, Il Gesu - mother church of the Jesuit order
- in center to offer viewers into glimpse of heaven
- barely visible monogram of I H S - light is so blinding that sinners are thrown down back to earth
- glazed gilded architecture to enhance shadows and illusionism
- stucco extensions - painted sinners on stucco to heighten illusion that they are falling back to earth
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- Glorification of St. Ignatius
- Artist: Fra Andrea Pozzo
- Era: Italian Baroque
- Techniques:
- heaven is opening up over congregation
- continuation of actual church’s real architecture to look like pillars extend past the ceiling
- as if heaven and earth are co-mingling
- carried to Christ by 4 personifications of corners of the world
- disk in nave floor marks point where you should stand to get full perspective illusion
- in presence of heavenly and spiritual existence
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- Martyrdom of St. Bartholomew
- Artist: Jose de Ribera
- Era: Spanish Baroque
- Techniques:
- shock value added to brutal, harsh themes
- about to be skinned alive
- Spanish taste for courage and devotion
- dark in content and form
- executioners hoisting St. Bartholomew into position
- St. Bartholomew painted with rough skin and heavy body - worn plebian features - creates a connection between him and his tormentors
- Ribera scorns idealization
- courage and devotion to piety - understand seriousness and concept of looking at this piece
- crowd around that came to watch event
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- St. Francis in Meditation
- Artist: Zurbaran
- Era: Spanish Baroque
- Techniques:
- light is outside the picture frame
- sculptural figure with rigid attitude - more directly in contact with god
- eliminates setting
- holding a skull - remindes him of his own immortality - mememnto mori (reminder of death)
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- St. Serapion
- Artist: Zurbaran
- Era: Spanish Baroque
- Techniques:
- softened and more mystical/spiritual
- oil on canvas
- devotional image for funerary chapel
- St. Serapion participated during Crussades
- martyred while preaching to Muslims
- hands tied to a tree, tortured, and decapitated
- power in realism
- realism of texture and face
- sculptural quality as figure emerges from dark background and fills entire foreground
- light brings attention to him to add drama
- painted to look like deeply undercut folds of sculpture
- order of mercy dedicated to self sacrifice
- 2 tree branches and note pinned to tree- identifies him for viewer
- labeled as a commoner to evoke more sympathy from viewer
- quiet, contemplative
- devotion for funerary chapel like a cross to pray in front of
- realistic!!!
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- Water Carrier of Serville
- Artist: Velasquez
- Era: Spanish Baroque
- Techniques:
- renders figures with clarity and dignity
- contrasts light and dark
- plebian figures
- genre painting - everyday life
- paints water jugs in foreground with extreme detail
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- Surrender of Breda
- Artist: Velasquez
- Era: Spanish Baroque
- Techniques:
- in a palace hallway for King Philip IV
- depicts the Spanish victory over the Dutch in 1625
- sent General Spinola to reclaim Breda for Spain
- Spanish troops are organized and well armed in contrast to the Dutch
- mayor of Breda is in the center foreground giving keys to Spinola
- mayor almost kneels before Spinola but Spinola stops him
- Spinola also got off his horse
- these two factors show Spinola's benevolence
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- Fraga Philip
- Artist: Velasquez
- Era: Spanish Baroque
- Techniques:
- painted while on a campaign in the town of Fraga
- focus on exquiste clothing instead of his small frame and Hapsburh chin
- needlework on clothing shimmers
- depicted with his batton of command and sword but not in military attire
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- Los Borrachos
- Artist: Velasquez
- Era: Spanish Baroque
- Techniques:
- depicts the god of wine (half nude figure) and his followers
- plebian figures
- repeated faces
- light comes from outside of picture frame
- grey values - light and shadow are gradations of grey
- realistic and secular
- some believe Velasquez is sitting in the bottom left corner with his back to the viewer
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- Las Meninas
- Artist: Velasquez
- Era: Spanish Baroque
- Techniques:
- "The Maids of Honor"
- paints himself by the canvas in his studio in the palace
- princess is surrounded by all of her favorite things
- woman and man in middle ground represent the church
- visual and narrative complexity
- believed to be the king and the queen reflected in the mirror on the back wall
- application piece - Velasquez hoped to be promoted to the Order of Santiago, so he paints himself with the redcross on his chest
- his own paintings are hanging on the walls
- paintings on the top back wall are copies of Rubens
- brushstrokes are evident when close but look sharp from farther back
- three realities
- - canvas
- - mirror
- - optical scene
- natural lighting
- figures are grouped
- thin light brushstrokes create light figures, not sculpturesque
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- Elevation of the Cross
- Artist: Rubens
- Era: Baroque of Flanders
- Techniques:
- diagonal cross cuts back into space
- muscular men with contorted bodies shows strain
- twisting motion around a diagonal axis
- dramatic lighting comes from outside the picture frame
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- Rape of the Daughters of Leucippus
- Artist: Rubens
- Era: Baroque of Flanders
- Techniques:
- diamond composition heightens drama
- central axis
- cupid alludes to Greek mythology
- contrast of skin tones between men and women
- sheen of cloth and the bottom
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- Lion Hunt
- Artist: Rubens
- Era: Baroque of Flanders
- Techniques:
- dynamic diagonal composition
- Titian red
- figures fallin in and out of picture frame
- foreshortening anatomy
- bodies are at angles to the picture plane
- verocity of violence in nature - Romantic quality
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- Arrival of Marie de' Medici
- Artist: Rubens
- Era: Baroque of Flanders
- Techniques:
- widow of Henry IV, king of France
- welcomed by an allegroy of France wearing fleur de lises
- winged figure with trumpet is an allegory of fame
- below Neptune and his daughters are saluting Marie
- man in black and silver is of the Knights of Malta and provides a contrast of colors to the red and gold of the rest of the piece
- diagonal composition enhanced by the plank
- exquisite rendering of fabrics
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- Charles I Dismounted
- Artist: Van Dyck
- Era: Baroque of Flanders
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