New User Special Price Expires in

Let's log you in.

Sign in with Facebook


Don't have a StudySoup account? Create one here!


Create a StudySoup account

Be part of our community, it's free to join!

Sign up with Facebook


Create your account
By creating an account you agree to StudySoup's terms and conditions and privacy policy

Already have a StudySoup account? Login here

Art History Week 7

by: Katie Truppo

Art History Week 7 ARTH 173

Katie Truppo
GPA 3.4

Preview These Notes for FREE

Get a free preview of these Notes, just enter your email below.

Unlock Preview
Unlock Preview

Preview these materials now for free

Why put in your email? Get access to more of this material and other relevant free materials for your school

View Preview

About this Document

Baroque, Italian (Rembrandt)
Western Art History
Aurelia D'Antonio
Class Notes
Art, history
25 ?




Popular in Western Art History

Popular in Arts and Humanities

This 28 page Class Notes was uploaded by Katie Truppo on Tuesday October 11, 2016. The Class Notes belongs to ARTH 173 at University of Tennessee - Knoxville taught by Aurelia D'Antonio in Fall 2016. Since its upload, it has received 4 views. For similar materials see Western Art History in Arts and Humanities at University of Tennessee - Knoxville.

Similar to ARTH 173 at UT


Reviews for Art History Week 7


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: 10/11/16
Lecture 15 9.26.16 Netherlands Baroque •  Age of Colonialism Peter Paul Rubens, The Raising of the Cross. 1610-11 •  One of most important painters in Europe •  Painted for high altar •  Figures have massive, steroidal quality ◦   Even though immense mass, very expressive (women in distress) •  Pairing of devotional grief with soldiers on each side Peter Paul Rubens, Drawing after Michelangelo’s Ignudifrom the Sistine Chapel Ceiling. ca. 1601-02 •  Extreme foreshortening, trademark of Michelangelo Left: Rosso Fiorentino, Descent from the Cross, 1521 Right: Peter Paul Rubens, The Raising of the Cross, 1610-11 (central panel) •  2 scenes of the same event •  Composition imitated by Rubens ◦   Size of cross •  Rueben’s Christ is much more dramatic ◦   Details shown in landscape and light/shadows to illuminate Left: Caravaggio, The Calling of St. Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, 1599-1600 Right: Peter Paul Rubens, The Raising of the Cross, 1610-11 •  Ruben’s uses dramatic light, similar to Caravaggio •  Not as dramatic, but still used to dramatize/illuminate Left: Titian, Bacchanal, 1518 Right: Peter Paul Rubens, The Raisingof the Cross. 1610-11 (right wing) •  Venetian and Dutch painting styles are similar ◦   Texture, color, light Peter Paul Rubens, Marchesa Brigida Spinola Doria, 1606 •  Textures in collar and dress ◦   Calls attention to nobility and luxury Peter Paul Rubens, Marie de’ Medici, Queen of France, Landing in Marseilles (November 3, 1600). 1622-25 •  Cycle of 21 paintings •  Scene is from earlier event of Marie's arrival in France after marriage to Henry the 4th ◦   Accompanied by court ◦   Man in blue cape with flour de lis represents France welcoming her ◦   Fame is allegorical character above her announcing her arrival wit trumpet ◦   Neptune in water with other humans/creature accompanying her •  “Ruben’s bodies" Peter Paul Rubens, The Garden of Love. ca. 1638 •  Style similar to what will come in the Rococo movement •  Celebration of love ◦   Wife depicted in center but also in faces of other women ◦   Statue of Venus in right corner ◦   Bright blue sky ◦   Ancient Roman building garden setting •  Textures shown in fabric ◦   Moving away from higher naturalism, more towards playing with light Anthony van Dyck, Rinaldo and Armida. 1629 •  Ruben’s assistant •  Fantastical recreation of the First Crusade ◦   Sorceress falls in love with Crusader she was supposed to kill Anthony van Dyck, Portrait of Charles I Hunting, 1635 •  Interest in picturesque landscape •  Not very regal for a royal portrait ◦   Doesn’t take away from status, shows other side than official Left: Anthony van Dyck, Portrait of Charles I Hunting, 1635 Right: Nicholas Hilliard, A Young Man among Roses, 1588 •  Portraiture in nature •  Incorporated into nobility portraits Jacob Jordaens, The King Drinks, 1638 •  Takes place on Epiphany ◦   Family celebration, they would call someone “the King" •  Similar to Ruben’s style ◦   Depiction of figures Jan Brueghel the Elder and Peter Paul Rubens, Allegory of Sight. 1617 •  “The Wonder Room" ◦   Opportunity for painters to depict vast collections of patrons •  Showed variety of objects owned by patrons ◦   Roman portrait busts ◦   History paintings ◦   Allegorical scenes ◦   Religious ◦   Portraits/Landscapes •  Allegory of Sight personified and sitting to take in the visual arts Clara Peeters, Still Life with Fruit and Flowers, 1612 •  Represents early still life •  Fruit, wine, coins, knife, grasshopper, flowers, ◦   Variety and artist’s eye ◦   She is reflected in pewter vase ◦   Hypothesized that knife has her name inscribed to commemorate her wedding Frans Snyders, Still Life with Dead Game, Fruits, and Vegetables in a Market. 1614 •  Became more elaborate •  Focus on variety •  Alive things: cat, rooster, and boy picking man’s pocket ◦   Hyper naturalism Jan Davidsz. de Heem, Still Life with Exotic Birds. Late 1640s •  Prince still life: ostentatious •  Colonial theme represented with exotic animals/objects   Lecture 16 9.28.16 Left: Hendrick Goltzius, Farnese Hercules, ca. 1597, Engraving Right: Hendrick Terbrugghen, Singing Lute Player. 