Baroque Art in Italy and Spain Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Italian Baroque Religious movement is much of the Baroque art in Catholic countries associated: The Counter-Reformation. List three adjectives or phrases that describe its style: Dramatic theatricality. Grandiose scale. Elaborate ornateness. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Carlo Maderno Santa Susana Rome, Italy 1597-1603 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Carlo Maderno Santa Susana Rome, Italy 1597-1603
Giacomo della Porta façade of Il Gesù Rome, Italy ca. 1575-1584 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Giacomo della Porta façade of Il Gesù Rome, Italy ca. 1575-1584
Three ways in which Madern’s Early Baroque church of Santa Susanna differs from the church of Il Gesu: The façade has a greater verticality, concentrating and dramatizing the major features of its model. The façade’s tall central section projects forward from the horizontal lower story. Strong shadows cast by the vigorously projecting columns and pilasters mount dramatically toward the emphatically stressed central axis. Three ways in which Madern’s Early Baroque church of Santa Susanna resembles the church of Il Gesu: Each building has scroll buttresses connecting the upper and lower levels of the façade. Each building has two pediments, one for each story. Sculptures in niches frame the central doorway in each building. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Carlo Maderno Santa Susana Rome, Italy 1597-1603 Giacomo della Porta façade of Il Gesù Rome, Italy ca. 1575-1584
Carlo Maderno Santa Susana Rome, Italy 1597-1603 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Carlo Maderno Santa Susana Rome, Italy 1597-1603
Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Four architects who worked on St Four architects who worked on St. Peter's and note the primary contribution of each. Donato d’Angelo Bramante: The original plan and the concept of a hemispherical dome. Michelangelo: The reduced plan and the ogival dome with drum. Carlo Maderno: the façade. Gianlorenzo Bernini: the colonnaded piazza. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Carlo Maderno façade of Saint Peter’s Vatican City, Rome, Italy 1606-1612
Aerial view of Saint Peter’s Vatican City, Rome, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Carlo Maderno Aerial view of Saint Peter’s Vatican City, Rome, Italy 1506-1666
Canopy-like structure on columns, frequently built over an altar. Baldacchino Canopy-like structure on columns, frequently built over an altar. Gianlorenzo Bernini baldacchino Saint Peter’s Vatican City, Rome, Italy 1624-33 gilded bronze approximately 100 ft. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Vatican City, Rome, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Gianlorenzo Bernini Scala Regia Vatican City, Rome, Italy 1663-1666
Four major characteristics of Bernini's sculpture that are typical of Baroque art in general. Expansive and theatrical. The element of time usually plays an important role. Dynamic quality conveying a bursting forth of energy. Refusal to limit itself to firmly defined spatial settings. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Gianlorenzo Bernini David 1623 marble approximately 5 ft. 7 in. high
Gianlorenzo Bernini David 1623 marble approximately 5 ft. 7 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Gianlorenzo Bernini David 1623 marble approximately 5 ft. 7 in. high
Donatello's is bronze, the other 2 are marble. Michelangelo's is shown before, Bernini's is during and Donatello's is after the fight with Goliath. Michelangelo and Bernini depict David as more of a man, Donatello shows him as a young boy, also lots of sexual symbolism in Donatello's, like the feather from Goliath's hat running up David's inner thigh. Bernini is working in a more baroque style, combing motion and concentration (in David's face) to achieve a dynamism in the work not found in the earlier Michelangelo's musculature is consistent with the thoughts of the Renaissance: a look back at idealized figures and tension-creating scenes- he hasn't fought yet, we still don't know what will happen. Donatello's is bronze, the other 2 are marble. Donatello's is very early Renaissance- he is going towards more realistic features, as is seen in the pouchy stomach and saggy behind of David. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Bernini Donatello Michelangelo Buonarroti
interior of the Cornaro Chapel Santa Maria della Vittoria, Rome, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Gianlorenzo Bernini interior of the Cornaro Chapel Santa Maria della Vittoria, Rome, Italy 1645-1652
Bernini depiction of the vision of St. Theresa: As light (shining from behind a hidden window of yellow glass) pouring down on bronze rays suggesting the radiance of Heaven. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Gianlorenzo Bernini Ecstasy of Saint Theresa Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy 1645-1652
Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Who developed the “sculptural” architectural style to its extreme? Francesco Borromoni. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Francesco Borromini façade of San Carlo alle Quattro Fontane Rome, Italy 1665-1676
