ARTS 105 1st Edition Lecture 11 Beginning of Section 2Outline of Lecture 11I. Baroque PeriodII. BerniniIII. CaravaggioIV. Artemesia GentileschiCurrent Lecture (11)I. Baroque Perioda. Baroque means oddly shaped pearl (this was intended as an insult) b. Protestant restoration continues, religious art is avoided so patronage stems mostly fromthe middle classc. Catholic Counter reformation continues, popes use art as an attractor to the churchd. Baroque Style: theatricality, drama, emotional intensity, agitation/ dynamic movement, transcends the boundaries of its spaces, virtuosos technique (can achieve effects that others cannot)II. Berninia. David (1623), marble, Romeb. Compared to Michelangelo's David:i. Bernini's has More movement, clothing, more facial expression, great sense of tension, mid-moment as he is throwing the stone to defeat Goliath (climax, mostdramatic moment), intense concentration on face (different from renaissance where they attempt to make "ideal" human form)c. Ecstasy of Saint Teresa (1645-52), Cornaro Chapel, Rome, multimedia (combining sculpture, architecture, painting, stained glass, lighting effects)i. Window in dome covered in stained glass with bronze pipes coming down from it, when sun is overhead the light travels down the pipes creating a "spotlight"ii. Main sculpture depicts a vision from St Teresa of Avila in which an angel appearsto her and plunges a spear into her heart and consumed her with a great love of Godiii. Most of the intensity is conveyed by her dramatic clothingiv. Angel's cloth is much lighter seemingThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.v. On either side of the main sculpture are small sculptures of the Cornaro family on the wall in theater boxesvi. His mastery of linear perspective makes the boxes seem incredibly deepIII. St. Peter's Basilicaa. Change from a basilica form to a central plan churchb. It is added onto by Michelangelo and Madernoc. Bernini adds a piazza in frontIV. Berninia. Piazza in front of St. Peter's Basilica, Romei. Long row of columns that are interpreted as the welcoming arms of the church, gives a place for people to congregateii. "Stages" St. Peter’s, funnels people in a certain directionb. Baldacchino, gilded bronze, 100' highi. Marks the burial place of St. Peter, and the high alterii. The columns symbolize the union of the Jewish and Christian traditions, the twisting columns also thought to represent the columns from The Temple of Solomoniii. Allegorical figures on topiv. Imitated fabricv. Dove on underside of top symbolizes Holy Spiritvi. Attention to detail, gilded in goldV. Caravaggioa. Entombment of Christ, Vatican, Rome, oil on canvas ** (all will be this from now on) **i. Tenebrism, "unbalanced" subjects give a sense of dramaii. Christ's body is anatomically correct but is not as "idealized" as renaissanceiii. Caravaggio used the faces of the lower class, show age and damage- Church was upset at first but Caravaggio convinced them that this is how it should be because they were trying to pull the poor back into the church, also the disciples were themselves low/working classb. Conversion of St. Paul, Romei. Even though story happens in the day time, the background is cast into deep shadow (tenebrism)- This gives better sense of the light shining down on his face- Good usage of foreshorteningc. Calling of St. Matthew, RomeCaravaggisti= someone who follows the style of CaravaggioCaravaggesque= in the style of CaravaggioTenebrism= background is cast into deep shadow, spotlights figures in foregroundVI. Artemesia Gentileschi (Caravaggisti)a. Suzanna and the Elders, Romei. Women do not have access to nude male modelsii. Had access to female nude though of courseiii. Conveys a great sense of tension and violationNaked vs. nude=b. Judith Beheading Holfernes, Romei. Knows foreshorteningii. Male body is slightly feminine, no access to male
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