1. Artist: n/a
Title: The Seventeenth Century in Europe and North America
Medium: n/a
Size: n/a
Date: n/a
Source/ Museum: n/a

2. “ A Taste of the Theatrical and stress on movement and compositional variety..Emotional and Psychological portrayals”
Baroque means- irregular shapes
It was odd that anyone would want to leave the Renaissance!
Counter Reformation- finds a foothold in Italy, Flanders, Spain and France
Baroque in Holland becomes the voice of the Reformation- vs Catholic art
Baroque painting- two schools of thought: classics inspired by Raphael and the naturalists inspired by Titan
Experimentation with art forms: genre, landscapes, still lifes and ELEVATES them to traditional work
Baroque Architecture- associated with the royal courts of Europe

3. By 1600 the Catholic Church really had to finish St. Peter’s
By 1650 Versailles was built and the capital of art shifted from Rome! To
PARIS- until 1913
30 Year’s War was over religion- Reformation vs Counter Reformation-
Devestating in Europe and grinding art production to a halt in 17th Century
Protestants were breaking images and Catholics were making images
Protestants hated Saints and Catholics loved their saints.
Protestants did not believe in miracles and the Catholics depicted Miracles!

4. Baroque associated with the rulers and courts of Europe- but was very
Popular in Holland because of the new merchantile system and new genres
Modern tastes developed in Holland: landscapes, portraits, group portraits, genre
Groupings
Small works were designed to fit into houses- more intimate places
No merchantile work was shown- romantic views of same
Layers of intellectual symbolism- vanitas as an example
Protestant Churches- stark and bare

5. Baroque Architecture:
Movement
Facades that undulate
Shadow alternating with light
Wavelike entrances
Entrances topped with pediments or tympana- concave or convex
Borromini and Guarini- top names
DRAMA in the interiors to combine all the arts- painting and sculpture
For one whole effect
Large, ornate, elaborate staircases that are carved and change direction!
Palaces and gardens become important. THE LONG VIEW.. With key windows. Avenues of trees.
Size becomes important; elaboration, papal patrons.

6. Image 89 Sante Maria della Vittoria by Carlo Moderno 1605-1620
Dedicated to St. Paul, Rededicated to Mary after a successful battle against Bohemia.
Single Nave, ornate shape, home of Bernini’s Ecstasy of Sante Teresa; 6 Ionic Pilasters in the façade; broken pediment and tympanum; scroll on the side

7. Image 89 Floor Plan Large nave with an apse on the end.

8. Image 89

9. Image 88 Artist: Francesco Borromini- This is his first and considered his masterpeice.
Title: Façade, Church of San Carlo alle Quattro Fontane, Rome – small space; tall façade; pulls out into the space
Medium: n/a ( St. Charles of the 4 Fountains)
Size: n/a
Date: 1665–67
Source/ Museum: n/a
Convex and Concave shapes… façade taller than the rest of the building,very small site that it fills, Walls are sculptural both inside and outside,
Worked in shades of whites

10. Image 88 Artist: Francesco Borromini, stone and succo
Title: Interior, Church of San Carlo alle Quattro Fontane, Rome - one large interior space with limited color on exterior or interior
Medium: n/a
Size: n/a
Date: 1638–41
Source/ Museum: n/a

11. Image 88 Artist: Francesco Borromini
Title: Dome Interior, Church of San Carlo alle Quattro Fontane, Rome
Medium: n/a
Size: n/a
Date: 1638–41
Source/ Museum: n/a

12. Image 88 Artist: Francesco Borromini– cross and an open space with undulating rhythms
Title: Plan of The Church of San Carlo Alle Quattro Fontane, Rome 1638–41
Medium: n/a
Size: n/a
Date: n/a
Source/ Museum: n/a

13. Artist: Hyacinthe Rigaud
Title: Louis XIV
Medium: Oil on canvas
Size: 9'2" X 7'10¾" (2.19 X 2.4 m)
Date: 1701
Source/ Museum: Musée du Louvre, Paris

14. Image 93 Artist: Louis, Le Vau, Jules Hardouin-Mansart and Charles le Brun; gardens by André Le Nôtre
Title: Palais de Versailles
Medium: n/a
Size: n/a
Date: 1669–85
Source/ Museum: Versailles, France
Hunting Lodge
Center was Louis’s bedroom
LOOOONG VIEW
Hunting lodge into a palace, center was the bedroom, view was the bed room, radiating, room for king and 400 courtiers