Two buildings designed by him. San Carlo alle Quattro Fontane. Chapel of Saint Ivo. Both are located in the city of Rome. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Francesco Borromini façade of San Carlo alle Quattro Fontane Rome, Italy 1665-1676
While the circle had been the ideal geometric figure to Renaissance architects, Baroque planners preferred the oval. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Francesco Borromini plan of San Carlo alle Quattro Fontane Rome, Italy 1665-1676
They preferred the oval because the oval is a more dynamic form of the circle, creating an interior that appears to flow from entrance to altar, unimpeded by the segmentation characteristic of Renaissance buildings. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Francesco Borromini dome of San Carlo alle Quattro Fontane Rome, Italy 1665-1676
Chapel of Saint Ivo College of the Sapienza Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Francesco Borromini Chapel of Saint Ivo College of the Sapienza Rome, Italy begun 1642
plan of the Chapel of Saint Ivo College of the Sapienza Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Francesco Borromini plan of the Chapel of Saint Ivo College of the Sapienza Rome, Italy begun 1642
dome of the Chapel of Saint Ivo College of the Sapienza Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Francesco Borromini dome of the Chapel of Saint Ivo College of the Sapienza Rome, Italy begun 1642
dome of the Chapel of Saint Ivo College of the Sapienza Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Francesco Borromini dome of the Chapel of Saint Ivo College of the Sapienza Rome, Italy begun 1642
Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Guarino Guarini Palazzo Carignano Turin, Italy 1679-1692 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Guarino Guarini Palazzo Carignano Turin, Italy 1679-1692
Guarino Guarini Palazzo Carignano Turin, Italy 1679-1692 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Guarino Guarini Palazzo Carignano Turin, Italy 1679-1692
Chapel of Santissima Sindone Turin, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Guarino Guarini Chapel of Santissima Sindone Turin, Italy 1667-1694
Chapel of Santissima Sindone Turin, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Guarino Guarini Chapel of Santissima Sindone Turin, Italy 1667-1694
Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Dome of Sant ‘Eligio degli Orefici Rome, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Bramante and Raphael Dome of Sant ‘Eligio degli Orefici Rome, Italy ca. 1509, reconstructed ca. 1600
Three characteristics of Caravaggio's style. Injected naturalism into both religious and classical subjects with unidealized figures. Sharply, dramatically lit figures emerging from a dark background. Invites the viewer to participate in the scene. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Caravaggio Conversion of Saint Paul Cerasi Chapel, Santa Maria del Popolo Rome, Italy ca. 1601 oil on canvas approximately 7 ft. 6 in. x 5 ft. 9 in.
The common purpose of Caravaggio's Conversion of St The common purpose of Caravaggio's Conversion of St. Paul and Bernini's The Ecstasy of St. Theresa: To produce the representation of a vision, using actual light from each chapel’s windows. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Gianlorenzo Bernini Ecstasy of Saint Theresa Caravaggio Conversion of Saint Paul
Caravaggio attempted to compel the viewer’s interest and involvement in the scene in his religious pictures. Caravaggio accomplished this by using pictorial devices such as showing action taking place in the foreground; low horizon line; dramatic light. Caravaggio Calling of Saint Matthew Contarelli Chapel, San Luigi dei Francesci Rome, Italy ca. 1597-1601 oil on canvas 11 ft. 1 in. x 11 ft. 5 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
“Shadowy” manner of dark settings enveloping their occupants. Tenebroso “Shadowy” manner of dark settings enveloping their occupants. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
David Victorious over Goliath Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Caravaggio David Victorious over Goliath oil on canvas 43 1/4 x 35 7/8 in.
Chapel of Pietro Vittrice, Santa Maria in Vallicella Rome, Italy Caravaggio Entombment Chapel of Pietro Vittrice, Santa Maria in Vallicella Rome, Italy ca. 1603 oil on canvas 9 ft. 10 1/8 in. x 6 ft. 15/16 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Artemisia Gentileschi Self-Portrait as a Martyr
Artemisia Gentileschi Judith Slaying Holofernes Characters from the Apocryphal Book of Judith; Holofernes was an Assyrian general who was seduced by Judith and then beheaded by her. Techniques: Artemesia uses tenebrism, spurting blood, the physical strain of the women struggling with the sword, and controlled highlights on the action in the foreground to portray the drama of the theme. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Artemisia Gentileschi Judith Slaying Holofernes ca. 1614-1629 oil on canvas 6 ft. 6 1/3 in. x 5 ft. x 4 in.
