Arh 205 Final - Identification

Front 1

Back 1

Pontormo
The Entombment or Deposition of Christ (1525-1528) Florence

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Back 2

Bronzino
Portrait of a Young Man (c. 1530-1545)
Florence

Performance; Mask

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Back 3

Parmigianino
Madonna with the long Neck (1534-1540)
Parma

column refers to the Virgin Mary

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Back 4

Sofonisba Anguissola
Self-Portrait (c.1556)

Front 5

Back 5

El Greco
Martyrdom of Saint Maurice and the Theban Legion (1580-82)
For the Escorial

Rejected by Philip II for its lack of Decorum, wasn’t considered appropriate for Counter-Reformation ideals - No clarity of message, martyrdom is represented in the corner, not dignified.

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Back 6

El Greco
Burial of the Count of Orgaz, 1586-88
for church in Toledo

more in tune with Counter-Reformation ideals: Represents the apparition of St. Augustine and St. Stephen during the burial of a 14th century Toledan nobleman; Emphasizes Catholic view on Good works as essential for salvation

Front 7

Back 7

Annibale Carracci
Loves of the Gods (1597-1601)
Farnese Gallery, Rome

Commissioned by Cardinal Farnese; Possibly commemorates marriage of Cardinal’s brother; decorates a room that was used as an art gallery: Quadro Riportato: simulated easel paintings; Illusionism: Awe, Wonder

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Back 8

Annibale Carracci
Assumption of the Virgin (1601)
Private chapel in church in Rome

compare to Caravaggio, Crucifixion of St. Peter, in the same chapel (Rome, c. 1601)

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Back 9

Caravaggio
Bacchus (1597-98)

Front 10

Back 10

Caravaggio
Calling of St. Matthew (c. 1597-1601)
Private chapel in church in Rome

Including individuals with contemporary dress - makes the painting more approachable.

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Back 11

Caravaggio
Crucifixion of St. Peter (c. 1601)
Private chapel in church in Rome

Compare to Annibale Carracci, Assumption of the Virgin, in the same chapel, (Rome c. 1601).

Front 12

Back 12

Caravaggio
Entombment (c. 1603)
Private chapel in church in Rome

Transubstantiation: the transformation of the Eucharistic bread and wine into the body and blood of Christ

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Caravaggio
Judith Beheading Holofernes (c. 1599)

exemplifies the limitations of a method based on copying from the model only.

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Artemisia Gentileschi
Judith Slaying Holofernes (ca. 1614–1620)

Compare to Caravaggio, Judith Beheading Holofernes (c. 1599)

She challenges the limitations of Caravaggio's method of coppying only from the model

Front 15

Back 15

Artemisia Gentileschi
Self-Portrait as the Allegory of Painting (1630)

Pittura (Ripa’s Iconologia); compare to: Dürer, Self-Portrait (1500); Titian, Self-Portrait (16th cent); Rubens, Self-Portrait (1638-40)

Representing in the act of painting, which is very rare.

Front 16

Back 16

Bernini
Apollo and Daphne (1622-4)
Galleria Borghese, Rome

Was displayed in a room used as art gallery; showpiece for Bernini; theme from Ovid’s Methamorphoses; Awe, Surprise, Wonder

Front 17

Back 17

Bernini
David (1623-4)
Galleria Borghese, Rome

Compare to Michelangelo, David (1501-1504); Donatello, David (c. 1440-1460)

Front 18

Back 18

Bernini
Ecstasi of Saint Teresa (1645-52)
(Chapel in church in Rome

Represents Saint Teresa of Avila, a Spanish mystic known for her visions and trances who had just become saint in 1622: Great example of Baroque’s interest in psychology, the representation of extreme feelings, and the sense of infinite through light; theatrical elements; Bel composto - different elements of art in one work (use of sculpture, painting, and architecture, also light)

Front 19

Back 19

Bernini
Saint Peter’s Piazza (1656-1667)

Urban VIII: Combines the Greek cross plan of the Renaissance church with the early Christian Basilica (need to accommodate more people and archeological interest in the early church); Saint Peter’s represented the symbolic seat of the Papacy, so it had to be spectacular; Bernini created four rows of huge columns (colonnades) that have the effect of embracing all who enter the piazza, symbolizing the welcome the Roman Catholic Church gave its members during the Counter-Reformation.

