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68 Cards in this Set
- Front
- Back
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Michelangelo, plan, St. Peter's 1546 - 1564 Vatican City, Rome -This plan opens up the space -Structurally more sound |
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Giovanni Battista Gaulli #Bernini, Triumph in the Name of Jesus, ceiling fresco w/ stucco 1672-1679 Il Gesú, Rome -ARCHITECTURAL EMBODIMENT OF THE SPIRIT OF THE CATHOLIC REFORMATION -Like you're lookin at the heavens
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Gianlorenzo Bernini, Baldacchino, gilt bronze 1624 -1633 St. Peter's, Vatican, Rome - Has bees = Barberini crest - Ridiculously large - THE EPITOME OF BAROQUE ART |
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Francesco Borromini, San Carlo alle Quattro Fontane, 1638 - 1667 Facade and dome, Rome - Used classical motifs in a modern way ~NEVER SEEN BEFORE~ |
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Bernini, St. Teresa in Ecstasy, marble. 1645 - 1652 Cornaro Chapel, S.M. della Vittoria, Rome Epitomizes the emotional side of Baroque - uses physical ecstasy as a metaphor for spiritual -Literally theatrical - Merges architecture, sculpture, painting |
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Caravaggio, The Calling of St. Matthew, oil/canvas 1599 - 1600 Contarelli Chapel, San Luigi dei Francesi, Rome - Limited pallet, strong light TENEBRISM -"Mysteries of faith revealed thru inner experience" kind of a reformation idea, but this made for a catholic church |
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Artemesia Gentileschi, Judith and Maidservant with the Head of Holofernes, oil/canvas 1625 - She's a lady, Judith kinda looks like her - Rich paler and tenebrism
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Diego Velázquez, Water Carrier of Seville, oil/canvas 1619 - The quiet side of Baroque, meant for tha homies - Illusionistic, first snapshot feeling - Bodegones |
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Velázquez, Las Meninas (The Maids of Honor), oil/canvas 1656 -Group portrait and genre - Velazquez's mature style -Explores optical quality of life more than anyone at the time |
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Caravaggio, The Musicians - Hella erotic - life-sized figures invite the viewer in |
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Annibale Carracci, Loves of the Gods - Ceiling paintings are typical of baroque art - Illusionistic but not hyper-realistic, - Reminiscent of renaissance |
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Guercino, Aurora Basically created High Baroque Super realistic, like you're looking up at the limitless sky trompe - l'oeil |
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Borromini, Sant'Ivo - Geometrically and architecturally unique - Typically Baroque |
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Bernini, David - Shows how baroque sculpture interacts with space around it - Most dramatic moment |
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Velázquez, Juan de Pareja - Triangular format developed during Ren - Super lifelike
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Fancisco de Zurbarán, St. Serapion - Limited pallet and stark tenebrism + life sized involve the viewer emotionally -Identify with strength of faith not suffering -Carravaggio-esque |
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Baldacchino |
Baldachin is a "canopy of state", Baldacchino is the one Bernini did |
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colonnade |
A long series of columns, think St. Peter's square |
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contrapposto |
weight on one leg, curvy, Renaissance pose |
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Counter-Reformation |
catholic revival, kinda sparks baroque, tons of emotional dramatic art to draw people back reaffirms why they're catholic |
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crossing |
Junction of the cross-shaped basilica
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foreshortening |
making something look shortened to show depth |
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illusionism |
makin shiii look real |
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Rembrandt van Rijn, Night Watch (The Company of Captain Frans Banning Cocq), oil/canvas 1642 - Different than typical group painting #action - Light is dramatic but not necessarily realistic - Caravaggio-esque |
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Rembrandt, The Hundred Guilder Print, etching and drypoint 1647 - "Magic of light and dark" - New depth of feeling and intimacy created by print medium |
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Jacob van Ruisdael, Bleaching Grounds Near Haarlem, oil/canvas 1670 - Very realistic, conveys flatness of land and vastness of sky - Not a lot of foreground |
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Jan Vermeer, Officer and Laughing Girl, oil/canvas 1657 - Bringin back scientific perspective - Middle vanishing point draws viewer into the interaction - Genre, heavy moral overtones - Map in the background |
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Peter Paul Rubens, The Garden of Love - Celebrates the joys of life - precursor to Rococo
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Frans Hals, Banquet of the Officers of the St. George Civic Guard - Secular event and painting but steeped in tradition - The Civic Guard painting becomes a standard in the Netherlands - super realistic |
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Judith Leyster, Self-Portrait - Shows her status as a female painter - Both portrait and genre |
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Rachel Ruysch, Flower Still Life - Hyper-realistic - Still life - Shows impermanence of beauty |
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camera obscura |
optical device (box hole thing) that leads to the camera |
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drypoint |
creates blacker black |