1624 •  Left: Dutchmen on journey to Italy looking in awe at Hercules •  Right: Used style of Carravggio ◦   Including colors and outfit •  Ideas of antiquity combined with dramatic tenebrism being brought to Dutch painting Frans Hals, Banquet of the Officers of the St. George Civic Guard, 1616 •  Commission for common space •  Ritualistic and ceremonial quality, flaunts status Frans Hals, Married Couple in a Garden: Portrait of Isaac Massa and Beatrix van der Laen. ca. 1622 •  Couple with setting of country villa ◦   Relaxed environment Left: Jan van Eyck, The Arnolfini Portrait, 1434 Right: Frans Hals, Married Couple in a Garden: Portrait of Isaac Massa and Beatrix van der Laen. ca. 1622 •  Very different settings/environments Left: Frans Hals, The Jolly Toper, ca. 1628-30 Right: Judith Leyster, Self-Portrait, ca. 1633 •  Both casual takes on the once formal style of portraits Judith Leyster, The Proposition, 1631 •  Subject is stitching •  Common for scenes of “the approach" ◦   Normally painted by men, but painted by woman shows different reaction ◦   Men showed acceptance of advances, Judith showed rebuffing Rembrandt van Rijn, Portrait of Saskia van Uylenburgh. 1633 •  Silver point drawing of his wife •  Reminiscent of countryside life and being in love Rembrandt van Rijn, The Blinding of Samson. 1636 •  Baroque light •  Interest of drama in scene ◦   Visceral reaction to gore Rembrandt, The Night Watch (The Company of Captain Frans Banning Cocq). 1642 •  Dramatic scene and lighting Rembrandt van Rijn, Bathsheba with King David’s Letter. 1654 •  Sorrow and anxiety because she is pregnant with David’s child Rembrandt van Rijn, Self-Portrait. 1658 •  Self advertising his skills in how self portrait •  Technique of imposto: thick layering of paint ◦   Naturalistic, but playing with light and paint Jan van Goyen, Pelkus Gate Near Utrecht. 1646 •  Art for markets (landscapes, genre, architecture) •  Supposed to be real city, but not painted exactly ◦   Moved things to make most picturesque Jacob van Ruisdel, View of Haarlem with Bleaching Grounds. ca. 1670 •  Recognized because of the skyline Jacob van Ruisdael, The Jewish Cemetery. 1655-70 •  More mysterious than realistic scene •  Tombs, tree, ruins of church all point to decay of civilization Pieter Saenredam, Interior of the Choir of St. Bavo’s Church at Haarlem. 1660 •  White washed walls •  Stripped of liturgical furnishings Willem Claesz, Heda. Still Life with Oysters, a Roemer, a Lemon, and a Silver Bowl. 1634. •  Everyday use combined with luxury •  Frozen in time ◦   Staged but interrupted (overturned)   Lecture 17 9.30.16 Georges de La Tour, Joseph the Carpenter. ca. 1642 •  France: Classicism returned under Louis the 14th •  Georges de La Tour never went to Italy, inspired by people who studied Caravaggio •  Quiet, introspective scenes with religious subjects ◦   Joseph (Christ’s father) with child Christ ◦   Christ’s hand around candle similar to blessing gesture Simon Vouet, The Toilet of Venus. ca. 1640 •  Richly colored fresco •  Venus shown in “primping" scene ◦   Even though mid undressed, not overly erotic but subtly suggestive •  Similar to Venetian style •  Color and light Nicolas Poussin, The Death of Germanicus,1627-28 •  Structured, strict emphasis on history painting ◦   Mythological, biblical, historical scenes •  Heroic death scene ◦   Perspective ◦   Not as idealized/colorful as baroque Nicolas Poussin, The Abduction of the Sabine Women. ca. 1633-34 •  Theft of women from another town •  Meant to be heroic narrative •  Display of Roman architecture Nicolas Poussin, Landscape with St. John on Patmos. 1640 •  Landscape shows ruins of city (ruins of past) ◦   Melancholic, contemplative atmosphere ◦   By putting St. John with classical elements, makes landscape more than just a landscape ◦   Elevates subject matter Claude Lorrain, A Pastoral Landscape. ca. 1648 •  One of the first to paint oil paintings outside •  Because of forgers, he kept records of his paintings and who he sold them to Left: Giorgione/Titian, Fête Champêtre (Pastoral Concert), 1509-10 Right: Claude Lorrain, A Pastoral Landscape. ca. 1648 •  Escape to nature to rejuvenate the soul •  Difference is A Pastoral Landscape is nostalgic ◦   Looking back longingly Left: Anthony van Dyck, Charles I Hunting, 1635 Right: Hyacinthe Rigaud, Portrait of Louis XIV. 1701 •  Way to succeed in academy was to paint history painting (high status) •  Return to formal environment and setting ◦   Still have similar pose Louis Le Vau, Claude Perrault, and Charles Le Brun. East Front of the Louvre, Paris. 1667-70 •  Return to Classical style ◦   Temple pediment ◦   Colonnades •  Only thing not Classical was double columns •  Using prestige of Romans to puff up own status Louis Le Vau and Jules Hardouin-Mansart. Garden front of the center block of the Palace of Versailles. 1669-85 •  Increasingly horizontal Jules Hardouin-Mansart, Louis LeVau, and Charles LeBrun. Galeriedes Glaces (Hall of Mirrors), Palace of Versailles. Begun 1678 •  240 feet long •  Rooms of War and Peace and either side •  Mirrors used to make room feel larger ◦   Mirrors were very expensive, showed wealth Jules Hardouin-Mansart, Charles LeBrun (the room and decoration), and Antoine Coysevox (for the relief, The Triumph of Louis XIV). Salon de la Guerre (Salon of War), Palace of Versailles. Begun 1678 •  Combination of sculptures create theatrical ensemble •  Different Textures and colors to create an effect ◦   A little Baroque Aerial view of Versailles •  Garden of Versailles ◦   Idea of taming nature ◦   18,000 acres ◦   Shows dominance of Louis 14’s rule over people and nature ◦   Shape of garden echo shape of palace ◦   East to West: sun sets on one side to the other (Louis 14th known as Sun King) Left: Jules Hardouin-Mansart. Church of the Invalides, Paris. 1677 -91 Right: Plan of the church of the Invalides •  One of architects from Versailles •  Corner chapels •  Chapel where wounded soldiers were taken Left: Jules Hardouin-Mansart. Church of the Invalides, Paris. 1677-91 Right: St. Peter’s, Rome •  Similar dome style Left: Jules Hardouin-Mansart. Church of the Invalides, Paris. 1677 -91 Right: St. Peter’s, Rome, façade by Carlo Maderno •  Facades step up to central pediments  