15. Image 93 Artist: Drawing by Leland M
Image 93 Artist: Drawing by Leland M. Roth after Delagrive’s engraving of ,000 acres
Title: Louis Le Vau and André Le Nôtre, Plan of the Palais de Versailles, Versailles, France, c. 1661–1785
Medium: n/a
Size: n/a
Date: n/a
Source/ Museum: n/a

16. Image 93 Artist: n/a
Title: Central Block of the Garden Façade, Palais de Versailles – undulation of walls is there, but subtle, some classical elements, LONG VIEW – the Orangerie in the gardens
Medium: n/a
Size: n/a
Date: n/a
Source/ Museum: Versailles, France
Garden arrange harmoniously to the building, formal gardens near palace, less formal farther away, terminal views in statuary and in fountains, mile long canals flow all the way back, fountains turned on as the king walked past

17. Image 93 Versialles Panoramic view

18. Image 93 Artist: Jules Hardouin-Mansart and Charles Le Brun
Title: Hall of Mirrors, Palais de Versailles
Medium: n/a
Size: Length approx. 240' (73 cm)long, barrel vaulting
Date: Begun 1678
Source/ Museum: Versailles, France
240 feet long- barrel vaulting and painted ceiling- light from the left and takes off to the right
Largest panes of glass at the time

19. Sculpture- Baroque
MOVEMENT
Space- meant to be seen from far away
Negative space and in the round
Drama
Flesh, mouth open, touch, movement, texture of the marble,
Negative space to make you see in the round,
Multiplicity of angles…
Based in Hellenism
Animated the surface with texture- smooth, rough, shiny

20. Image 89 Ecstasy of Sante Teresa Bernini- 17th Century, marble, stucco and gilt bronze
From Diary of St. Teresa- talks about god lunging the arrow in to her heart, light from hidden window above, textures,
Carved from a single block ( thought that the Hellenistic work was does that way), figures float, figures around them in boxes viewing,
Cornaro Family, spiritual ecstasy

21. Image 89 : Gianlorenzo Bernini
Title: Cornaro Chapel, Church of Santa Maria della Vittoria, Rome
Medium: n/a
Size: n/a
Date: 1642–52
Source/ Museum: n/a

22. Image 89 Box figures on the side

23. Artist: Gianlorenzo Bernini
Title: Saint Teresa of Ávila In Ecstasy
Medium: Marble
Size: height of the group 11'6" (3.5 m)
Date: 1645–52
Source/ Museum: Cornaro Chapel, Church of Santa Maria della Vittoria, Rome

24. Artist: Gianlorenzo Bernini- multiple views, dramatic action, harp at his feet, self portrait of Bernini
Title: David
Medium: Marble
Size: height 5'7" (1.7 m)
Date: 1623
Source/ Museum: Galleria Borghese, Rome

25. Naturalism- tenebrism - Reject the artificiality of Mannerism
Baroque Painting
Elevates the “humble” genres in Renaissance eyes
Landscapes composed from sketches- imaginary locations and still lifes
But for a higher reason- the vanitas theme
Religious work still the HIGHEST for of expression
The LONG VIEW with Biblical or mythological themes
studied
Land scapes from Studio Sketches, not plein air
Naturalism- tenebrism - Reject the artificiality of Mannerism
Carvaggio
Gentilischi
Warm colors- Venice
Expressivity
Movement
DRAMA-
Rubens-
The Rubenistes
Brush strokes

26. ITALIAN BAROQUE

27. Image 85 Artist: Caravaggio-- Tenebrism
Title: The Calling of Saint Matthew
Medium: Oil on canvas
Size: 10'7½" X 11'2" (3.24 X 3.4 m)
Date: 1599–1600
Source/ Museum: Contarelli Chapel, Church of San Luigi dei Francesi, Rome
Note: finger, light, Matthew’s face, street people as models

28. The Conversion of St. Paul
Caravaggio Year 1600/1601 Type Oil on cypress wood Dimensions 237 cm × 189 cm (93 in × 74 in) Location Odescalchi Balbi Collection, Rome The Conversion of Saint Paul (or Conversion of Saul), by the Italian painter Caravaggio, is housed in the Odescalchi Balbi Collection of Rome. It is one of at least two paintings by Caravaggio of the same subject, the Conversion of Paul. Another is The Conversion of Saint Paul on the Road to Damascus.

