1. ART HISTORY 2051 Baroque: Italy & Spain

2. Baroque painting: Italy –Caravaggio (1571-1610) style: “realist” tendency –rejection of Mannerism –interest in surface textures & appearances –human figure not prettified biography: bohemian –in permanent revolt against authority –fled Rome because charged w/ manslaughter –died of malaria

3. Baroque Caravaggio (cont.) –Bacchus (c. 1595) theme: mythological –little reminiscent of god of antiquity »drowsy »soft mouth »dainty gesture mood: subjective depth: suggested by foreshortening color: rejection of Venetian (re: Titian)

7. Baroque painting: Italy (cont.) –Artemisia Gentileschi (1563-1639) style: Caravaggesque scenes of feminine heroicism & revenge biography: horrific life translated into themes of rape & torture –raped by her drawing teacher, Tassi, who then refused to marry her –Gentileschi’s father sued Tassi –Artemisia tortured w/ thumbscrews to test her veracity before Tassi was convicted

10. Baroque painting: Italy(cont.) –style: “Classicizing” tendency –principal artists: Carracci (1560-1609) Reni (1575-1642) –characteristics: clarity, unity & decorum figures: handsome faces & muscular bodies composition: recalls Classical relief sculpture

14. Baroque painting: Italy(cont.) –style: “Dynamic” tendency (a.k.a. “High Baroque”) perspective: architectural technique: pictorial illusionism (e.g., painted framework) intense light & color composition: strong diagonals figures: idealized & vigorous in action –principal artists: Guercino (1591-1666) Cortona (1596-1669)

18. Baroque sculpture: Italy –Bernini (1598-1680) style: “Dynamic” tendencies influences: Hellenistic antiquity patrons: papacy in Rome Baroque qualities: –spatial order: active vs. self-contained –realism of detail & differentiation of texture –drapery: abstract play of folds & crevasses –attempting pictorial effects traditionally outside sculpture’s domain

24. Baroque painting: Spain –Velázquez (1599-1660) style: “Realist” tendency (re: Caravaggio) –color: Venetian richness (re: Titian) –brushwork: fluid & painterly –light: fascination w/ depicting fleeting effects themes: –genre scenes –mythological –royal portraits (political & religious)

35. IMAGE INDEX Slide 3:CARAVAGGIO. Bacchus (c. 1597), Oil on canvas, 95 x 85 cm., Uffizi Gallery, Florence. Slide 4:Comparison between TITIAN’s Bacchanal (1518) and CARAVAGGIO’s Bacchus (c. 1597). Slide 5:CARAVAGGIO. Supper at Emmaus (c. 1600-1601), Oil on canvas, 139 x 195 cm., National Gallery, London. Slide 6:CARAVAGGIO. The Calling of Saint Matthew (1599-1600), Oil on canvas, 10' 7 1/2" X 11' 2”, Contarelli Chapel, San Luigi dei Francesi, Rome.

36. IMAGE INDEX Slide 8:GENTILESCHI, Artemisia. Judith and Maidservant with the Head of Holofernes (c. 1625), Oil on canvas, 6’1/2” x 4’7”, The Detroit Institute of Arts. Slide 9:Comparison between GENTILESCHI’s Judith (c. 1625) and CARAVAGGIO’S Judith Beheading Holofernes (c. 1598), Oil on canvas, 144 x 195 cm., Galleria Nazionale dell'Arte Antica, Rome. Slide 11:CARACCI, Anibale. Ceiling fresco (1597- 1601). Gallery, Palazzo Farnese, Rome.

37. IMAGE INDEX Slide 12:CARRACCI, Annibale. Venus and Anchises (detail from Slide 11). Slide 13:RENI, Guido. Aurora (1613), Ceiling fresco, Casino Rospigliosi, Rome. Slide 15:GUERCINO. Aurora (1621-23), Ceiling fresco. Villa Ludovisi, Rome. Slide 16:Comparison between the Classicizing tendency of RENI’s Aurora (1613) and the High Baroque tendency of GUERCINO’s Aurora (1621-23).

38. IMAGE INDEX Slide 17:Detail of CORTONA’s Glorification of the Reign of Urban VIII (1633-39), Portion of ceiling fresco, Palazzo Barberini, Rome. Slide 19:BERNINI, David (c. 1625), Marble, height 170 cm., Galleria Borghese, Rome. Slide 20:Comparison between Classical Greek Discuss Thrower (c. 450 BCE) and BERNINI’s Baroque David (c. 1625). Slide 21:Comparison between BERNINI’s Baroque David (c. 1625) and MICHELANGELO’s High Renaissance David (c. 1500).

39. IMAGE INDEX Slide 22:BERNINI, Gianlorenzo. Bust of Scipione Borghese (1632), Marble, height 30 3/4”, Borghese Gallery, Rome. Slide 23:BERNINI. The Ecstasy of Saint Therese (1647-52), Marble, Cappella Cornaro, Santa Maria della Vittoria, Rome. Slide 25:VELÁZQUEZ, Diego. The Waterseller of Seville (c. 1619), Oil on canvas, 42 x 31 7/8”, Wellington Museum, London. Slide 26:VELÁZQUEZ, Diego. Los Borrachos (1628), Oil on canvas, Museo del Prado, Madrid.

40. IMAGE INDEX Slide 27:Comparison between VELÁZQUEZ’s Los Borrachos (1628) and CARAVAGGIO’s Bacchus (1597). Slide 28:VELÁZQUEZ, Diego. Venus with a Mirror (c. 1650), Oil on canvas, 122.5 x 177 cm., National Gallery, London. Slide 29:Comparison between VELÁZQUEZ’s Venus with a Mirror (c. 1650) and TITIAN’s The Venus of Urbino (1538). Slide 30:VELÁZQUEZ, Diego. Pope Innocent X (1650), Oil on canvas, 55 x 45 1/4”, Galleria Doria Pamphili, Rome.

41. IMAGE INDEX Slide 31:Comparison between VELÁZQUEZ’s Pope Innocent X (1650) and TITIAN’s Pope Paul III and His Grandsons (1546). Slide 32:Comparison between VELÁZQUEZ’s Pope Innocent X (1650) and EL GRECO’s Portrait of Hortensio Felix Paravicino (c. 1605). Slide 33:VELAZQUEZ, Diego. Las Meninas (1656), Oil on canvas, 10’ 5" x 9’ 1”, Museo del Prado, Madrid. Slide 34:Details of Infanta Marguarite Therese (c. 1654), Oil on canvas, 128.5 x 100 cm., Kunsthistorisches Museum, Vienna.