The artists most influenced the style of Artemesia Gentileschi was Caravaggio and her father, Orazio Gentileschi. Judith Slaying Holofernes (Caravaggio). c. 1598-1599 Oil on canvas 1.44m by 1.92m Galleria Nazionale d'Arte Antica, Barberini, Rome.
Artemisia Gentileschi Judith and her Maidservant One of Artemisia's best works, this scene is tense with imminent danger as Judith and Abra prepare to flee Holofernes's tent with his severed head. Dramatic and unusual chiaroscuro, especially the shadows Judith's hand casts on her face, together with vigilant expressions and posture, add urgency to the scene. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Artemisia Gentileschi Judith and her Maidservant ca. 1612-1613 oil on canvas 44 7/8 x 36 13/16 in.
Artemisia chose another biblical theme picturing a woman slaying an aggressor. Sisera was a cruel Canaanite leader who ruled the Israelites for twenty years. Barak defeated his nine hundred charioteers by a surprise Israelite attack. Sisera escaped and sought refuge in the tent of Jael, wife of Heber the Kenite. She gave the terrified Canaanite sanctuary. When he fell asleep, she drove a tent peg into his brain. The act fulfilled the prediction of Debora, prophetess and Israelite leader, who foresaw that a woman would slay Sisera. Jael and Sisera. 1620. Oil on canvas. 0.923m by 1.275m Szepmuveszeti Museum, Budapest.
Artemisia Gentileschi Susannah and the Elders Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Artemisia Gentileschi Susannah and the Elders 1610 oil on canvas 66 7/8 x 46 7/8 in.
Three assumptions that were basic to the teaching of art at the Bolognese academy. Art can be taught. The teaching of art must include the classical and Renaissance traditions. The teaching must also include the study of anatomy and life drawing.
Annibale Carracci is credited with developing the "classical" or "ideal" landscape Its roots were the landscape backgrounds of Venetian Renaissance paintings. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Annibale Carracci Flight into Egypt 1603-1604 oil on canvas 4 ft. x 7 ft. x 6 in.
Carracci achieved heightened illusionism as the chiaroscuro is not the same for both the paintings and the figures surrounding them. The painter modeled the figures inside the quadri in an even light. The outside figures seem to be lit from beneath, as if they were actual three-dimensional beings or statues illuminated from below. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Annibale Carracci Loves of the Gods Gallery, Palazzo Farnese Rome, Italy 1597-1601 fresco
Gallery, Palazzo Farnese Rome, Italy Annibale Carracci Loves of the Gods Gallery, Palazzo Farnese Rome, Italy 1597-1601 fresco Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
quadro riportato Transferred frame painting, or simulation of easel painting for ceiling decoration. The framed pictures are flanked by polychrome figures who turn their heads to gaze at the scenes around them, and by Atlas figures painted to resemble marble statues. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Annibale Carracci Loves of the Gods, Triumph of Bacchus Gallery, Palazzo Farnese Rome, Italy 1597-1601 fresco
Loves of the Gods Polyphemus, Acis and Galatea Annibale Carracci Loves of the Gods Polyphemus, Acis and Galatea Gallery, Palazzo Farnese Rome, Italy 1597-1601 fresco Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Two influences blended by Reni in his Aurora fresco: Roman reliefs. Coins depicting emperors in triumphal chariots accompanied by flying Victories and other personifications. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Guido Reni Aurora Ceiling fresco in the Casino Rospigliosi, Rome, Italy 1613-1614 fresco
Triumph of the Barberini Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Pietro da Cortona Triumph of the Barberini ceiling fresco in the Gran Salone Palazzo Barberini, Rome, Italy 1633-1639 fresco
Three ways in which Pietro da Cortona’s frescoed ceiling in the Palazzo Barberini praised his patron: Divine Providence holds a crown of stars to bestow eternal life on the Barberini family. The laurel wreath, another symbol of immortality. The papal tiara and keys announcing the personal triumphs of Urban VIII. Pietro da Cortona Triumph of the Barberini ceiling fresco in the Gran Salone Palazzo Barberini, Rome, Italy 1633-1639 fresco Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Giacomo della Porta façade of Il Gesù Rome, Italy ca. 1575-1584 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Giacomo della Porta façade of Il Gesù Rome, Italy ca. 1575-1584
