History Of Visual Communications Final

Front 1

baroque (adj)

Back 1

relating to or denoting a style of European architecture, music, and art ofthe 17th and 18th centuries that followed mannerism and is characterized by ornatedetail

from French (originally designating apearl of irregular shape)

highly ornate and extravagant in style

Front 2

features of baroque art

Back 2

exaltation of energy and drama, a love of pomp and ostentation, a cultivationof elements of surprise, and a powerful appeal to the senses. The artists favoreddramatic light and dark contrasts, sumptuous colors, and an animation suggestive ofof whirling masses in space

Front 3

Tenebrism

Back 3

Extreme contrasts of light and dark that “spotlight” either anindividual, a group or an object

Both tenebrism and chiaroscuro enhanced a sense of theatricalityand three-dimensionality

Front 4

Chiaroscuro

Back 4

Strong contrasts of light and dark

Both tenebrism and chiaroscuro enhanced a sense of theatricalityand three-dimensionality

Front 5

Back 5

Gianlorenzo Bernini

Baldacchino

Roman Italian

Gilt bronze100’ tallSaint Peter’s Basilica, Vatican, Rome

Front 6

Back 6

Gianlorenzo BerniniRoman Italian

Ecstasy of Saint Theresa1645-42

Marble (life-size)

Bernini endeavored to suggest with utmost plausibility themoment of maximum dramatic intensity

Front 7

Back 7

CaravaggioItalian, Roman1573-1610The Deposition of Christ1602-03oil on canvas9’8” x 6’7”Vatican, Rome

Front 8

Key Characteristics of Caravaggio’s Work

Back 8

1. Compact groupings of figures

2. Solid modeling of bodies

3. Earthbound details: dirty feet and toenails

4. Concentrated lighting and uniform color

5. Asymmetrical composition based on curving figures and receding diagonals

6. Graceful rhythmic qualities and magnetic-like lines of force

Front 9

Back 9

CaravaggioItalian, Roman

The Conversion of Saint Paul onthe Way to Damascus1601oil on canvas91” x 69”Santa Maria del Popolo, Rome

Front 10

Back 10

CaravaggioItalian, Roman

The Supper at Emmaus1601oil on canvas55.5” × 77”National Gallery, London

Front 11

Velázquez: The Spanish Golden Age

(The Defeat of the Armada, 1588The Triumph of Pragmatism over Tradition)

Back 11

Anglican Church was torn between lingering RomanCatholic sentiment and Calvinist Puritanism and capitalism. Threat from the Spanish cemented it in favor of the latter. Elizabeth I supported the Dutch struggle for independence from Spain insomuch as it benefitedEngland, but Dutch commercial and seafaringprowess was understood as a potential threat.

Front 12

Back 12

Diego VelázquezSpanish

Pope Innocent X1650oil on canvas19.3” x 16.6”49.2 x 41.3 cm

“Innocent was notoriously ugly and fromcomparison with other portraits it is clear thatVelázquez idealized his physical features, butdid not hide the wily and indomitable characterfeared by his contemporaries.”

Front 13

Back 13

Diego VelázquezSpanish1599-1660

Philip IV of Spain1644oil on canvas

Front 14

Back 14

Velázquez

Infante Baltasar Carlos on Horseback

oil on canvas

“Scholars believe that only this painting and PhilipIV on Horseback are entirely on by Velázquez’shand. Infante Baltasar Carlos onHorseback possesses a vitality and energy absentfrom the other portraits. The exaggeratedcurve of the horse’s belly might be explained by adeliberate calculation that the portrait would havebeen seen from below.”

Front 15

Back 15

Diego VelázquezSpanish1599-1660

The Feast of Bacchus (Los Borrachos)1629oil on canvas

Front 16

Back 16

Diego VelázquezSpanish1599-1660

Don Gaspar de Guzmán, Count-Duke of Olivares1635-36oil on canvas

Front 17

Back 17

VelázquezSpanish1599-1660

The Surrender of Breda1634-35oil on canvas

Front 18

Back 18

Velázquez

The Family of Philip IV (Las Meninas)

as one approaches the canvas, the marvelousillusion, Velázquez’s claim to immortality,dissolves into paint. With seemingeffortlessness, he built the image using theminimum means possible…It is perhaps thegreatest tour de force in Western painting. Insubject and execution, it is as the Frenchphilosopher Michel Foucault wrote in 1966, therepresentation of representation.”

Front 19

Back 19

VelázquezSpanish1599-1660

Philip IV of Spain in Brown and Silver

Front 20

Back 20

Velázquez

Infante Baltasar Carlos as a Hunterdetail

Baltasar Carlos lanced wild boar from his earlychildhood, with a skill admired by all who saw himin action. The exercise of hunting was consideredan essential part of a prince’s education

Front 21

Back 21

Velázquez

Christ on the Cross oil on canvas

The figure is very beautiful and very real, itscorporeity emphasized by play oflight across the flesh and shadow castagainst neutral background. Closely croppedand controlled by geometry, the crossseems suspended and the image takes on atimeless reality.”

