Professional Documents
Culture Documents
96
– offering the viewer the wine
• with other hand he is loosening his toga
– possibly homoerotic, was Caravaggio gay?
» 1603—accused of having male and female lovers
• Representational strategies
– traces of Mannerism
» face is stylized, idealized
– Rejection of mannerism also present: extremely
REALISTIC fruit basket
» Not idealized at all
» Reaction against mannerism,
– New Baroque traits
» Very physical
» Importance of interplay with viewer
» Very direct, not complicated
» Convincing reality effects (the still life)
Caravaggio,
Fortuneteller,
• More Baroque than “Bacchus”
1596
– complete break from mannerism
• So immediate and true to life
• Moralizing theme
– fortuneteller and young man
– he’s infatuated with her and she is stealing his ring
» the foolish young man
– Her sash points to the important part of the painting—
the hands
» Shows women as wily deceivers, moral of not trying
to grow up too fast
• Why is it baroque
– Basic figures
– neutral background that doesn’t complicate scene
– sash points to what is important
– convincing reality effects
– realism
– detail
– texture through the use of light
» crinkled cotton, leather gloved, cold medal of sword,
feathers
Annibale Caracci,
Butcher Shop,
–
1582
Earlier than Caravaggio, but he is
more baroque than Caravaggio
– Well organized
• Strict verticals and horizontals
– Brush work inspired by Venetian
Renaissance
• Painterly brush strokes
– References to Michelangelo
• Butcher is Noah
• Animal about to be slaughtered represents
figures in foreground of Noah painting
Caravaggio, Calling
of St. Matthew,
1598-1600
– First religious
Caravaggio
commission given to
– Saul, 1600-01
the way to his persecution, stuck down by God and becomes
a Christian…becomes ST. PAUL
Depicts it as inner religious experience of one person,
spiritual exercise, not historical event
• Other representations have many people watching (none
here)
• This scene however has been reduced to figures and a
horse
– no background
– Composition
• Saul is foreshortened, made small, vulnerable
– dwarfed by enormous horse
• only illusion to divine are three yellow lines coming down
from top right
• Use of light
– makes figures sculptural
– brings out texture
– transfixes Saul to the ground, pushes him down
• Horse senses something important is going on and lifts
his leg to not step on Saul
– Baroque Technique
Caravaggio,
Crucifixion of St.
–
Peter, 1600-01
Peter wanted to be crucified upside down
because he was not worthy of being crucified
right side up like Christ
– Much tension
– Dirty, unidealized figure lifting the cross
• Feet dirty, rear end up and out
– realistic human imperfection
– Peter
• Rugged old man
• Michelangelo’s natural musculature
• Presented as symbol of humanity
– all of the torturers are faceless and inhumane
Caravaggio,
Madonna of
Loreta, 1603-04
– Subject: Pilgrims pray to the image of
Madonna and Child and their faith causes the
pair to appear
• This is like the panels of the Flemish Renaissance
where patrons are rewarded with miraculous image
for praying hard
– Divinity is once again very underplayed
• Only one step up from pilgrims
• No shoes
• Face is slightly idealized (slight reference to
Mannerism?)
• Man can practically touch the feet of the Christ
child
– Humble
• Crumbling house
• Pilgrims entirely unidealized
• Profoundly humble and personal
Caravaggio,
Burial of St.
–
–
–
Lucy, 1608
Huge painting
Painted in Sicily when he was on the run from the law
Somber and pessimistic
• Resignation to death and burial of St. Lucy
• Nothing suggests afterlife or divine presence
– gloom from absence of light
• Arrangement of figures
– look in different directions
» no communal response to death
– no communication with viewer
– Large grave diggers, very tiny dead Lucy on the
ground
• Composition—depressing
– upper half of canvas empty
» makes humans looks puny and powerless
before death
Caravaggio,
Adoration of the
Shepherds, 1609
– Painted while Caravaggio was still on run
from the law
– This picture is uplifting, bright, lighted,
optimistic
– Expression of shepherds are very realistic
and truthful
– Baroque use of light
• Picks out faces
• Shows interaction between baby and Mary
• Light comes to rest on a basket in the
lower left corner
– basket contains bread, altar cloth, and
carpentry tools (Joseph’s career, and the
tools of the crucifixion)
Artemisia Gentileschi,
Judith Beheading
•
• Holofernes, 1630
Artemisia's background:
Brilliant prodigy
• Raped by her drawing teacher—case against him ended in 9
months, teacher defended himself by saying she was
promiscuous
– Tortured during trial to get her to tell the truth
– Case ends when she marries an Italian and moves, later
divorces him
– Trial killed reputation because it made her appear
promiscuous
3 curved walls
4 fully projecting columns instead
of pilasters
5 rhythmic bay arrangements
6 fusion of sculpture and
architecture 7 coextensive
San Carlo alle Quattro Fontane,
1648
Francesco Borromini
Bernini
Classical Baroque:
Triangular pediment
Church of
Santa Maria
delle Carceri
1685-92
Giuliano da Sangallo
Displays the
Realism.
