Ap Art History Baroque Art Flashcards
Santa Maria Della Vittoria
Form: StoneFunction: ChurchContent: Originally dedicated to St. Paul; Rededicated to Virgin Mary after military victory; Turkish standards captured in Vienna on display; Single wide nave, side chapel contains Ecstasy of Saint Teresa. Ionic Pilasters; emphasis on center of façade; Broken pediments; swags and scrollworksContext: 1605-1620 Carlo Maderno
San Carlo alle Quattro Fontane
Form: Stone and StuccoFunction: ChurchContent: Located in a square in Rome w/four fountains; Unusually small; Alternating concave and convex patterns create undulating effect; Façade higher than rest of building; Interior chapels merge into central space; Interior oval coffered dome; Avoids colorsContext: 1638-1646 Francesco Borromini
Versailles
Form: Masonry, stone, wood, iron, and gold leaf (gardens)Function: Palace and Royal Court for Louis XIVContent: Remodeling of hunting lodge. All aspects of the palace radiate like the sun from Louis' bedroom (sun king); Versailles is the embodiment of Louis' goals as king of France; Vast gardens radiate from the central palace; Subdued exterior decoration on façade; Hall of mirrors: Barrel vaulted painted ceiling, Light comes in a bounces off of massive mirrors inside. Gardens: classically and harmoniously composed, Formal gardens near palace, less elaborate as you get farther away; huge size, long vistas, terminal views in fountains and sculptures; mile long canal.Context: 1669 Louis Le Vau and Jules Hardouin-Mansart
Ecstasy of Saint Teresa
Form: Marble; Stucco and gilt bronzeFunction: Religious Sculpture in a ChurchContent: Interpretation of St. Teresa's visions of God (angel descending with an arrow and plunging it into her) Natural light redirected onto sculpture from hidden window; Marble reveals textures (high gloss skin, rough feathers of angel; animated and fluid drapery; rough cut clouds) Cut from one piece of marble; figures seem to float in space; rays of god's light illuminate the scene from behind; Teresa's pose suggests Sexual exhaustion; (from spiritual ecstasy); Stagelike setting Context: 1647-1652 Gian Lorenzo Bernini; Santa Maria Della Vittoria
Calling of Saint Matthew
Form: Oil on CanvasFunction: Religious SceneContent: One of three paintings illustrating the life of Matthew; Light enters from 2 sources on right creating tenebroso effect; Diagonal shaft of light points towards Matthew who seems unsure of his calling; Christ's hand is similar to Adam's on Sistine Chapel's ceiling; Foppishly dressed figure in latest fashion; narrow stage for figures to sit and stand on; Only slight suggestion of halo on Jesus' head; sensual figures in everyday setting; naturalist approachContext: 1597-1601 Caravaggio
Triumph of the Name of Jesus
Form: Ceiling Painting (mixed Media)Function: Decoration in Il GesuContent: Monogram of "IHS" is brilliantly lit is sea of golden color, Some figures are carved in stucco below painting emphasizing 3D effect. Some cast long shadows across the barrel vault; Other painted figures are also 3D; As if the ceiling was open to sky and the figures were spiraling down Di sotto in su; Damned are cast into hell and saved are raised up (last judgement)Context: 1676-1679 Giovanni Battista Gaulli
Las Meninas
Form: Oil on CanvasFunction: Group PortraitContent: Velazquez is watching his subjects and steps away from his canvas in the left. Wears the Royal Order of Santiago indicating knighthood. Infanta Magharita of Spain is in center with Meninas (servants) a dog, dwarf, and midget. 2 chaperones stand behind in half shadow. Jose Nieto (head of Queen's tapestry works) might be in doorway. King and Queen appear in mirror at back of room. Darks and lights draw us into the canvas. Dappled effect of light on shimmering surfacesContext: 1656 Diego Velazquez
Henry IV receives the Portrait of Marie de'Medici
Form: Oil on canvasFunction: Part of a narrative story of Marie De'MediciContent: Portrait held by cupid and Hymen (god of marriage) Henry IV is smitten. Jupiter and Juno (symbol of marital harmony) looks down from above. Behind Henry is the personification of France. Before marriage in this time, portraits were exchanged by the couple.Context: 1621-1625 Peter Paul Rubens
Self-Portrait with Saskia
Form: EtchingFunction: Private purposesContent: Only image of him with his wife; wearing fanciful dress; Images of Saskia are abundant in his art; Marital harmony; Context: 1636 Rembrandt
Woman Holding a Balance
Form: Oil on CanvasFunction: AllegoryContent: Genre scene. Small gestures take on a greater significance than initially apparent; figures seem unaware of viewer's presence; Light enters and warmly highlights textures; A moment in time; Moment of judgement (weighing); Behind her is a painting of last judgement (a weighing of souls); Balance is empty, pearls and coins wait to be weighed; Vanitas --> gold should not be false allure; woman dressed in fine clothes (perhaps Vermeer's wife, Caterina)Context: c.1664 Johannes Vermeer
Fruits and Insects
Form: Oil on woodFunction: Art for art's sakeContent: Asymmetrical, artful arrangement; may have used illustrations from botanist textbook as basis. Construct of perfect specimens all in bloom at the same timeContext: 1711 Rachel Ruysch