ARTS 150 1st EditionExam #2 Study Guide: Lectures: 11 – 17Study GuideSlides to know:Slide #, Artist, Title, Medium, Location, Artistic Period (Year/Century)Artistic Periods and TermsPatronsKey TermsPrinting TechniquesKey to In-Class Review QuestionsLecture 11 (Oct.1): Baroque Art in Italy#4 Bernini, David, Marble, Rome, Baroque (1623) a. Compared to Michelangelo's David:i. Bernini's has More movement, clothing, more facialexpression, great sense of tension, mid-moment as he isthrowing the stone to defeat Goliath (climax, most dramaticmoment), intense concentration on face (different fromrenaissance where they attempt to make "ideal" humanform)#6 & #8, Bernini, Ecstasy of Saint Teresa, Multimedia, CornaroChapel, Rome, Baroque (1645-52)i. multimedia (combining sculpture, architecture,painting, stained glass, lighting effects)ii. Window in dome covered in stained glass with bronzepipes coming down from it, when sun is overhead thelight travels down the pipes creating a "spotlight"iii. Main sculpture depicts a vision from St Teresa of Avilain which an angel appears to her and plunges a spearinto her heart andconsumed her with agreat love of Godiv. Most of the intensity isconveyed by her dramaticclothingv. Angel's cloth is muchlighter seemingvi. On either side of the main sculpture are small sculptures of the Cornaro family on the wall in theater boxesvii. His mastery of linear perspective makes the boxes seem incredibly deep#12, Bernini, Piazza in front of St. Peter’s Basilica, Rome, Baroque (1656)i. Long row of columns that are interpreted as thewelcoming arms of the church, gives a place for people tocongregate"Stages" St. Peter’s, funnels people in a certain direction#13, Bernini, Baldacchino, Gilded bronze, Basilica of Saint PeterRome, Baroque (1624-33)i. 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. Metal imitates fabricv. Dove on underside of top symbolizes Holy Spiritvi. Attention to detail, gilded in gold#15, Caravaggio, The Entombment of Christ, oil on canvas, Vatican, Rome,Baroque (1602-04)i. Tenebrism, "unbalanced" subjects give a sense of drama ii. Christ's body is anatomically correct but is not as "idealized" asrenaissanceiii. Caravaggio used the faces of the lower class, show age anddamage- Church was upset at first but Caravaggio convinced them thatthis is how it should be because they were trying to pull thepoor back into the church, also the disciples were themselveslow/working class#17, Caravaggio, The Calling of St. Matthew, oil on canvas,Rome, Baroque (1600)i. Light spotlights Matthew, he was a tax collector before he started following Jesusii. He is gesturing to himself as if saying “Me? Are you sure?”#20, Artemesia Gentileschi, Suzanna and the Elders, Italy, Baroque (1600)i. Women do not have access to nude male modelsii. Had access to female nude though of courseiii. Conveys a great sense of tension and violation#22, Artemisia Gentileschi, Judith Beheading Holofernes, Italy, Baroque (1620)i. Knows foreshorteningii. Male body is slightly feminineiii. No access to male nudeLecture 12 (3): Baroque Artin Spain#7 Jusepe de Ribera, Martyrdom of St. Bartholomew, Naples,Baroque (1634)i. Martyred by being skinned aliveii. Knife and knife sharpener form a crossiii. Bartholomew is looking up to Godiv. Style is very different from Ren, not symmetrical,lower bodies are cut off#8 Diego Velázquez, Water Carrier of Seville, Spain, Baroque (1619)i. Depicts a "water carrier" man, drinking water was a valuable commodityii. Man wears burlap clothing, is very tan, older maniii. He is giving a young man a glass of wateriv. Glass would not have actually been used by this kind of man, but Diego puts it in to show off that he can paint glassv. The ceramic jugs have detailed and believable texturevi. Deeper religious meanings: baptism, need water to survive, nourishment of Christianity, nourishing/cleansing by a humble working man (Jesus was a carpenter)vii. Makes background very undetailed, like a blurred background in photography#10 Diego Velázquez, Las Meninas (The Maids of Honor), Spain, Baroque (Year/Century)i. Shows a dwarf, nobleman, artist, king and queen in a mirror- Meant to understand that what the artist is paintingwhat is in front of him, that we can't see (king and queenthat are reflected in the mirror)ii. As you get closer to the painting the details that seemed sorealistic from afar are actually just a jumble of lines and dots#17 Peter Paul Rubens, The Raising of the Cross, Flanders (Spanish Netherlands), Baroque (Year/Century)i. Much lighter than previous depictionsii. Christ’s body looks very healthy, artistis showing he can paint skin, influenceof Titian#18 Peter Paul Rubens, Henry IV Receiving the Portrait of Marie de’Medici, Flanders (Spanish Netherlands), Baroque (Year/Century)i. Shows Henry seeing a picture of Marie for the first time, clearly falling in loveii. Zeus and Juno looking downiii. France is depicted in the allegorical figure of the man next to Henry#21 Pieter Claesz, Still Life with Tazza, Dutch Republic, Baroque (Year/Century)i. Shows luxury goods of the day (an orange, olives, lavishgoblet)ii. Vanitas: enjoy the world as it is (luxury foods, etc.) but beaware of the world to come (clock, knocked over goblet) #23 Rachel Ruysch, Flower Still Life, Dutch Republic, Baroque (Year/Century)i. Her father was a botanist, had access to lots of books about plantsii. Some vanitas incorporated by a few dying and droopy flowersiii. She out sold Rembrandt #24 Jacob van Ruisdael, View ofHaarlem from the Dunes at Overveen, Dutch Republic, Baroque (Year/Century)i. Most of the painting is given over to the sky,represents Godii. Most prominent building is a churchiii. Home up front where people are making linen, addsan element of genre (common life)Lecture 13 (Oct.6): Baroque Art in the Dutch Republic and France #4 Frans Hals, Officers of the Haarlem Militia Companyof St. Adrian, Dutch Republic, Baroque (1627) i. Start of middle class portraitures ii. Group portrait#5 Rembrandtvan Rijn, The Anatomy Lesson of Dr. Nicolaes Tulp, Dutch Republic,Baroque (1632)i. Caravaggesque: foreground is spotlighted, creates a senseof dramaii. Doesn't show much posture#7 Rembrandt van Rijn, Captain Frans Banning Cocq Mustering HisCompany [The Night Watch],