1. 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.

2. 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.

3. 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.

4. Carlo Maderno Santa Susana Rome, Italy 1597-1603
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Carlo Maderno
Santa Susana
Rome, Italy

5. Giacomo della Porta façade of Il Gesù Rome, Italy ca. 1575-1584
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Giacomo della Porta
façade of Il Gesù
Rome, Italy ca

6. 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.
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Carlo Maderno
Santa Susana
Rome, Italy
Giacomo della Porta
façade of Il Gesù
Rome, Italy ca

7. 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

8. 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.

9. 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.
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Carlo Maderno
façade of Saint Peter’s
Vatican City, Rome, Italy

10. Aerial view of Saint Peter’s Vatican City, Rome, Italy
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Carlo Maderno
Aerial view of Saint Peter’s
Vatican City, Rome, Italy

11. 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
gilded bronze approximately 100 ft. high
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12. Vatican City, Rome, Italy
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Gianlorenzo Bernini
Scala Regia
Vatican City, Rome, Italy

13. 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.
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Gianlorenzo Bernini
David
1623 marble approximately 5 ft. 7 in. high

14. Gianlorenzo Bernini David 1623 marble approximately 5 ft. 7 in. high
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Gianlorenzo Bernini
David
1623 marble approximately 5 ft. 7 in. high

15. 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.
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Bernini
Donatello
Michelangelo Buonarroti

16. interior of the Cornaro Chapel Santa Maria della Vittoria, Rome, Italy
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Gianlorenzo Bernini
interior of the Cornaro Chapel
Santa Maria della Vittoria, Rome, Italy

17. 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.
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Gianlorenzo Bernini
Ecstasy of Saint Theresa
Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy

18. 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.

19. Who developed the “sculptural” architectural style to its extreme?
Francesco Borromoni.
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Francesco Borromini
façade of San Carlo alle Quattro Fontane
Rome, Italy

20. Two buildings designed by him.
San Carlo alle Quattro Fontane.
Chapel of Saint Ivo.
Both are located in the city of Rome.
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Francesco Borromini
façade of San Carlo alle Quattro Fontane
Rome, Italy

21. While the circle had been the ideal geometric figure to Renaissance architects, Baroque planners preferred the oval.
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Francesco Borromini
plan of San Carlo alle Quattro Fontane
Rome, Italy

22. 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.
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Francesco Borromini
dome of San Carlo alle Quattro Fontane
Rome, Italy

23. Chapel of Saint Ivo College of the Sapienza
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Francesco Borromini
Chapel of Saint Ivo College of the Sapienza
Rome, Italy
begun 1642

24. plan of the Chapel of Saint Ivo College of the Sapienza
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Francesco Borromini
plan of the Chapel of Saint Ivo College of the Sapienza
Rome, Italy
begun 1642

25. dome of the Chapel of Saint Ivo College of the Sapienza
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Francesco Borromini
dome of the Chapel of Saint Ivo College of the Sapienza
Rome, Italy
begun 1642

26. 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

27. 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.

28. Guarino Guarini Palazzo Carignano Turin, Italy 1679-1692
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Guarino Guarini
Palazzo Carignano
Turin, Italy

29. Guarino Guarini Palazzo Carignano Turin, Italy 1679-1692
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Guarino Guarini
Palazzo Carignano
Turin, Italy

30. Chapel of Santissima Sindone Turin, Italy
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Guarino Guarini
Chapel of Santissima Sindone
Turin, Italy

31. Chapel of Santissima Sindone Turin, Italy
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Guarino Guarini
Chapel of Santissima Sindone
Turin, Italy

32. 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.

33. Dome of Sant ‘Eligio degli Orefici Rome, Italy
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Bramante and Raphael
Dome of Sant ‘Eligio degli Orefici
Rome, Italy
ca. 1509, reconstructed ca. 1600

34. 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.
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Caravaggio
Conversion of Saint Paul
Cerasi Chapel, Santa Maria del Popolo Rome, Italy
ca oil on canvas approximately 7 ft. 6 in. x 5 ft. 9 in.

35. 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

36. 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 oil on canvas 11 ft. 1 in. x 11 ft. 5 in.
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37. “Shadowy” manner of dark settings enveloping their occupants.
Tenebroso
“Shadowy” manner of dark settings enveloping their occupants.
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38. David Victorious over Goliath
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Caravaggio
David Victorious over Goliath
oil on canvas 43 1/4 x 35 7/8 in.

