1. BERNINI a.

David -technical virtuosity -Baroque exuberance, patronage of the pope, expressive energy -about to release the slingshot -antithetical to Michealangelos personality and art: family man, fast worker, systematic -much more dynamic, climactic in the midst of action -motion and emotion, movement and psychological intensity breaking new grounds - implied presence of Goliath b. St. Theresa of Avila -Ecstacy of St. Therese pose, facial expressions Angel pierced the heart of St. Therese saw visions of God -exploiting drama through background, natural light, grand setting -Baroque sculpture: active relationship with space it inhabits -canopy in St. Peters; Sta. Maria della Vittoria c. Apollo and Daphne -1622-25 -humane, Daphne resists advances of Apollo so wished to become a tree instead -commissioned by Cardinal Borghese 2. CARAVAGGIO -painter, premiere Italian painter in Baroque Caravaggioesque, Caravaggism Northerner birthplace near Milan a. Last Supper or Supper at Emaus -more, big, gestures; emphatic and full of drama -resurrected but incognito Jesus reveals himself to the 2 disciples only to soon vanish from their sight

-Jesus raised from the dead -shadows are heightened, exaggerated, no more middle tones -boldly illuminated figures against dark, mysterious backgrounds -paintings have lay Christianity b. Doubting Thomas -Thomas, poking his finger to the wound of Christ -dark background, extreme chiaroscuro strong contrasts between light and dark; contrasts of light to achieve a sense of volume in modeling 3-dimensional objects such as the human body c. Calling of St. Matthew - Depicting moment in which Jesus inspires Matthew to follow him - naturalism sacred subject depicted in terms of contemporary low life - Come Follow Me strong impact blinding spotlight, forceful arm, dramatic - Different interpretations as to who is Matthew in the painting bearded man Me? or Him? - Halo on Jesus commanding gesture maybe borrowed from Michelangelos Creation of Adam d. David - 1599 - dark, few light, expressions - Light on young Davids leg, shoulders, arm and flank, on the head itself and everything else is dark - Intensely personal and private no triumph, no armies, no victory

e. Deposition of Christ - Raphael with background, natural world for distraction - Caravaggio more dynamic CROPPING, blackout, spotlight, more exaggerated gestures - What makes this a counter-reformation painting? Bloodless Christ unlike spanish post-crucifixion painting with gore, not feeling pain even if a finger is directed to the wound of Christ, his body is a muscled thick-limbed laborer compared to the bony-thin depiction

Makes this different mary depicted as an old woman rather than as a young woman which was usually the norm Raised arms mary of cleophas

- Person in painting more direct to audience 3. The Caravaggisti a. Gentileschi : Judith Slaying Holofernes - Worked most in Naples - Woman painter sued teacher who raped her - Baroque erotic and violent scenes - Extracting revenge - JUDITH SLAYING HOLOFERNES 1611-12 - Partly realistic because it was very personal to Artemisia - Exploit chiaroscuro and an unidealized vision of common humanity violent effect - Homicidal heroine, women playing a dominant role - Black background, illuminated humans - 2nd getting away with murder b. Zurburan: St. Serapion Spanish, praying monk, Caravaggios follower - Plain and simple, quiet intensity of devotional pictures - Counter-Reformation mysticism Dramatic lighting - ST. SERAPION Caravaggesque style - 1628 oil on canvas - Calm depiction of a violent death - Miguel de Cervantes, Don Quixote c. De La Tour: St. Joseph

- Dark, dramatic, seated - Candle source of light - Accentuating impact of viewer - Candle and mirror increases illumination 4. Caracci -less radical than Caravaggio - anti-Mannerist style since 1580s a. Farnese Palace Ceiling Fresco - famous but thought second only to those of Michelangelo - Rich, intricate design of narrative scenes; surrounded by painted architecture, simulated sculpture and nude youths - Carefully foreshortened and illuminated from below exuberance - Reformer rather than a revolutionary - At best, succeeded in fusing diverse elements such as revival of the classics and returning to nature 5. Guercino a. Aurora - Architectural perspective and pictorial illusionism - One limitless space; figures sweep past as if propelled by winds 6. Da Cortona a. Glorification of the Reign of Urban 8th - Most overpowering of all these ceiling frescoes is in the great hall of the Barberini Palace in Roma - Simulating architecture and sculpture, but beyond it we see the unbounded space of the sky - Clusters of figures perched in clouds or soaring freely, swirl above as well as below this framework - Dual illusion: figures hovering inside the hall; while others recede into a light-filled, infinite distance - Dynamism literally sweeps us off our feet Baroque style reaches its resounding climax