29. Artist: Artemisia Gentileschi
Title: Judith and Maidservant with the Head of Holofernes
Medium: Oil on canvas
Size: 6'½" X 4'7" (1.84 X 1.41 m)
Date: 1625
Source/ Museum: The Detroit Institute of Arts. Gift of Leslie H. Green (52.253)

31. Artist: Artemisia Gentileschi
Title: Self-Portrait as the Allegory of Painting
Medium: Oil on canvas
Size: 38 X 29" (96.5 X 73.7 cm)
Date: 1630
Source/ Museum: The Royal Collection, Windsor Castle, England (RCIN , ML 49 BP 2652)

32. Image 82- Giovanni Battista Gualli
Triumph of the Name of Jesu- Il Gesu Di sotto in su ( to be seen from looking up with things looking down at you)

33. Image 82

34. Spanish Baroque

35. Inage 91 Artist: Diego Velázquez
Title: Las Meninas (The Maids of Honor)
Medium: Oil on canvas
Size: 10'5" X 9'½" (3.18 X 2.76 m)
Date: 1656
Source/ Museum: Museo del Prado, Madrid

36. Artist: Diego Velázquez
Title: The Surrender At Breda (The Lances) Dutch surrendering to the Spanish
Medium: Oil on canvas
Size: 10'⅞" X 12'½" (3.07 X 3.67 m)
Date: 1634–35
Source/ Museum: Museo del Prado, Madrid

37. Flemish Baroque

38. Image 92 Artist: Peter Paul Rubens
Title: Henri IV Receiving the Portrait of Marie de’ Medici ; The Disembarkation of Maria de Medici at Marseilles
Medium: Oil on canvas
Size: 12'11⅛" X 9'8⅛" (3.94 X 2.95 m)
Date: 1621–25
Source/ Museum: Musée du Louvre, Paris

39. Artist: Anthony Van Dyck
Title: Charles I at the Hunt
Medium: Oil on canvas
Size: 8'11" X 6'11 (2.75 X 2.14 m)
Date: 1635
Source/ Museum: Musée du Louvre, Paris

40. Dutch Baroque

41. Image 87 Rembrandt etching Self Portrait with Saskia
In costume, both Rembrandt and Saskia. They are play acting… This is not unusual for the time period. They are shown at the table and he is preoccupied wth his work. He often reworked his plates. This is just one example.
Rembrandt did not do well in his life time all the time. He routinely lost fortunes and gained them again. He was often peniless and died so.

42. Hals
Archers of St. Adrian 1633
Meeting of the officers of the Kloveniersschutterij in Haarlem.
Deutsch: Festmahl der Offiziere der St.-Hadrian-Schützengilde von Haarlem.
Shows a dirision in the group – left centered around the man with the yellow ribbon, the right is not centered at all
No connected between the two segments
impasto

43. Laughing Cavalier 1628
Gypsy Girl 1628
Oil on wood
52x58 cm

44. Artist: Judith Leyster
Title: Self-Portrait
Medium: Oil on canvas
Size: 29⅜ X 25⅝" (72.3 X 65.3 cm)
Date: 1635
Source/ Museum: National Gallery of Art, Washington, D.C. Gift of Mr. and Mrs. Robert Woods Bliss
Self consciously showing her painting.. Laughing, as well as the fiddler in the painting

45. Artist: Rembrandt van Rijn
Title: The Anatomy Lesson of Dr. Nicolaes Tulp - group portrait from surgeon’s guild, book at the side is the famous book of anatomy that Tulp followed, he flexes his hand to show how it works
Medium: Oil on canvas
Size: 5'3¾" X 7'1¼" (1.6 X 2.1 m)
Date: 1632
Source/ Museum: Mauritshuis, The Hague, Netherlands
First group portrait, the indoor dissection could take 5-6 days. Doctor Tulp has the hat and is showing the structure with his tool and his hand- light centered on the hand

46. Artist: Rembrandt van Rijn
Title: Captain Frans Banning Cocq Mustering His Company (The Night Watch) . rl in center is a wordplay of the name of the company
Medium: Oil on canvas
Size: 11'11" X 14'4" (3.63 X 4.37 m) (Cut down from the original size)
Date: 1642
Source/ Museum: Rijksmuseum, Amsterdam
Yellow= victory
Girl= mascot
chicken-= symbol of militia’s adversary
Strong diagonals
Misnamed- b/c it had not been cleaned in a while
18 people- some cut out- 100 guilders each