39. Chapel of Pietro Vittrice, Santa Maria in Vallicella Rome, Italy
Caravaggio
Entombment
Chapel of Pietro Vittrice, Santa Maria in Vallicella Rome, Italy
ca oil on canvas 9 ft. 10 1/8 in. x 6 ft. 15/16 in.
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40. Artemisia Gentileschi
Self-Portrait as a Martyr

41. 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 oil on canvas 6 ft. 6 1/3 in. x 5 ft. x 4 in.

42. The artists most influenced the style of Artemesia Gentileschi was Caravaggio and her father, Orazio Gentileschi.
Judith Slaying Holofernes (Caravaggio). c
Oil on canvas
1.44m by 1.92m
Galleria Nazionale d'Arte Antica,
Barberini, Rome.

43. 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.
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Artemisia Gentileschi
Judith and her Maidservant
ca oil on canvas 44 7/8 x 36 13/16 in.

44. 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.

45. Artemisia Gentileschi Susannah and the Elders
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Artemisia Gentileschi
Susannah and the Elders
1610 oil on canvas 66 7/8 x 46 7/8 in.

46. 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.

47. Annibale Carracci is credited with developing the "classical" or "ideal" landscape
Its roots were the landscape backgrounds of Venetian Renaissance paintings.
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Annibale Carracci
Flight into Egypt
oil on canvas 4 ft. x 7 ft. x 6 in.

48. 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
fresco

49. Gallery, Palazzo Farnese Rome, Italy
Annibale Carracci
Loves of the Gods
Gallery, Palazzo Farnese Rome, Italy
fresco
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50. 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.
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Annibale Carracci
Loves of the Gods, Triumph of Bacchus
Gallery, Palazzo Farnese Rome, Italy
fresco

51. Loves of the Gods Polyphemus, Acis and Galatea
Annibale Carracci
Loves of the Gods Polyphemus, Acis and Galatea
Gallery, Palazzo Farnese Rome, Italy
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.

52. 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
fresco

53. Triumph of the Barberini
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Pietro da Cortona
Triumph of the Barberini
ceiling fresco in the Gran Salone Palazzo Barberini, Rome, Italy
fresco

54. 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
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.

55. 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

56. 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.
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Giovanni Battista Gaulli
Triumph in the Name of Jesus
ceiling fresco with stucco figures in the vault of Il Gesu, Rome, Italy
fresco

57. 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
fresco

58. 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.

59. Glorification of Saint Ignatius
Fra Andrea Pozzo
Glorification of Saint Ignatius
ceiling fresco with stucco figures in the nave of Sant’Ignazio, Rome, Italy
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.

60. 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.

61. 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 oil on canvas 7 ft. 8 in. x 7 ft. 8 in.

62. 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.

63. Still Life with Pottery Jars
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Francisco de Zurbarán
Still Life with Pottery Jars
oil on canvas 18 1/8 x 33 1/8 in.

64. Francisco de Zurbarán Agnus Dei oil on canvas 15 x 24 3/8 in.
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Francisco de Zurbarán
Agnus Dei
oil on canvas 15 x 24 3/8 in.

65. Saint Bernard and the Virgin
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Alonso Cano
Saint Bernard and the Virgin
oil on canvas 105 1/8 x 72 7/8 in.

66. Bartolomé Esteban Murillo The Immaculate Virgin “of Soult”
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Bartolomé Esteban Murillo
The Immaculate Virgin “of Soult”
c oil on canvas 107 7/8 x 74 3/4 in.

67. 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.

68. Velazquez was court painter to King Phillip IV.
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Diego Velázquez
Water Carrier of Seville
ca oil on canvas 3 ft. 5 1/2 in. x 2 ft. 7 1/2 in.

69. Diego Velázquez Los Borrachos
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Diego Velázquez
Los Borrachos
ca oil on canvas 64 3/8 x 87 7/8 in.

70. Velasquez’s Surrender of Breda commemorate the Spanish victory over the Dutch in 1625.
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Diego Velázquez
Surrender of Breda
oil on canvas 10 ft. 1 in. x 12 ft. 1/2 in.

71. King Philip IV of Spain (Fraga Philip)
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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.

72. 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.

73. Diego Velázquez Las Meninas
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Diego Velázquez
Las Meninas
1656 oil on canvas approximately 10 ft. 9 in. x 9 ft.

74. 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.

75. 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.

76. 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.