FLANDERS 1. Rubens a. Masacre of the Innocents The new most expensive painting from Baroque, sold in 2002: The Massacre of the Innocents - $76.7 M Most expensive work by an old master From the bible, one of the most savage events, massacre of all newborn boys ordered by Herod to prevent the emergence of a Messiah Referred to as one of the best history painters of the baroque period Movement, muscle, flesh, above all, emotion Diagonals, color contrasts, relationships between figures

b. Samson and Delilah Climactic moment of cutting of hair his strength coming from his hair; having fallen asleep on Delilahs lap, a servant cuts his hair, then after, the weakened Samson is arrested by Philistine soldiers Rubenesque feminine, vuluptuous Ideal of full-breasted, broad-waisted, more womanly, dimpling and puckered flesh of female nude Smoothness and warmth of skin Old woman at the back is not really part of the biblical scene symbolism woman of the past and Delilahs future Crossed hands of the cutter sign of deceit

Commissioned by an alderman for his townhouse c. Rape of the Daughters of Leocippus Enhanced swirling impression of dynamic movement Diamond of intersecting diagonals, twisting Unerotic, unmystical religious sensibility

Phoebe and Hileira

d. Arrival of Marie de Medici One of the 24 canvases that comprise the Medici cycle Loosely depicts the life of Marie de Medici -symbolism of heaven and earth History and allegory altogether

2. Rembrandt a. Samson Being Blinded lay Christian Old Testament Sparse details on background, lighting Oriental splendor and violence Flare, flamboyance, energy full of emotion, full of character Rags-riches-rags internal and extrenal problems; compassion for the poor Very still work, not very dramatic

b. Man with a Golden Helmet MAN WITH A GOLDEN HELMET Like Jan van Eycks Man in a Red Turban self-portrait Successful but sad moral tale Questioning the standard of success that doesnt lead to happiness

c. Return of the Prodigal Son Focus on relationship among figures mysterious, supernatural light Simple, but deeply felt emotion Interprets mercy with an extraordinary solemnity that goes beyond all works of Baroque art in the evocation of religious mood and human sympathy Like his final word, aged artist

Expressive lighting + simple setting = full impact of event Light against enormous dark surface Repentant sinner leaning against his fathers chest and old father bending over his son

d. The Night Watch Myth KLM Airlines in 1967: See Night Watch. Rembrandts spectacular failure that led to his bankruptcy in truth, painting was not poorly received, no word in dispraise of it, never hidden in some obscure location incidentally, both night and watch are wrong guards, by the time Rembrandt painted them, were no longer necessary to guard the ramparts of Amsterdam or go out on watches by day or night Meetings have been diverted chiefly as social or sporting activities Insignificant incident as a grand historical spectacle on a huge scale military company Canvas had become so darkened by dirt and layers of varnish that it was difficult to tell if illumination was provided by Rembrandt from sun or moon Suffered from the ministrations of restorers Rembrandt brown thus impression of a monotonous colorist Not until WWII was the painting fully restored Contrasts of light and shade, brilliant and drab color Variety of poses, gestures, expressions Contained not only 18 guardsmen (in real life) but also 16 other figures bark of the dog, rumble of the drums, cries of children One reason of his decline was definitely the change of Dutch taste; too much chiaroscuro

e. Bathsheba Dvavid invites Bathsheba, very meaty underneath Been regarded as an icon for breast cancer in the 1980s 2 Australian surgeons interpreted the blue mark on her breast as breast cancer, wrote an article Then researchers from MIRA institute demonstrated that it is highly unlikely that it was really caused by the disease through computer simulations not so useful, man she died centuries ago

In practice, breast cancer tumours are located much deeper, and deeper tumors dont show any color Model is very probable to be Rembrandts lover Ignored the standard treatment of the scene King David gazing; outdoor setting in this case, we the viewers, are the voyeurs Naked figure of no perfection

