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2011-02-28 22:52:28
baroque campbell

exam two part one
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    • Gianlorenzo, Berini, St. Peter's piazza designs and colonnade. 1657, Vatican, Rome
    • had four architects: Bramante, Mich, Maderno, and Bernini, originally designed to have a terzo braccio or third arm to hide the real space behind it and make it more awe inspiring, modeled after Campidoglio by Mich, interesting in correcting Maderno created illusion to make building look proportional
    • Berini, Baldacchino, gilt bronze. 1624-33, crossing, St. Peter's, Vatican, Rome
    • 100 feet high, the bronze is from the roof of the Pantheon, in the center is where St. Peter is buried and earliest depictions of Christ, Barberini family paid for the piece so their coat of arms is everywhere (bees), usually Baldachhinos are temporary and made of cloth so the bronze looks like cloth, figures of top: putto, putti, bees, the base is solomonic columns (twisting) reference to old Jewish religion, represents growth and change, gold leaf applied
    • Borromini, San Carlo alle Quattro Fontane, 1665-1667, Rome
    • small church where the four fountains meet, one big twisting curve, there are no flat surfaces/no right angles everything is curved, it is curved to make the small space look bigger, cupola dome with irregular coffers, has a window at the top of the dome to bring in dramatic light, tricked the eye into perspective
    • Bernini, St. Teresa in Ecstasy, marble. 1645-52, Cornaro Chapel, S.M. della Vittoria, Rome
    • Bernini made everything, structured as a theater set, St. T was a mystic open to diving interventions, ecstasy is a channel to be connected to christ/analogy to religious ecstasy, added a window to reflect on gold bars to make it shimmer and glow, members of the Cornaro family are in theater boxes looking at the show before them, above is covered with stucco and fresco, roof looks like it is bursting open
    • Gaulli, Triumph of the Name Jesus, ceiling fresco with stucco figures. 1672-85, Il Gesu, Rome
    • First Jesuit Church in Rome, stucco figures (3d), no clear narrative just one big scene of heaven being opened up (last judgement), comissioned for Il Gesu, center is Jesus's intials IHS around is organized figures, illregular composition to convey motion, all the figures are in motion set in during the time when the heavens open up, has a calculated light source from windows and shadows of the painting, movement from the brighest light to the darkness (hell), fresco crosses the window frame, multiple laters of illusions to create whole frame/scene
    • Caravaggio, The Calling of St. Matthew, oil/canvas. ca 1599-1600, Contarelli Chapel, San Luigi dei Francesi, Rome
    • on canvas and set into the arch. framework, right before/after Christ calling Matthew out, Jesus on the right with the halo, single vibrant source of light, unclear who matthew is, versed in iconographic tradtions, men dressed in rich comtemporary grab = put religious scene into modern setting, paints detail of dirty nails = non-idealized people, shallow space, minimal detail espically in the background, reduced palette, strong diagonals, likes Mich, usually got into trouble for religous pieces
    • Artemisia Gentileschi, Self-Protrait as the Allegory of Painting, oil/canvas, 1630
    • caravaggisti, allegory of the art tend to be women thus only women had the option to paint themselves this way, painting self as a painter painting, references from Iconogolgia a book fo signs and symbols, gold chain - artist hertiage, mask on necklace - actor of the arts, she is the act of painting, single point of light, in action, naturalism, shallow sense of space, reduced palette
    • Velazquez, Las Meninas (The Maids of Honor), oil/canvas. 1656
    • subject is the little princess, has self protrait in the act of painting, viewer is the kind and queen who can be seen in the mirror, painting a painting about painting a painting?, has maids, her dog, and dwarfs for entertainment, very loose brushwork, perspective painter,
    • Diego Valazquez, Water Carrier of Seville
    • a study of surfaces and textures of ceramic pots illuminated by dramatic light, painted from life
    • Carravaggio, Bacchus
    • painted exactly what he saw: farmer's tan, androgynous figure: painted lips and smoothly arched eyebrows, offering viewer wine, provocative invitation or just a young actor?