Spanish.
…Lowly, dignified people evoke higher
ideas
…Secular scenes have religious intent
…Few mythological scenes because the
Inquisition banned female nudity,
essential to mythological art
…Why
….Spanish culture has always preferred
reality effects Fernando Gallego (1470)
—early Renaissance reality effects
….Influence of Spanish Mysticism—
unification of the soul with god
..mystical union described in earthy,
realistic, plain-spoken language,
religion reveals itself through the
most mundane parts of life
Spanish.
Realism.
….Artists.
….Jusepe De Rib
….Francisco de
Zurbaran
….Velazquez
St. Jerome and the
Angel of Judgment.
Ribera…
No notes
1626.
on this.
..
Ribera… Drunken
Silenus.
Grotesque approach to mythology
…Dark, grotesque colors 1626.
…Satyrs and father of Silenus, Pan, pr
Moral—represents the evils of over i
…Sluggish turtle
…Sluggish donkey
..
Woman.
Ribera…grow a beard, and at 52 she
and her husband had a baby
…Demonstrates Spanish interest in
the grotesque, unusual, macabre
…Emphasis gender flexibility
….Emphasis on manly-looking
features 1631.
…Yet exposes large breast
….Husband is timid in background
….Spanish fad in cross-dressing
and crossing gender roles
…is this due to strictness of
..
….Club-footed, tooth-
paper ed Boy.
rotted peasant boy, smiling, holding a
that says “Give me alms
for the love of god”
…This gives form to the
catholic view of salvation—to
perform good works
1642.
assures your place in paradise
…Boy
….Smiling because he is
an instrument of salvation and
will go to heaven
..
…Indifferent to his
suffering, Christ-like
….Has great dignity,
St.
…Meant to be a model for the monks of
the monastery it was commissioned by
…Serapion—Murdered in Africa trying to
convert people
Zurbara Serapion
162
…Depicts the monk hanging from a tree
by his arms
…Spanish traits
….Spanish austerity—Not
gory details, just the peacefulness
following the martyrdom
…Composition
n…..
…Block-like composition
…Hands turned in so as not
to disrupt the box shape
…Extremely balanced
…Loops of drapery
counter-balance the head on the
left to keep balance of
composition
…Extremely 3D
…Simple—three objects
Still Life with
…Lemons, Basket of oranges, a
Group of a cup, pewter saucer, and rose
Oranges and
…Eye moves from left to right (lemons to cup
…Move up to leaves of oranges
Zurbara Lemons.
and down into oranges, forceful
indentation of naval of oranges forces
1633.
you to stay there
…Moves down toward cup
…Handle is turned toward the
left, opposite side that most right-
handed viewer would grab—this cup is
not for the viewer
n…..
…Mood
…calm
…dark background
…Religious theory
…The objects represent the
Virgin Mary
…Rose—represents Mary’s
divine love
…Lemons—represent her
fidelity
…Unable to walk, shown seated
…Possible interpretations
Dwarf Francisco Lesc
…Penitent composition—subject
Velazque 1634.
sits by rocky wall/cave
distant landscape (like Ribera’s
by a
“Mary Magdalene”)
…why?—makes the
sitter more noble
…Warning
…This could happen to you
…The cards represent the “hand
z…..
you’re dealt”
…Joke
…To make fun of handicapped
people
…Hung in the royal hunting
lodge with other dwarf portraits
and animals
…It is a joke, then, to in the
Surrender
of Breda.
…Historical painting for the throne room, hung o
walls leading toward the throne
Velazque
…Depicts fall of Dutch Breda to the Spanish
…Dutch on left, Spanish on right
…Spanish depiction: Dark,
1634.
uniform outfits, Officers in front , Very
straight, proudly held-up lances,
Energetic horse
…Dutch depiction: Tattered
garments, Foot soldiers are in front, Useless,
blunt weapons, Tired horse
z…..
Main Scene: Justin of Nasa giving Spinoza the
key to the city
…puts hand on shoulder of Dutchman in
a chivalrous, friendly, respectful way
…Reveals influence of Italian trip
on Velazquez
…Paint effects
…Smokey atmosphere—sensitivity to
optical effects
Rokeby
…Rare example of mythology in Spanish
Velazque
art
Venus.