3. Vermeer From a man who kept on representing himself through his artworks (Rembrandt), now this Vermeer a. The Artist and His Studio The Artist and His Studio Its subject has no subject; the ties of silence unite these two people; an interplay of space and light both separates and unites them Artist presented from the back Suit is actually the fashion from 150 years before this present: why? Strange anachronism. Woman leaves on her head, carrying a book and trumpet what does she represent? neither looks at the book, the trumpet, painter, but the still life in front of them Grail geometry, symbolic, studio, paint Clio muse of history Trumpet = fame Conspicuous elements: Chair inviting viewer to the painting Chandelier not lighted Netherlands, predominantly Protestant Vermeer was a Catholic Map at the back Subject of the painting: History Social status of the artist checkered tiles means rich GENRE SCENES Vermeers hardly has any narrative

b. Woman Holding a Balance GENRE SCENES Vermeers hardly has any narrative Genre meaning type or kind Scenes that show people at work, play or rest Intention of not who people are, but what they are doing WOMAN HOLDING A BALANCE Woman steadies her scales before weighing her gold and pearls Framed painting of the Last Judgment silhouettes her serene figure just as Christ weighs souls, so as the woman tests a balance Mirror in front of her reflects a self-knowledge

Subtle meaning is reinforced by Vermeers exquisite refinement of composition and lighting c. A Lady Writing Vermeer was a painter of light Example of modern photo na ganito Used camera obscure or darkened chamber ancestor of modern photographic camera employing an adjustable lens Duplicates the selective focus of the eye Precise highlights glisten from the writing box, pearl earrings, satin hair ribbons, brass from chair all equally in middle distance

Nearby table cloth is purposely blurred, then painting at the back is hazy d. Allegory of Faith Vermeer established hierarchy of subjects in painting HISTORY religion in this case PORTRAIT LANDSCAPE STILL LIFE ALLEGORY OF FAITH

- She professes her faith, scriptures, chalice, crucifix Painting within a painting Hanging spidery glass ball one desperately seeks Vermeers reflection, as one would on Van Eycks Arnolfini

4. Hobbema a. The Avenue at Middleharnis -landscape 5. Kalf a. Still Life with Drinking Horn Pronkstilleven onstentatious still life display of luxurious possessions that reflected the wealthy lifestyle of Holland Venetian glass, Chinese porcelain, Turkish garments Also carries symbolic significance Map of holland Trees classic example of perspective and vanishing point Light tonality, colorful palette, smooth technique Landscape in real life hunger games

6. Steenwyck a. Allegory of the Vanities of Human Life Vanitas painting religious work in the guise of still life cautions viewer to be careful of wealth and pleasures of life as this can be an obstacle to the path of salvation Emphasis on subordination and prominence Skull universal symbol of death Lamp indicates passage of time; mortality Idea of worthlessness Chronometer or pocket watch idea of time transcence

Shell luxury high social status in Netherlands Symbol context of being shallow or empty shiny on the outside, hollow on the inside Ecclesiastes the more you increase knowledge, the more you increase sorrow

7. Jan Van Goyen a. Fort on a River Landscape Artist Landscapes are painted for a wide public, sold on open market and bought Fort on a River Naturalistc, local scenery Symbolic nationhood shared set of ideas binding people together, contemporary scenes 2/3 of canvas - sky

8. Jacob Van Ruisdael a. Windmill at Wijk Dramatic, heroic windmill scene Greatest Dutch landscape painter

HOLLAND 1. Frans Hals a. The Merry Drinker Dutch Golden age painter, loose brushwork, - Paintings are vivid and vibrant Portraits and portrait-like figures form contemporary life Influenced by Rubens Studies of expression and character Unrestricted by his sitters, free to work out his INDIVIDUAL MANNER very free brushwork

THE MERRY DRINKER Instantaneous life, spontaneity of brushwork; painters individuality and novelty Comes across as if a person you meet at a bar Anticipates 19th century Impressionism Baroque: rendering of instantaneous emotion and movement

Most frequently he shows the instant when joy of life is at its highest b. Laughing Cavalier one of the most brilliant of all baroque portraits Involved gorgeous, expensive silk costume Turning pose and low viewpoint allow emphasis on lower sleeve and lace cuff In general, commissioned portraits such as this rarely showed individuals smiling until late 18th cent, though smiling is often seen in tronies and genre paintings

A Cavalier only in 1888 was it given the title laughing cavalier

SPAIN 1. Diego Velasquez a. Water Carrier of Seville Noblest and most commanding man of his time in his country Great skill in merging color, light, space, rhythm of line, and mass in such a way they all have equal value Putting dignity on the lower class: THE WATER CARRIER OF SEVILLE b. Pope Innocent 10th Seated in cathedra, red background, Center of attention face Best portrait of portraits Style of Titian, single space