Front 20

Back 20

Velázquez
Las Meninas or The Maids of Honor (1656)

Self-portrait; portrait of the princess Margarita; portraits of Philip IV and his wife (reflected in a mirror); Cross of Santiago (military order).

Showing his pride, in being in the presense of the Royal Family

Front 21

Back 21

Rubens
The Raising of the Cross (1610-11)
Antwerp, Flanders/Belgium

Triptych; life model; ancient sculptures (Laocoon); created after oil sketch

Front 22

Back 22

The Marie de’ Medici Cycle (c.1621-1625)
Paris, France

Front 23

Back 23

Rubens
The Presentation of Marie de’ Medici’s Portrait to Henri IV (1622-25)

Henry IV; Zeus; Juno; France

Front 24

Back 24

Peter Paul Rubens
Allegory of War (1638)

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Back 25

Frans Hals
Pendant Portraits of Married Couple (Stephanus Geraerdts and Isabella Coymaus) (1650-52)

Pendants (meant to be displayed next to each other), follows some of the typical conventions of portraiture: pale woman (inside the home); darker-skinned man (works outside); woman at the left of the man (lesser side). Also offers some innovations (more informal; intimacy between the couple; Calvinist ideas of marriage for love; lose brushwork)

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Frans Hals
Double Marriage Portrait (of Isaac Massa and Beatrix van der Laen) (c. 1622)

Double portrait: even more intimate; informal poses; Calvinist ideas of marriage for love; landscape setting; lose brushwork)

Front 27

Back 27

Frans Hals
Archers of Saint Hadrian (c. 1633)

Militia Company (only symbolic function at this point): enlivens the tradition of group portraiture through variety of postures and brushwork: accomplishes function of presenting the unity of the group and each of its members simultaneously.

Front 28

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Rembrandt
The Night Watch (1642)

Civic-Guard (Militia Company); commissioned around for the banquet room of Amsterdam’s new Musketeers Hall; Captain Frans Banning Cocq: Conventions of History painting; portraits subordinated to main action: a parade; theme of fire arms relates to this group’s right to carry fire arms.

Front 29

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Rembrandt
Self-Portrait with Gold Chain (1633)

Gold chain refers to the admiration bestowed by kings and nobles; self-portrait becomes a kind of performance; interest in the expression of the passions of the soul

Front 30

Back 30

Rembrandt
Return of the Prodigal Son (c. 1665)

Religious work for protestant audience; psychology; light creates a mood; rough painting.

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Back 31

Clara Peeters
Still Life with Flowers, Goblet, Dried Fruit, and Pretzels (1611)

Self-reflection in goblet works as a kind of signature and reveals pride in her profession as the ultimate craftsman (skill at representing different media); it also establishes connection with the Northern tradition (Van Eyck’s self-reflections); tulips (expensive, imported)

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Pieter Claesz
Vanitas Still Life (1630s)

Example of “vanitas still life:” where the representation of material possessions is tamed by objects that remind us of the vanity of worldly goods (following Calvinist believes); References to mortality and the passing of time; Self-portrait of the artist appears as reflection.

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Willem Kalf
Still Life with Chinese Jar (1669)

Trade and economy are suggested here through some of the objects; reflects prosperity of the Dutch after independence; the presence of the watch also reflects vanitas ideas - the passing of time:
material wealth isn't important when compared with the scale of time.

Front 34

Back 34

Jacob van Ruisdael
View of Haarlem (c. 1670)

Landmarks (Church, windmill); Harmony between Town and Country, Rural and Urban; Nationalistic Pride: The Dutch, contrary to much of Europe, actually own their own land.

Produced for the Art Market. A painter usually specialized in one genre.

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Vermeer
View of Delft (c. 1661)

Cityscape; camera obscura

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Back 36

Vermeer
The Art of Painting (c.1666-7)

The attributes of this woman are those of Clio, the muse of history; laurel crown; trumpet; book; map on the wall; interest in women as subject (Saint Luke painting the Virgin); skill at representing different media.

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Back 37

Vermeer
A Maid Asleep (1656-57)

Maid was entertaining a male guest, had too much to dring, and fell asleep. At the time, maids were seen as lazy and loose.

Front 38

Back 38

Vermeer
The Letter (1666)

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Back 39

Vermeer
Woman Holding a Balance (1662-64)

Last Judgment; Introspection; Material vs. Spiritual

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Jan Steen
In Luxury, Look Out (1663)

Dissolute Household; World Upside Down; Comic Painting.