1 / 41

ART HISTORY 2051

ART HISTORY 2051. Baroque: Italy & Spain. Baroque. painting: Italy Caravaggio (1571-1610) style: “realist” tendency rejection of Mannerism interest in surface textures & appearances human figure not prettified biography: bohemian in permanent revolt against authority

alton
Download Presentation

ART HISTORY 2051

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. ART HISTORY 2051 Baroque: Italy & Spain

  2. Baroque • painting: Italy • Caravaggio (1571-1610) • style: “realist” tendency • rejection of Mannerism • interest in surface textures & appearances • human figure not prettified • biography: bohemian • in permanent revolt against authority • fled Rome because charged w/ manslaughter • died of malaria

  3. Caravaggio (cont.) Bacchus (c. 1595) theme: mythological little reminiscent of god of antiquity drowsy soft mouth dainty gesture mood: subjective depth: suggested by foreshortening color: rejection of Venetian (re: Titian) Baroque

  4. Baroque • painting: Italy (cont.) • Artemisia Gentileschi (1563-1639) • style: Caravaggesque • scenes of feminine heroicism & revenge • biography: horrific life translated into themes of rape & torture • raped by her drawing teacher, Tassi, who then refused to marry her • Gentileschi’s father sued Tassi • Artemisia tortured w/ thumbscrews to test her veracity before Tassi was convicted

  5. Baroque • painting: Italy (cont.) • style: “Classicizing” tendency • principal artists: • Carracci (1560-1609) • Reni (1575-1642) • characteristics: • clarity, unity & decorum • figures: handsome faces & muscular bodies • composition: recalls Classical relief sculpture

  6. Baroque • painting: Italy (cont.) • style: “Dynamic” tendency (a.k.a. “High Baroque”) • perspective: architectural • technique: pictorial illusionism (e.g., painted framework) • intense light & color • composition: strong diagonals • figures: idealized & vigorous in action • principal artists: • Guercino (1591-1666) • Cortona (1596-1669)

  7. Baroque • sculpture: Italy • Bernini (1598-1680) • style: “Dynamic” tendencies • influences: Hellenistic antiquity • patrons: papacy in Rome • Baroque qualities: • spatial order: active vs. self-contained • realism of detail & differentiation of texture • drapery: abstract play of folds & crevasses • attempting pictorial effects traditionally outside sculpture’s domain

  8. Baroque • painting: Spain • Velázquez (1599-1660) • style: “Realist” tendency (re: Caravaggio) • color: Venetian richness (re: Titian) • brushwork: fluid & painterly • light: fascination w/ depicting fleeting effects • themes: • genre scenes • mythological • royal portraits (political & religious)

  9. IMAGE INDEX • Slide 3: CARAVAGGIO. Bacchus (c. 1597), Oil on canvas, 95 x 85 cm., Uffizi Gallery, Florence. • Slide 4: Comparison between TITIAN’s Bacchanal (1518) and CARAVAGGIO’s Bacchus (c. 1597). • Slide 5: CARAVAGGIO. Supper at Emmaus (c. 1600-1601), Oil on canvas, 139 x 195 cm., National Gallery, London. • Slide 6: CARAVAGGIO. The Calling of Saint Matthew (1599-1600), Oil on canvas, 10' 7 1/2" X 11' 2”, Contarelli Chapel, San Luigi dei Francesi, Rome.

  10. IMAGE INDEX • Slide 8: GENTILESCHI, Artemisia. Judith and Maidservant with the Head of Holofernes (c. 1625), Oil on canvas, 6’1/2” x 4’7”, The Detroit Institute of Arts. • Slide 9: Comparison between GENTILESCHI’s Judith (c. 1625) and CARAVAGGIO’S Judith Beheading Holofernes (c. 1598), Oil on canvas, 144 x 195 cm., Galleria Nazionale dell'Arte Antica, Rome. • Slide 11: CARACCI, Anibale. Ceiling fresco (1597- 1601). Gallery, Palazzo Farnese, Rome.

  11. IMAGE INDEX • Slide 12: CARRACCI, Annibale. Venus and Anchises (detail from Slide 11). • Slide 13: RENI, Guido. Aurora (1613), Ceiling fresco, Casino Rospigliosi, Rome. • Slide 15: GUERCINO. Aurora (1621-23), Ceiling fresco. Villa Ludovisi, Rome. • Slide 16: Comparison between the Classicizing tendency of RENI’s Aurora (1613) and the High Baroque tendency of GUERCINO’s Aurora (1621-23).

  12. IMAGE INDEX • Slide 17: Detail of CORTONA’s Glorification of the Reign of Urban VIII (1633-39), Portion of ceiling fresco, Palazzo Barberini, Rome. • Slide 19: BERNINI, David (c. 1625), Marble, height 170 cm., Galleria Borghese, Rome. • Slide 20: Comparison between Classical Greek Discuss Thrower (c. 450 BCE) and BERNINI’s Baroque David (c. 1625). • Slide 21: Comparison between BERNINI’s Baroque David (c. 1625) and MICHELANGELO’s High Renaissance David (c. 1500).

  13. IMAGE INDEX • Slide 22: BERNINI, Gianlorenzo. Bust of Scipione Borghese (1632), Marble, height 30 3/4”, Borghese Gallery, Rome. • Slide 23: BERNINI. The Ecstasy of Saint Therese (1647-52), Marble, Cappella Cornaro, Santa Maria della Vittoria, Rome. • Slide 25: VELÁZQUEZ, Diego. The Waterseller of Seville (c. 1619), Oil on canvas, 42 x 31 7/8”, Wellington Museum, London. • Slide 26: VELÁZQUEZ, Diego. Los Borrachos (1628), Oil on canvas, Museo del Prado, Madrid.

  14. IMAGE INDEX • Slide 27: Comparison between VELÁZQUEZ’s Los Borrachos (1628) and CARAVAGGIO’s Bacchus (1597). • Slide 28: VELÁZQUEZ, Diego. Venus with a Mirror (c. 1650), Oil on canvas, 122.5 x 177 cm., National Gallery, London. • Slide 29: Comparison between VELÁZQUEZ’s Venus with a Mirror (c. 1650) and TITIAN’s The Venus of Urbino (1538). • Slide 30: VELÁZQUEZ, Diego. Pope Innocent X (1650), Oil on canvas, 55 x 45 1/4”, Galleria Doria Pamphili, Rome.

  15. IMAGE INDEX • Slide 31: Comparison between VELÁZQUEZ’s Pope Innocent X (1650) and TITIAN’s Pope Paul III and His Grandsons (1546). • Slide 32: Comparison between VELÁZQUEZ’s Pope Innocent X (1650) and EL GRECO’s Portrait of Hortensio Felix Paravicino (c. 1605). • Slide 33: VELAZQUEZ, Diego. Las Meninas (1656), Oil on canvas, 10’ 5" x 9’ 1”, Museo del Prado, Madrid. • Slide 34: Details of Infanta Marguarite Therese (c. 1654), Oil on canvas, 128.5 x 100 cm., Kunsthistorisches Museum, Vienna.

More Related