…Nudity is accepted because this
is a private commission …
Inquisition cannot take ban its production
…Body is facing opposite viewer
…Probably sourced from the
1649
“Hellenistic Hermaphrodite”
…Technical qualities
z…..
…Interest in texture
…Curves of the poses emphasized
…Venetian, painterly, colorful
brushwork
…Unidealized—flesh of real
woman/model
…Venus is older than usual—
beauty is fleeting
…Velazquez painting
princess Las
Velazque
…Paradoxes—reading of the
Menina
painting meant to be
unstable
…Is that a mirror or a
portrait
165
…Representation is an
z…..
act of blindness , not vision
…The picture looks out at
a scene for which it
itself is a scene
…False Reality—
Representation presented as
Spanish
Renaissance
and Baroque
Style:
n i c
Birth of Baroque in
History:
--European practices mixed with indigenous art forms
Americas
--Baroque realism aids political movements
How?---Cortez invaded the Americas to “free” the people
from their tyrant Montezuma, Spain won, so Spain gains
control of Americas from 1500 to 1800
Religion:
--Spiritual conquest: Goal of Spanish conquest was to
convert the natives to Catholicism; wanted to create a
new catholic utopia centered around mission complexes
— Destroyed temples and built churches, forbade local
artists to depict their saints
Backlash:
This started one of the greatest building booms in the
history of the world, assisted by native slave forced
Augustinian Mission
Complex
•
•
Acolman, Mexico
1540
Post-Cortez church at
– Typical counter-reformation church
• Focus is on altar
• Allows focus to procession to altar
– focus is on god at altar, not humans
• Plateresque—Spanish Renaissance
style in Mexico
• Spanish and indigenous Aztec arm is on
façade
• Looks like a military fortress
– Enormous fortress buttress
• Why?
– Designed to impress natives with power
of catholic church
Spaniards
• monks preached to them from balcony
• Located in same religious place used before the turn to
Christianity
“
• Atrium Cross
• You see just his face, not his body
• On the lower part of the crucifix there are stories of the
crucifixion
• Thought that these crosses were meant to teach people
about religion
• Base of cross: Mary sad about Christ
• Style
• Flat, native style
n i c
Doubting Thomas
Lopez de
Artega, 1640
•Looks very Caravaggio
•Textbook example of baroque realism
•Light adds drama
•Picks out important arrears
•Light creates texture
•Realistic wound is in the center
•Christ looks dead because this is after the
crucifixion
•Difference from Italian Baroque Realism
•Caravaggio is very realistic and modest
•Artega’s work is seductive and idealized
(mannerism)
Northern Baroque
Holland—mid-1600s
--Dominated by Protestants—Calvinists and
Mennonites
– Detailed, disorderly
• Trying to convey the confused mind of the
foolish alchemist who thinks he can make
gold
– Neglecting family
• Wife is in background wiping the babies
bottom
– associated with Dutch proverb: “This body, this
body, What is it but waste and shit?”
– Only the after-life matters
View of Dordrecht
Jan van Goyen, 1640
Harlem school
– Tonal landscape
• Colors are only yellow and grey and green
– Windmill and sand dunes signify
Holland
– Human figures very insignificant
– Sky dominates
Winmill at Wijk near Duurstede
Jacob van Ruisdael, 1665
– Focus is on windmill
– STRUCTURAL LANDSCAPE (or High Baroque
Dutch landscape)
• 1650-70s
• Controls your VIEWING!
• Forceful contrast of light and shade
• Sense of mass
– clouds have definite thick light and shade to create heavy
clouds
• Separation of parts of land (land, water, sky)
– In the Goyen, everything merges together
• Reading of picture is controlled by strong diagonals
• Less sky, more land
• Color contrasts are much more drastic than the Goyen
Jewish Cemetery
J.V. Ruisdael, 1660
– Structural landscape
• Rich, dark colors
• Dramatic use of light and shade
• Tangibility of objects depicted
– Allegorical
• Church ruins added in
– represent fleeting life
– also an attempt to Christianize the painting
• Rainbow represents hope
– Composition
• Eye enters in at left with rainbow because that is
how Westerners read
• Continues right toward tree that points down to the
coffins
Dutch Portrait
and Genre
paintings
Jonker Ramp and His Sweetheart
Frans Hals, 1623
• `
– Portrays an actual female bar-goer
– Body turns one way, head the other
• creates strong diagonal to organize painting
– Spontaneous brushwork
– Is this a portrait or a genre scene?
– Characterization of Malle Babbe
» Owl sitting on her shoulder
– supposedly a creature of night that is stupid by day
– emblem of stupidity and drunkenness
» she is grasping the pitcher of beer
– negative characterization of her ` `
The Proposition
Judith Leyster, 1630