- royalty, courtliness of the most rigid character was his task to portray, not individual personality however, this portrait leads on to suspect that there might have been more interpretation had the painter been free to express it As court painter, he spent large of his life recording in his cool, detached way

Objective appearance of the rigidly conventional household with little interpretation but with the keenest eye for selecting what was important for pictoral expression c. Las Meninas Portrait of Infanta Margarita, daughter of King Philip IV Margarita dropped in to see Velasquez at work, stops right next to him seemed perplexed portrayed by Velasquez Paradox/peculiar strangeness: Infanta definitely not posing for her portrait King and Queen reflected in the back wall mirror therefore we assume that Velasquez is painting the portrait of the royal couple standing behind his easel but looking deeper, Margarita is the center of attention and focus of Las Meninas - greatest work The artist as an intellectual, not a craftsman

The Theology of Painting Exteding space, expansive High ceiling, glances of characters Makes use of vanishing point MULTIPLICITY OF SUBJECT Artist dressed as court official elevation of his social status In the studio, sleepy dog Venetian richness in colors Practice of using pigment in short or long, thin or thick, hasty and spontaneous but actually most skillfully calculated strokes Velasquez as a forerunner of the modern practice or direct painting

2. Murillo a. Boy with a Dog painter of sweetness and light Demure rosy-cheeked Virgins dismissed as sentimental, weak and inconsequential unlike his far darker, more serious contemporaries Zurburan and Velasquez His paintings made them perfectly suited for Counter-Reformation tastes

ENGLAND 1. William Hogarth a. Scene 3 of The Rakes Progress 1734 Modern moral subjects Picture that comes from a set A young wanstrel is overindulging in wine and women Scene is full of visual clues Yet however literal-minded, the picture has great appeal Entertains us that we enjoy his sermon without being overwhelmed by its message Probably the first artist in history to become a social critic in his own right

2. Thomas Gainsborough a. Robert Andrews and his Wife Portraiture remained the only constant source of income for English painters Began painting landscapes, but ended as the favorite portraitist of British high society Unpretentiously at home in their setting Landscape, derived from Ruisdael, has a sunlit, hospitable air never achieved by Dutch masters

FRANCE 1. Nicolas Poussin a. Rape of Sabine Women Despite the grandeur in art NICOLAS POUSSIN (1594-1665) Greatest French painter of the century like many European artists, was drawn to Rome Inspired by Titian, Venetian qualities Highest aim of painting is to represent noble and serious human actions In logical, orderly way general and typical Defined himself against the prevailing Baroque tastes of his adopted city and steadfastly followed his own artistic path Sensitivity to the nuances of gesture, design, color and handling he varied according to the theme at hand RAPE OF THE SABINE WOMEN 1634-35 and 1637-38 Was able to display to the full his unsurpassed antiquarian knowledge, together with his mastery of complicated relations of figures in dramatic encounter Depicts Romulus at the left giving the signal for abduction

Second architectural setting is more developed b. The Four Seasons Ideal landscape: The Four Seasons: Summer or Boaz discovering Ruth gleaning corn in his field from the Book of Ruth Set of four oil paintings 1660-1664 Each painting conveying the different seasons and times of the day Philosophical reflection on order in the natural world executed when he was in failing health suffering from tremor in his hands Iconography evokes not only the Christian themes of death and resurrection but also the pagan imagery of classical antiquity

Depicting the grandeur of nature: benign in Spring, rich in Summer, sombre yet fruitful in Autumn, cruel in Winter Chose to symbolize each season by a specific episode from the Old Testament

SPRING: THE EARTHLY PARADISE AUTUMN: THE SPIES WITH THE GRAPES OF THE PROMISED LAND WINTER: THE FLOOD

ROCOCO 1. Watteau a. Pilgrimage on the Isle of Cythera 1717 Showing young aristocrats on a pastoral landscape Interweaves theater and real life fetes galantes elegant fete or entertainment Slim, graceful figures

2. Boucher a. Marie Louise O Murphy Painting nude in a very sensual manner; b. Hercules and Omphale Lust rather than love Greek MythologY: O- River God; H-famous for his strength 3. Fragonard a. The Swing Not profound, Lacks emotional depth Rubeniste, spontaneous Flirtation, decadent vices of rich