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etching |
the one with acid |
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genre |
real-life scenes |
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new art markets |
people making un-commissioned art selling more to common people |
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Nicolas Poussin, The Abduction of the Sabine Women, oil/canvas 1633-34 - Still baroque, but super classical - REALLY BIG AND BRIGHT - Strong fg, mg, bg |
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Claude Lorrain, Pastoral Landscape, oil/copper 1648 - Idyllic, super-smooth - Painted on copper which is weird - Figures aren't that important |
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Louis Le-Vau, Jules Hardouin-Mansart, André Le Nôtre, Palace and Gardens at Versailles Late 1600's - Created so Sun King could gain control - Architecture becomes art - The whole thing reflects the grandeur of the king |
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Christopher Wren, St. Paul's Cathedral, London 1675 - 1710 - French and Baroque architecture combined - Catholic set up, funny bc it's Protestant |
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Poussin, Landscape with St. John on Patmos - classical landscape, "ideal landscape" - religious and moral overtones |
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Hyacinthe Rigaud, Portrait of Louis XIV - Classic royal portraiture to assert power - Asserts royal power over all the arts
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Hall of Mirrors, Versailles - liminal view - Both inside and outside - Holistic art |
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Inigo Jones, Banqueting House, London - Very classical |
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Jean-Antoine Watteau, Pilgrimage to Cythera, oil/canvas 1717 - FETE GALANTE! - Totally whimsical - Most rococo is small, this is big
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Jean-Honoré Fragonard, The Swing, oil/canvas 1767 - Epitome of rococo - Arabesque - Colore |
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Jean-Siméon Chardin, Back from the Market, oil/canvas 1739 - Presents a moral quandry or moment - Tiny and intimate |
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Watteau, Seated Young Woman, Trois crayon drawing - Line and color; becomes a popular medium - Like pastels |
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Rosalba Carriera, Charles Sackville, Second Duke of Dorset - Pastels are super important - Art is SO accessible |
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Pineau, Hôtel de Varengeville, Paris - Intimate fancy space - No distinction between decoration and function
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Canaletto, Bucintoro on the Molo - Could have been created with a camera obscura - Contains details of life which make it interesting historically - Pretty realistic but some artistic license |
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Neumann and Tiepolo, Kaisersaal, Würzburg - French and German baroque - Exceptionally light and curvy |
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Giovanni Battista Piranesi, Tomb of the Metalli, Plate XV from Antichità Roman III, etchin 1756 - Neoclassicism - Typical of what dudes brought back from their "grand tour" thru europe - Archaeology |
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John Flaxman, Wedgwood Vase (Hercules in the Garden of Hesperides), white and blue jasperware 1785-90 Staffordshire, England, 1786 - Neoclassic in style, but not color - Designed for middle class |
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Jacques - Louis David, Oath of the Horatii, oil/canvas 1784 - Neoclassic for sure - Shows morality and honor - Caravaggio-esque |
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Angelica Kauffmann, Cornelia Presenting Her Children as Her Treasures 1785 - Neoclassic - Cornelia identifies with the strong woman - illustrates virtue and new focus on family |
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Benjamin West, The Death of General Wolfe 1770 - Popularized contemporary history painting |
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Lord Burlington and William Kent, Chiswick House - simplicity and logic - very classical |
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David, Death of Marat - Super idealized - Used religious iconography for secular agenda |
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Marie-Louise-Elisabeth Vigée-Lebrun, Self-Portrait with Daughter 1789 - Marie Antoinette loved her - Self-taught - Baroque technically but loved classics |
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Francisco Goya, Third of May, 1808, oil/canvas - Different than other contemporary neoclassical history paintings, shows anonymity of death - Random people caught up in political forces - Feverish loose brush strokes |
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J. M. W. Turner, The Slave Ship, oil/canvas 1814 - The abstract brushwork was totally crazy at the time - Shows the relentless power of nature |
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Théodore Géricault, Raft of the Medusa, oil/canvas 1818-19 - Focus on the mental and physical experience of survival - Baroque diagonal death --> hope |
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Thomas Cole, The Oxbow 1836 - Part of America's first art movement - The glory of America and the landscape |
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Eugène Delacroix, Women of the Algiers 1834 - Ignores classical space and color - Super sensual - Beginning of impressionism |
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Corot, View of Rome 1826-27 - "of the moment" art - classical grid stuff - romantic |
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Thomas Jefferson, University of Virginia, Charlottesville 1804-1817 - Based on antiquity represents democracy - Individualism and unity - Romantic era |
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Odalisque |
A female slave or concubine |