Buy Material

Are you sure you want to buy this material for

25 Karma

Buy Material

BOOM! Enjoy Your Free Notes!

We've added these Notes to your profile, click here to view them now.


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'

Why people love StudySoup

Bentley McCaw University of Florida

"I was shooting for a perfect 4.0 GPA this semester. Having StudySoup as a study aid was critical to helping me achieve my goal...and I nailed it!"

Jennifer McGill UCSF Med School

"Selling my MCAT study guides and notes has been a great source of side revenue while I'm in school. Some months I'm making over $500! Plus, it makes me happy knowing that I'm helping future med students with their MCAT."

Jim McGreen Ohio University

"Knowing I can count on the Elite Notetaker in my class allows me to focus on what the professor is saying instead of just scribbling notes the whole time and falling behind."


"Their 'Elite Notetakers' are making over $1,200/month in sales by creating high quality content that helps their classmates in a time of need."

Become an Elite Notetaker and start selling your notes online!

Refund Policy


All subscriptions to StudySoup are paid in full at the time of subscribing. To change your credit card information or to cancel your subscription, go to "Edit Settings". All credit card information will be available there. If you should decide to cancel your subscription, it will continue to be valid until the next payment period, as all payments for the current period were made in advance. For special circumstances, please email


StudySoup has more than 1 million course-specific study resources to help students study smarter. If you’re having trouble finding what you’re looking for, our customer support team can help you find what you need! Feel free to contact them here:

Recurring Subscriptions: If you have canceled your recurring subscription on the day of renewal and have not downloaded any documents, you may request a refund by submitting an email to

Satisfaction Guarantee: If you’re not satisfied with your subscription, you can contact us for further help. Contact must be made within 3 business days of your subscription purchase and your refund request will be subject for review.

Please Note: Refunds can never be provided more than 30 days after the initial purchase date regardless of your activity on the site.