Chapter 19 - Baroque in Italy and Spain
Chapter 19 - Baroque in Italy and Spain AH 1750
Popular in Survey of Art II
Popular in Art & Design
This 4 page Class Notes was uploaded by Reyanda Frederick on Wednesday September 28, 2016. The Class Notes belongs to AH 1750 at Georgia State University taught by Susan E. Richmond in Fall 2016. Since its upload, it has received 20 views. For similar materials see Survey of Art II in Art & Design at Georgia State University.
Reviews for Chapter 19 - Baroque in Italy and Spain
Report this Material
What is Karma?
Karma is the currency of StudySoup.
You can buy or earn more Karma at anytime and redeem it for class notes, study guides, flashcards, and more!
Date Created: 09/28/16
Chapter 19: Baroque Art in Italy & Spain Vocabulary Term May be important • Baroque ○ Barroco: Portuguese word for "imperfect pearl" Embrace of curves ○ ○ Style was born in Italy • "Saint Peter's Basilica" by Bernini (FIG. 19-4 pg. 584) ○ Michelangelo was first commissioned to complete Saint Peter's; his design incorporated Renaissance ideals/the Vitruvian man (circle w/in a square) ○ Maderno was commissioned next; his design excluded paganist ideas (was shaped like a cross; the design was also elongated, which allowed for more people at the mass ○ Bernini completed Saint Peter's § The shape of his design kept w/ the Baroque style; visually looks like the arms of the church reaching out to embrace faithful people • "David" by Bernini (FIG. 19-6 pg. 586) ○ Marble ○ Commissioned by Cardinal Borghese (high in ranks of church) ○ Bernini chose to represent a moment of action in the story § Contortion of the body encourages the viewer to walk around the sculpture ○ David is represented as an older man • "Cornaro Chapel Decorations" by Bernini (FIG. 19-7 pg. 587) ○ Marble sculpture, paint ○ Commissioned by the Cornaro family ○ On both sides of center panel are theater boxes with sculpted members of the Cornaro family ○ "Ecstasy of Saint Teresa" by Bernini (FIG. 19-8 pg. 587) § Story - Saint Teresa has a vision of being pierced by arrows that symbolize the love of God (which equals pain and ecstasy) § Deep pockets in sculpture allow a lot of shadow and light; visually enhances the sense of drama § Magical feel that symbolize the love of God (which equals pain and ecstasy) § Deep pockets in sculpture allow a lot of shadow and light; visually enhances the sense of drama § Magical feel □ The sculptures appear to be floating against the wall □ Hidden window illuminates sculpture in the day □ The gold metal rods (rays of light) also create the magical feel • "Glorification of Saint Ignatius" by Fra Andrea Pozzo (FIG. 19-24 pg. 600) ○ Ceiling fresco § Baroque ceilingswere dramatic and told significant religious stories ○ Scene is of Saint Ignatius rising into heaven ○ Looks like ceiling is gone/audience is looking directly into the heavens (trompe l´oeil = trick the e(i sotto in sù = seen directly from above) ○ Seven continents are represented in painting (animals from each region w/ region's group of people); represents the spread of the Catholic Church • "Conversion of Saint Paul" by Caravaggio (FIG. 19-18A pg. 594) ○ Oil on canvas (up until this point, paintings were only done on ceilings/buildings; one of the 1st instances of canvas painting) ○ Night painting ○ Commissioned for church in Rome ○ Story - Paul was knocked off his horse and blinded. While blind he comes into contact with Christ. Wen his sight is restored, he becomes converted. ○ Lighting in painting is cat enebrism (which means murky; refers to shadowy manner of painting) § Most of Caravaggio's scenes happen at night w/ a spotlight that partially illuminates scene (light only focuses on key components- everything else fades into the shadows) ○ Dramatic use of perspective • "Calling of Saint Matthew" by Caravaggio (FIG. 19-18 pg.594) ○ Oil on canvas ○ Night painting ○ Story - Matthew was dealing w/ people who were involved in illegal activities when Christ (who was accompanied by Saint Peter) called him § Painting was meant to depict that anyone can be called by Christ ○ Painting is of a dark, shadowy space w/ one piercing, diagonal ○ Story - Matthew was