    • Annibale Carraci, Ceiling Gallery, Palazzo Fernese, Rome
    • to celebrate the wedding of the Duke of Ranucciur Farnese of Parma to the pope's niece, decipted love scenes from Ovid's Metamorphoses, central: The Triumph of Bacchus and Ariache, combines work of Mantegna, Correggio, Italian Ren, and classical Rome, gold framed easel painting - quadri ri portati (transported paintings), supposed to compared warm flesh tones of the youth in life like poses to the idealized painted bodies in the framed scenes, stucco painted sculptures of herms (coloumns topped with human torsos) seem to support the painted framework vault above they express feelings and seem to communicate with each other, inspired by Mich's Sistine Chapel, figures are heroic, muscular, anatomically correct and glows with warm light
    • Juan Sanchez Cotan, Still Life with Quince, Cabbage, Melon and Cucumber
    • plays off of irregular, curved shapes of the fruit wit hthe angular, geometry of the setting, perciesly ordered objects form a long arc, within a cantarero (primative ladder), set in strong light against darkness
    • Bernini, David
    • made for a nephew of Pope Paul IX, in action/motion, tension, determination, more mature, by making the figure twisted he incorporated the surrondings into the composition, by implying an unforseen enemy somewhere behind the viewer brings the viewer into the action
    • Zurbaran, St. Serapion
    • abstract design, martyrdom of Serapion who sacrificed self for Christian captives, rough hands and coarse rope contrast with the off-white of his habit that folds with the patterns of light, composition of a tragic still-life
    • Peter Paul Rubens, The Raising of the Cross, 1610-1611, Oil/canvas
    • trypitch, continuing scene, not caravaggisti: lots of color, more landscape, no darkness, combines caravaggio sense of space and caraggi's color, massive blockly twisting curvy muscular figures, woman are blockly twisting and curvy as a sense of beauty, feelings to motion to bad guy, gendre details: dog textures and color
    • Rembrandt, The Company of Captain Frans Banning Cocq (Night Watch), oil/canvas. 1642
    • commissioned by the militia, void space, golden girl is a allegory of the militia holds chicken claws the militia's symbol, in motion of marching, was not interesting in immensely detailed figures like Velazquez, impasto, loose brushwork, perspective painter
    • Hendrick ter Brugghen, Saint Sebastian Tended by Irene, oil/canvas, 1625
    • caravaggisti, light source, limited color palette, in the middle of the moment, dramatic before falling over emphasized with diagonal lines, don't know where they are, all figures are in the foreground/shallow, masterpiece, commissioned for altarpiece for a schulikerk (secret church) or armours and archer's guild, completing a motion of turning the head
    • Jan Vermeer, Woman Holding a Balance, oil/canvas, 1664
    • secular, domestic interior, last judgement in the background = weighing worldly goods vs spiritual goods, camera obscura blurs at intense light (can be seen on jewelry), figure edges is blurred non linear,
    • Anthony Van Dyck, Charles I at the Hunt
    • distant view enhanced structure, viewer distracted by graceful features, setting accomudating to height
    • Judith Leyster, Self Portrait
    • rich clothes and chair show her success as an artist, volin pun on artist with palette and brush, light and tecture, more controlled brushwork in the face compared to the bold thick brushwork in her skirt, narrow range of colors and warm spotlight
    • Rembrandt, Three Crosses (First State)
    • meaning of the life of Christ, worked on in five stages, tried to capture in Gospel of the crucifixition when darkness covered the earth, by fifth state almost completly changed it it became much darker, etching and drypoint (using sharp neddle to scratch shallow lines in a plate)
    • Rachel Ruysch, Flower Still Life
    • pot in center with an asymmertrical floral arrangement, pale oranges pinks and yellows, set against diagonal of the table, balanced light and shadow, emphasized curving flowers stems, inserts insects or fruit: moth and two snail shells, sketched perfect in bloom flowers and combined together in comp