Three devices he used to achieve that effect: Gilded architecture opens up in the center of the ceiling to offer viewers a glimpse of Heaven. Jesus is represented as a barely visible monogram in a blinding radiant light that floats heavenward. Gaulli painted many of the sinners on three-dimensional stucco extensions that project outside the painting’s dome. Effect Gaulli created with the fresco he painted on the ceiling of Il Gesù in Rome: A dramatic, transcendent spiritual environment as well as the glory and power of the Catholic Church. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Giovanni Battista Gaulli Triumph in the Name of Jesus ceiling fresco with stucco figures in the vault of Il Gesu, Rome, Italy 1676-1679 fresco
The device did he use to merge heaven and earth was he illusionistically continued the church’s own architecture into the vault so that the roof seems to be lifted off. The painter beside Gaulli who worked for the Jesuits in Rome was Fra Andrea Pozzo. He painted the ceiling of the church of Sant’Ignazio in Rome for them. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Fra Andrea Pozzo Glorification of Saint Ignatius ceiling fresco with stucco figures in the nave of Sant’Ignazio, Rome, Italy 1691-1694 fresco
Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Glorification of Saint Ignatius Fra Andrea Pozzo Glorification of Saint Ignatius ceiling fresco with stucco figures in the nave of Sant’Ignazio, Rome, Italy 1691-1694 fresco Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Spanish Baroque Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Ribera's style was influenced by the "dark manner" of Caravaggio. The goal of many Spanish Baroque religious artists was to move viewers and to encourage greater devotion and piety. A theme that was particularly popular among them was death and martyrdom scenes. Ribera's style was influenced by the "dark manner" of Caravaggio. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. José de Ribera Martyrdom of Saint Philip (Bartholomew) ca. 1639 oil on canvas 7 ft. 8 in. x 7 ft. 8 in.
The type of lighting did Zurbaran use in his pating of Saint Serapion was Bright light shining on the figure with a dark background, to call attention to the saint’s death and to increase the dramatic impact of the image. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Francisco de Zurbarán Saint Serapion 1628 oil on canvas 3 ft. 11 1/2 in. x 3 ft. 4 3/4 in.
Still Life with Pottery Jars Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Francisco de Zurbarán Still Life with Pottery Jars oil on canvas 18 1/8 x 33 1/8 in.
Francisco de Zurbarán Agnus Dei oil on canvas 15 x 24 3/8 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Francisco de Zurbarán Agnus Dei oil on canvas 15 x 24 3/8 in.
Saint Bernard and the Virgin Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Alonso Cano Saint Bernard and the Virgin oil on canvas 105 1/8 x 72 7/8 in.
Bartolomé Esteban Murillo The Immaculate Virgin “of Soult” Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Bartolomé Esteban Murillo The Immaculate Virgin “of Soult” c. 1678 oil on canvas 107 7/8 x 74 3/4 in.
Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Velazquez was court painter to King Phillip IV. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Diego Velázquez Water Carrier of Seville ca. 1619 oil on canvas 3 ft. 5 1/2 in. x 2 ft. 7 1/2 in.
Diego Velázquez Los Borrachos Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Diego Velázquez Los Borrachos ca. 1619 oil on canvas 64 3/8 x 87 7/8 in.
Velasquez’s Surrender of Breda commemorate the Spanish victory over the Dutch in 1625. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Diego Velázquez Surrender of Breda 1634-1635 oil on canvas 10 ft. 1 in. x 12 ft. 1/2 in.
King Philip IV of Spain (Fraga Philip) Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Diego Velázquez King Philip IV of Spain (Fraga Philip) 1644 oil on canvas 4 ft. 3 1/8 in. x 3 ft. 1/8 in.
The composition extends in depth both in front of (through the mirror and the gazes of the figures) and behind the painting (through the open door). Form and shadow are represented realistically. A great number of intermediate values of gray come between lights and darks, instead of putting them side by side as Caravaggio did. The subject of Las Meninas is the Infanta Margarita with her two maids-in-waiting, her favorite dwarfs, and a large dog, as well as a man and a woman in the background. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Diego Velázquez Las Meninas 1656 oil on canvas approximately 10 ft. 9 in. x 9 ft.
Diego Velázquez Las Meninas Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Diego Velázquez Las Meninas 1656 oil on canvas approximately 10 ft. 9 in. x 9 ft.
Diego Velázquez Las Meninas Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Diego Velázquez Las Meninas 1656 oil on canvas approximately 10 ft. 9 in. x 9 ft.
Diego Velázquez Las Meninas Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Diego Velázquez Las Meninas 1656 oil on canvas approximately 10 ft. 9 in. x 9 ft.
Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.