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Baroque- Spain and Flanders

by: Diana Laura Gerardo

Baroque- Spain and Flanders 1306-001

Marketplace > University of Texas at El Paso > Art > 1306-001 > Baroque Spain and Flanders
Diana Laura Gerardo
GPA 3.75

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About this Document

Here is the last set of notes you'll need for the quiz tomorrow, March 30, 2016. Good luck!
Art History II
Anne Perry
Class Notes
Art History
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This 2 page Class Notes was uploaded by Diana Laura Gerardo on Tuesday March 29, 2016. The Class Notes belongs to 1306-001 at University of Texas at El Paso taught by Anne Perry in Winter 2016. Since its upload, it has received 25 views. For similar materials see Art History II in Art at University of Texas at El Paso.


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Date Created: 03/29/16
I. Baroque: 1600 - 1700 a. The Baroque in Spain i. Philip II and Philip IV were both avid art patrons. ii. Spanish works are quieter and not as dramatic. iii. The interest in capturing realism is indebted to Caravaggio. iv. Philip II’s repressive policies caused the Netherlands to revolt. v. Flanders (the southern provinces now divided between France and Belgium) remained under the control of the Spanish until 1648. b. José de Ribera, Martyrdom of Saint Philip, ca. 1639. Oil on canvas. i. Meditation piece. ii. Saint Philip is not a proportionate figure. iii. Saint Philip is looking to the heavens. c. Francisco de Zurbaran, Saint Serapión, 1628, Oil on canvas. i. Has tenebrism (the style of lighting and shadow in a theatrical manner; a spotlight of sorts). ii. Bodegón- Originally refers to a lower class eating and drinking establishment, such as a tavern. But here, it refers to a category of 17 century Spanish still-life painting that typically features still-life elements, cooked or uncooked food, and genre or lower class individuals (sometimes eating the food). d. Diego Velásquez, Water Carrier of Seville, c. 1619, Oil on canvas. i. Diego Velasquez was discovered by Count Olivares. ii. He is the most important Spanish painter. iii. Bodegón painting. iv. The man has torn clothes, is sunburned from being out on the streets, dirt hands—means he is lower-class or even homeless. v. Caravaggio’s tenebrism can be found here. e. Diego Velásquez, Las Meninas, 1656, Oil on canvas. i. Las f. Peter Paul Rubens, Elevation of the Cross, Antwerp Cathedral, Antwerp, Belgium, 1610, oil on canvas. i. “Christ’s body seems weightless ii. The diagonal line created by the shroud follows Christ's body, makes the shroud move with Christ iii. This work is heavily influenced by previous Italian depictions of this scene. iv. The diagonal sweep, play on lights, and the emotion makes the scene extremely dramatic.” g. Peter Paul Rubens, Arrival of Marie de Medici at Marseilles, 1622-1625, oil on canvas. i. Marie de Medici was married to Henry IV. She was a member of the wealthy Medici family. ii. In this painting, Neptune is present as well as naiads. iii. She is attended to by deities. h. Anthony Van Dyck, Charles I Dismounted, c. 1635, oil on canvas. i. Van Dyck- Became a court painter for Charles I. ii. Charles I has a satin shirt, a walking stick, tilted hat, and is doing a haughty pose. i. Clara Peeters, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611, Oil on panel. i. Self-portrait in the glass. ii. This work embraces more color, light, and texture than the norm and has overlapping forms.


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