Arh 205 Final - Identification With Focus On Locations

Front 1

Back 1

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

Front 2

Back 2

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

Performance; Mask

Front 3

Back 3

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

column refers to the Virgin Mary

Front 4

Back 4

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.

Front 5

Back 5

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 6

Back 6

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

Front 7

Back 7

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)

Front 8

Back 8

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

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

Front 9

Back 9

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 10

Back 10

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

Front 11

Back 11

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 12

Back 12

Bernini
David (1623-4)
Galleria Borghese, Rome

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

Front 13

Back 13

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 14

Back 14

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

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

Front 15

Back 15

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

Front 16

Back 16

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)

Front 17

Back 17

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)