dealing w/ people who were involved in illegal activities when Christ (who was accompanied by Saint Peter) called him § Painting was meant to depict that anyone can be called by Christ ○ Painting is of a dark, shadowy space w/ one piercing, diagonal spotlight § Spotlight picks up the faint halo on Christ's head • "Judith and Holofernes" by Gentileschi (FIG. 19-19 pg. 595) ○ Oil on canvas ○ Gentileschi's father was a successful painter; he trained her and passed on night painting technique ○ Story - Judith saves her people by infiltrating an enemy camp, seducing their leader (Holofernes), and decapitating him ○ Book of Judith is only in the Catholic bible Spain and New Spain • There were two main patrons in Spain: the Catholic Church, and King Philip IV • "Saint Serapion" by Zurbaran (FIG. 19-27 pg. 602) ○ Oil on canvas ○ The subject matter is the moment where Saint Serapion was martyred for his faith ○ Use of tenebrism ○ Painted piece of paper next to Serapion identifies him and contains that artist's signature as well ○ The painting is located in a monastery in a room where monks were laid to rest (for reflection) • "Christ on the Cross" by Velázquez (FIG. 19-29A pg. 603) ○ Oil on canvas ○ Use of tenebrism ○ Lighting creates illusion of Christ floating/makes of think of Christ as an apparition (ghost) • "Water Carrier of Seville" by Velázquez (FIG. 19-29 pg. 603) ○ Oil on canvas ○ Subject matter is an everyday moment (Velázquez spent his early career painting everyday moments instead of religion) ○ There is a lot of mystery to this piece of work • "King Philip IV of Spain" by Velázquez (FIG. 19-30A pg. 604) ○ Oil on canvas ○ As a painter of the court, Velázquez did a lot of portraiture (especially of the king) ○ This painting was commissioned to celebrate a victory in battle ○ Velázquez deflects our attention from the king's face with an extravagantc ostumeand a confident posture ○ Oil on canvas ○ As a painter of the court, Velázquez did a lot of portraiture (especially of the king) ○ This painting was commissioned to celebrate a victory in battle ○ Velázquez deflects our attention from the king's face with an extravagantc ostumeand a confident posture § The king's family line had a genetic abnormality that disfigured the face • "Las Meninas (The Maids of Honor" by Velázquez (FIG. 19-31 pg.605) ○ Oil on canvas ○ Most popular of all his artwork due to its complexity ○ Cast of painting includes the princess, her maids in waiting on either side of her, a dwarf and a child near a dog, and the king and queen reflected in the mirror in the back § The princess may have been the subject as she was the only heir to the throne, which makes her very important ○ Questions that arose from the painting include: "Why are the maids the focus?" and "What is the main subject matter?" § One theory suggests that Velázquez is painting the king and queen (who are in standing where the audience views the painting from) while everyone else watches (the perspective of the king and queen is off) § Another theory is that the mirror reflection is of the painting that Velázquez is painting and not the actual king and queen § Velázquez may be painting the painting that we see ○ The painting may have been painted as a way to preserve the wealthy view of the Spanish empire § The empire was in a decline; the royal family lived in poverty in the palace, sometimes going without food and firewood § Symbolism □ Spain was so wealthy because of colonialism; the Spanish brought back many items from the New World □ Pottery from Mexico and silver (which is represented by the cupbeing handed to the princess on a silver platter) □ Red dyefrom cochineal insect ( curtainin mirror reflection) ○ Velázquez painted himself into the painting wearing a red cross; the red cross was a symbol for the order of Santiago, which could only be joined by aristocrats; he was not an aristocrat, but he gained entry because of his skill
Are you sure you want to buy this material for
You're already Subscribed!
Looks like you've already subscribed to StudySoup, you won't need to purchase another subscription to get this material. To access this material simply click 'View Full Document'