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17th century European Painting Baroque style born in Bologna 1583 Carracci academy academy founded by brothers Ludovico Annibale and Agostino Carracci challenged contemporary art started movement away from Mannerist tradition Annibale Carracci Northern Italian naturalism esp Raphael Royal Academy of Painting and Sculpture Paris founded in 1648 modeled on Italian art academies Ariadne abandoned on island by Theseus consolation of the aurora borealis Antonio da Sangallo the Younger Palazzo Farnese c 1530 1546 commissioned by Cardinal Farnese to paint rooms Gallery of the Palazzo Farnese function of room paintings unknown festive mood Triumph of Bacchus depicts mythical wedding of Bacchus and Ariadne from Bacchus as wedding gift colors are not distorted wild not Mannerist straight horizontal view normative proportions natural Mediterranean bodies Annibale Carracci The Flight Into Egypt 1603 1604 illustrates Jesus escape from Herod as an infant figures of Mary Jesus and Joseph are tiny against landscape expresses view that humans are small and insignificant on the scale of the universe idea common to Mannerist thought comparison to Titian s The Pastoral Symphony Titian s figures are larger and up front ideal landscape that is characteristically Northern European pastoral mood and soft lighting like Titian s Pastoral Symphony Nicolas Poussin Burial of Count Phocion 1648 Poussin was imitating The Flight Into Egypt idealized abstracted landscape classicism landscape used as expressive tool landscape color line all used to express emotion Poussin s technique change anything in a painting in order to get mood across Athens at this point owned by Turks artist researched Athens from ancient texts zigzag line form gives a sense of depth appears to be a long walk to the city Phocion was Athenian statesman who was falsely accused executed and buried outside city tree bending over as if in mourning Caravaggio The Conversion of Saint Paul 1601 painting for Cerasi Chapel of Santa Maria del Popolo painting by Annibale Carracci over high altar one Caravaggio painting on either side story St Paul was going to persecute Christians his job struck by God fell off of his horse and received divine revelation for papal administrator conceit light is divine revelation light used to focus subjects life size figures with dramatic presence overwhelming the space in typical baroque fashion tenebrism almost black background chiaroscuro muted tones lack of contours artist introduces new kind of naturalism horse has distorted proportions Annibale Carracci Assumption of the Virgin 1601 altarpiece in Cerasi Chapel of Santa Maria del Popolo Virgin could not die b c without sin taken into Heaven assumption bodies highly idealized universal type of apostle idealized form of virginal beauty chiaroscuro including bright white light symmetrical composition Caravaggio Judith Beheading Holofernes 1598 Hebrews vs Assyrians Judith seduces the enemy Assyrian general Holofernes then beheads him Judith s expression is ambivalent both determination and disgust compare to Gentileschi s version more realistic blood more effort in beheading Judith more heroic lack of depth figures lined up as if onstage figures lit from the side black background Artemisia Gentileschi Judith and Her Maidservant with the Head of Holofernes c 1625 dramatic chiaroscuro accident of lighting shadow from candle unrealistically shades Judith s face spreads as painting tradition Peter Paul Rubens The Descent from the Cross 1612 1614 triptych central panel painting stirs affect into theology helping Roman Catholic cause Jesus portrayed as heroic but realistically proportioned diagonals create drama through sense of motion and instability chiaroscuro Rubens Self Portrait 1623 drama artificial and courtly portrayal of himself Rembrandt Self Portrait with Two Circles c 1665 1669 artist made many self portraits throughout his life self study first artist to do this naturalistic manner studying imperfections of his face wrinkles jowls melancholy expression hand on hip holding palette asserts status as a master artist Rembrandt Syndics of the Drapers Guild 1662 commissioned by guild for their hall drapers assess the quality of cloth materials heads deliberately not in line table angled upward viewer looks upward at figures instability created brain perceives motion effect of liveliness Diego Vel zquez The Water Carrier of Seville 1618 1622 for royal Chaplain of Seville the artist s sponsor shows Giving Drink to the Thirsty one of Seven Acts of Mercy solemn dignity of characters in their everyday ritual detailed texture extreme naturalism weathered skin ripped clothing captures the ephemeral moment tenebroso manner adopted from Caravaggio focused light Diego Vel zquez The Surrender of Breda 1634 1635 intended for king s palace subject war between Northern Netherlands and Spain contemporary event glorifies Spanish victory Spanish officer comforts Dutch counterpart patronizing Spanish with straight raised lances appearing proud Spanish have more lances shown to outnumber the enemy enemies are dazed and forlorn in reality a truce not a surrender smoke in background shows defeat rich color like Titian s highly naturalistic human drama between the generals emotions that are relatable Diego Vel zquez Las Meninas 1656 for summer palace of King Philip IV of Spain features self portrait artist shows himself as nobleman his aspiration working at canvas cross on chest signifies membership to Order of Santiago papal military order received after completion of painting the king had it added to portrait after artist s death claims nobility of painting and of artist himself figures portrayed king and queen as reflections in mirror royal daughter chaperone bodyguard maids of honor dog and two dwarfs genre scene and group portrait light creates the objects heavy contrast of light and dark free brushwork Tenebrism chiaroscuro with entirely black background and a single light source Baroque in France France united under one king proto modern nation state Versailles old hunting village Claude Perrault Louvre Palace additions c 1667 1670 open air between top story columns 3D inwards not coming out at viewer draws viewer to look inward rectilinear structure as opposed to curved Italian baroque French baroque features rectilinear angles as a rule Jules Hardouin Mansart Palace of Versailles 1669 1685 features park outside grotto Apollo attended by nymphs nymphs are in naturalistic poses


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