Front 22

Back 22

VelázquezSpanish1599-1660

Juan de Pareja, Velázquez’s African Servant

Front 23

Back 23

VelázquezSpanish

The Fable of Arachne (The Spinners)1656-58oil on canvas

Front 24

Back 24

VelázquezSpanish1599-1660

Archbishop Fernando de ValdésCirca 1640-45oil on canvas

Front 25

Back 25

Velázquez

Francisco Lezcano

1. “endowed with monumentality, equalizing his relationship to the full-sized world.”

2. looking down on the viewer

3. Possibly at the entrance of a cave, “symbol of the unknowable.”

4. penetrating unfocused gaze

5. “The vague connection to the viewer is echoed in the unsteady tilt of the head back and tothe side, and in the open mouth that drifts between smile and stupor.

6. Deck of cards “as a metaphor for mindlessness”

Front 26

Back 26

Velázquez

The Toilet of Venus

1. reflecting ciaroscuro, figures stand out

2. soft and painterly forms

3. greater concern for elegance than realism

Front 27

Back 27

Peter Paul RubensGerman-Flemish1577-1640The Rape of the Daughters of Leucippus1618oil on canvas

Front 28

Notes on Rubens

Back 28

g

Front 29

Back 29

Rembrandt Harmenz van Rijn Dutch 1606-1669 Self Portrait as a Young Man

Front 30

Back 30

Rembrandt Harmenz van RijnDutch1606-1669Self Portrait

Front 31

Back 31

Rembrandt Harmenz van RijnDutch1606-1669Self Portrait at an Easel1660

Front 32

Back 32

Rembrandt Harmenz van RijnDutch1606-1669Hendrickje Stoffels in Bed1640soil on canvas laid on panel

Front 33

Back 33

Rembrandt Harmenz van RijnDutch1606-1669Head of a Laughing Man1628

Front 34

Back 34

Rembrandt Harmenz van RijnDutch1606-1669The Anatomy Lecture ofDr. Nicholas Tulp1632

Front 35

Back 35

Rembrandt Harmenz van RijnDutch1606-1669The Anatomy Lecture ofDr. John Deyman

Front 36

Back 36

Rembrandt Harmenz vanRijnDutch1606-1669The Night Watch1642

Front 37

Back 37

Rembrandt Harmenz van RijnDutch1606-1669The Syndics of theClothworkers Guild1662

Front 38

Back 38

Rembrandt Harmenz van RijnDutch1606-1669The Syndics of theClothworkers Guild1662

Front 39

Notes on Rembrandt’s Bathsheba

Back 39

h

Front 40

Back 40

Rembrandt Harmenz van RijnDutch1606-1669Woman Bathing1654

Front 41

Back 41

Rembrandt Harmenz van RijnDutch1606-1669The Stone Bridge1638

Front 42

Back 42

Rembrandt Harmenz van RijnDutch1606-1669The Slaughter House

Front 43

Back 43

Jan VermeerDutch1632-1675View of Delft1660-61oil on canvas

Front 44

Notes on Vermeer

Back 44

h

Front 45

Back 45

Jan VermeerDutch1632-1675The Milkmaid

Front 46

Back 46

Jan VermeerDutch1632-1675Young Woman with a Water Jug

Front 47

Back 47

Jan VermeerDutch1632-1675The Girl With a Pearl Earring

Front 48

Back 48

Jan VermeerDutch1632-1675The Allegory of Painting

Front 49

Back 49

Jan VermeerDutch1632-1675The Girl with a Red Hat

Front 50

Notes on The Girl with a Red Hat

Back 50

h

Front 51

Back 51

Nicolas PoussinFrench1593-1665Eliezer and Rebecca1648oil on canvas

Front 52

Notes on Poussin

Back 52

j

Front 53

Après moi le déluge.

Back 53

After me the deluge. Attributed to Louis XV

Front 54

Notes on the Rococo

Back 54

Irregularly scalloped curves, more complex and less vigorous than those of the 17th centuryPainterly technique and colors recalling RubensPastel, often sherbet-like huesEscapism through mythological (fantasy) subjectsContinuation of Baroque appeal to the sensesCandy-like effectsLove. Sexuality and overt eroticism

Front 55

Back 55

Jean-Antoine Watteau1684-1721Pilgrimage to Cythera1717Oil on Canvas

Front 56

Back 56

Jean-Antoine Watteau

Front 57

Back 57

François Boucher

Front 58

Back 58

François Boucher1703-1770Madame de Pompadour1750Oil on canvas

Front 59

Back 59

François Boucher1703-1770The Bath of Venus

Front 60

Back 60

Jean-Honoré Fragonard1732-1806Young Girl Reading

Front 61

Back 61

Jean-Honoré Fragonard1732-1806The Swing