47. Artist: Jan Vermeer (painter, innkeeper and art dealer)
Title: View of Delft
Medium: Oil on canvas
Size: 38 ½ X 46¼" (97.8 X cm)
Date: c. 1662
Source/ Museum: Mauritshuis, The Hague. The Johan Maurits van Nassau Foundation

48. Image 92 Artist: Jan Vermeer
Title: Woman Holding a Balance – last judgement
Medium: Oil on canvas
Size: 15 ⅞ X 14" (39 X 35 cm)
Date: c. 1664
Source/ Museum: National Gallery of Art, Washington, D.C. Widener Collection ( )

49. Girl With the Pearl Earring
Signed but not dated

51. Inage 96 Rachel Ruysch Still life with fruits and insects.
Oil on panel Vanitas themes

52. Artist: Georges de La Tour
Title: Mary Magdalen with the Smoking Flame – fragility of life, only one of many Magdalen Paintings
Medium: Oil on canvas
Size: 46¼ X 36⅛" (117 X 91.8 cm)
Date: c. 1640
Source/ Museum: Los Angeles County Museum of Art. Gift of the Ahmanson Foundation (M )

54. Artist: Anonymous (“Freake Painter”)
Title: Mrs. Freake and Baby Mary
Medium: Oil on canvas
Size: 42¼ X 36¼" (108 X 92.1 cm)
Date: c. 1674
Source/ Museum: Worcester Museum of Art, Worcester, Massachusetts

55. Art of New Spain
Spanish Colonies in the Americas
The Old World Set about to conquer the New World and the New World
Rulers and people fell from advanced technology and disease.
The Old World married into the New World and established a hierarchy which
Was made formal and public through the caste paintings.
They also connected Mexico with Asis- 4 month trip
Spices, ceramics, silks, ivory in Mexico.
Asian life was changed by the trade with the New World as well.
Because Spain was inundated with Napoleonic Wars. Spanish colonies sought independence. Spain lost its territories to Simone Bolivar and Jose de San Martin. By 1822 the rule of Spain was over.
Spanish brought Catholism, and new works of art by Native Artists. They were
Not afraid to use native artists, and native influence and inter marriage.
The Eastern Coast of US was much more concervative.
First Center of European Art was in Cusco.New styles were taught and Spanish costumes and clothing worn.
Artists were anonymous, and were combinations of old and new world.
The Manila Galleon ( Spanish Boats to Asia) brought raw materials from Asia.

56. Image 81 Frontespiece of the Codex Mendoza
1542
Named after Mendoza, the viceroy of New Spain.
Intended as a history of the Aztecs to Charles V of the Holy Roman Empire and it never made it there. IT was created 20 years after the events of the Spanish conquest, and showed daily life of the Aztecs.
All the pages were later annotated in Spanish. This is the founding of Tenochtitlan( land of the prickly pear cactus) and showed conquests on the bottom. The city was divided into cardinal directions… shown by the divisions, which are waterways.
Enemy temples are on fire while the Aztec warriors carry clubs.
Templo Mayor above the Eagle. And the humming bird is Huitzilopochtli to the left of the Eagle. The Tenochs showed the people where to settle.

57. Inage 90
Master of Calamarca Angel with Arquebus, Asiel Timor Dei c. 1680The harquebus is a firearm with a long barrel created by the Spanish in the mid-fifteenth century. It was the first gun to rest on the shoulder when being fired and was at the forefront of military weapon technology at the time. During the early eighteenth century, the Bolivian painter, the Master of Calamarca—identified as José López de los Ríos—or his workshop created a well known series of paintings depicting angels with harquebuses, which includedArchangel with Gun, Asiel Timor Dei. The Latin inscription of Archangel with Gun, Asiel Timor Dei indicates the name of the angel, Asiel, and a particular quality: Fears God. This painting was found by itself, but was likely part of a larger series that included angels performing other activities such as drumming and holding lances. Gun is not ready to fire and angel is not looking in the right place to fire…
Derived from paintings in Europe of military exercises. One from a series of angels doing non-angel things. Gold Embroidery is indigenous. This might have been an updated version of winged warriors from Pre-Columbian Art. Well advertised second coming of christ… with angels and guns!

58. Inage 94 Screen ( biompos) with the Seige of Gelgrade Circle of the Gonzalez Family 1697-1791
Tempera and resin on wood inlaid with mother of pearl
a Biombo and enconchados
Hapsburgs Victory over the Ottoman Turks. Commisioned by the Vicerory of New Spain whose first wife was a daughter of the Montecsuma II who died in the battle with the Spanish. Displayed in his palace and was Asian influenced.

59. Image 94 Hunting Scenes from the Screen of the Gonzalez Family
It is based from a print from Europe- Medici and then painted.
This side is for the family and the women.. To smoke ( tobacco) and to drink Chocolate ( New World) and the other side is for the Men!

60. Image 95 Miguel Gonzalez- Our Lady of Guadalupe- oil on canvas with mother of pearl. Los Angels County Art Museum.
1698
Oil on canvas on wood with mother of pearl and metal frame. This is an Enconchados work. Mary appears to a Native American on a shrine of a Native American goddess. Juan Diego was told to tell the Bishop to built a shrine to Mary on this spot. Juan Diego’s clothing held the image of the Virgin and he brought a flower from her. Mexican eagle and cactus on the bottom. Mary stands on a crescent moon surrounded by sun rays . Roundels tell the story of Juan Diego and the image of Mary. Enconchados is Asian influence. This Image was made for export.
These are all copies of the original.

61. This work is signed by Miguel González, who along with his brother Juan González, is considered the foremost painter of enconchados. Invented in Mexico, the enconchado technique consisted of placing tiny fragments of mother-of-pearl onto a wooden support or a canvas, and then covering them with a yellowish tint and thin glazes of paint. The technique, which is inspired by Asian decorative arts, imparts a brilliant luminosity to the works due to the iridescence of the shell fragments. Throughout the colonial period there was a significant influx of Asian goods to Mexico via the legendary Manila Galleons that connected the East to the West. The Japanese embassies of 1610 and 1614 to Mexico also contributed to the fashion for Asian inspired objects. Interestingly, at the beginning of the seventeenth century, Japan and New Spain made attempts to formalize trade relations, but the effort was thwarted in part due to Japan's desire to curtail contact with the West following the country's unification. As the art historian Sonia Ocaña Ruiz has noted, by the second half of the seventeenth century the importation of Japanese goods to the colony had radically decreased, which may have spurred the creation of Asian inspired objects in New Spain to fulfill local demand (e.g. ceramics, folding screens, and enconchados).

62. Image 97Juan Rodriguez
Indian and Spaniard produce a Mestizo 1715
Casta painting
So states an inscription on José Joaquín Magón’s painting, The Mestizo, made in New Spain (Spanish colonial Mexico) during the second half of the eighteenth century. The painting displays a Spanish father and Indigenous mother with their son, and it belongs to a larger series of works that seek to document the inter-ethnic mixing occurring in New Spain among Europeans, indigenous peoples, Africans, and the existing mixed-race population. This genre of painting, known as pinturas de castas, or caste paintings, attempts to capture reality, yet they are largely fictions.

63. Image 99 Miguel Cabrera
Portrait of Sor Juana Inez de la Cruz Oil on Canvas ( Sister Juana Agnes)
Miguel Cabrera’s posthumous portrait of sor Juana Inés de la Cruz ( ) is a famous depiction of the esteemed Mexican nun and writer. Considered the first feminist of the Americas, sor Juana lived as a nun of the Jeronymite order (named for St. Jerome) in seventeenth-century Mexico. Rather than marry, she chose to become a nun so she could pursue her intellectual interests. She corresponded with scientists, theologians, and other literary intellectuals in Mexico and abroad. She wrote poetry and plays that became internationally famous, and even engaged in theological debates. 
Her Life
Born to a creole family in 1648, sor Juana was a child prodigy. At the age of fifteen, she amazed people at court by excelling at an oral exam that tested her knowledge of physics, philosophy, theology, and mathematics. 
In 1690 she became involved in an ecclesiastical dispute between the bishops of Mexico City and Puebla. She responded to the criticism she received as a woman writer, which culminated in one of her most famous works: The Answer(1691). This work defended her right as a woman to write and to be a scholar. At one she claimed that
I do not study in order to write, nor far less in order to teach (which would be boundless arrogance in me), but simply to see whether by studying I may become less ignorant. This is my answer, and these are my feelings
Despite her eloquent defense, the Church forced her to relinquish her literary pursuits and even her library. When she sold her library and musical and scientific instruments, she wrote a document that renounced her learning, which ended with “I, Sor Juana Inés de la Cruz, the worst in the world,” signed in her own blood. After giving up her intellectual pursuits, she cared for the infirm during an epidemic but she fell sick and passed away.

64. Under her chin- this indicates the order of St.Jerome.