Art history chap._24_a

Chapter 24 Of Popes, Peasants, Monarchs, and Merchants Baroque Art Gardner’s Art Through the Ages,

Baroque Art ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Development of a Worldwide Market

Figure 24-2 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612. Baroque Art of 17 th Century - ITALY ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-4 Aerial view of Saint Peter’s, Vatican City, Rome, Italy, 1506–1666. Figure 24-3 CARLO MADERNO, plan of Saint Peter’s, Vatican City, Rome, Italy, with adjoining piazza designed by GIANLORENZO BERNINI. ITALY – St. Peter’s – Maderno and Bernini ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-5 GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City, Rome, Italy, 1624–1633. Gilded bronze, approx. 100’ high. Figure 24-6 GIANLORENZO BERNINI, Scala Regia, Vatican City, Rome, Italy, 1663–1666 . ITALY - BERNINI ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-7 GIANLORENZO BERNINI, David, 1623. Marble, approx. 5’ 7” high. Galleria Borghese, Rome. Bernini – Expresses the Italian Baroque Spirit in Sculpture ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-9 GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”. Bernini – Interior Niche of Cornaro Chapel ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-10 FRANCESCO BORROMINI, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1665–1676. Figure 24-11 FRANCESCO BORROMINI, plan of San Carlo alle Quattro Fontane, Rome, Italy, 1638–1641. Borromini – Italian Baroque Architecture Church of St. Charles of the Four Fountains ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-12 FRANCESCO BORROMINI, Chapel of Saint Ivo, College of the Sapienza, Rome, Italy, begun 1642. Figure 24-13 FRANCESCO BORROMINI, plan of the Chapel of Saint Ivo, College of the Sapienza, Rome, Italy, begun 1642. Borromini – Chapel of St. Ivo ,[object Object],[object Object],[object Object]

Figure 24-14 Chapel of Saint Ivo (view into dome), College of the Sapienza, Rome, Italy, begun 1642. Borromini – Dome of Chapel of St. Ivo ,[object Object]

Figure 24-15 GUARINO GUARINI, Palazzo Carignano, Turin, Italy, 1679–1692. Guarini – Palazzo Carignano ,[object Object],[object Object],[object Object],[object Object]

Figure 24-18 CARAVAGGIO, Conversion of Saint Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, Italy, ca. 1601. Oil on canvas, approx. 7’ 6” x 5’ 9”. CARAVAGGIO – One of the Most Noted Baroque Painters ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-19 CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. CARAVAGGIO – Calling of St. Matthew – Theatrical Lighting ,[object Object],[object Object],[object Object]

Figure 24-20 CARAVAGGIO, Entombment, from the chapel of Pietro Vittrice, Santa Maria in Vallicella, Rome, Italy, ca. 1603. Oil on canvas, 9’ 10 1/8” x 6’ 7 15/16”. Musei Vaticani, Pinacoteca, Rome. Entombment – Sums up CARAVAGGIO’S Distinctive Style ,[object Object],[object Object],[object Object],[object Object]

Figure 24-21 ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence. GENTILESCHI (Female) – “Caravaggista” ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-22 ANNIBALE CARRACCI, Flight into Egypt, 1603–1604. Oil on canvas, approx. 4’ x 7’ 6”. Galleria Doria Pamphili, Rome. CARRACCI – Drawn to the Classics (contrast to Caravaggio) ,[object Object],[object Object]

Figure 24-23 ANNIBALE CARRACCI, Loves of the Gods, ceiling frescoes in the gallery, Palazzo Farnese, Rome, Italy, 1597–1601. CARRACCI – Ceiling Fresco in the Palazzo Farnese Gallery ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-25 PIETRO DA CORTONA, Triumph of the Barberini, ceiling fresco in the Gran Salone, Palazzo Barberini, Rome, 1633–1639. DA CORTONA – Triumph of the Barberini ,[object Object],[object Object]

Figure 24-26 GIOVANNI BATTISTA GAULLI, Triumph of the Name of Jesus, ceiling fresco with stucco figures in the vault of the Church of Il Gesù, Rome, Italy, 1676–1679. GAULLI – Triumph in the Name of Jesus - 1676 ,[object Object],[object Object]

Figure 24-27 FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant’Ignazio, Rome, Italy, 1691–1694. POZZO – Glorification of St. Ignatius - 1691 ,[object Object],[object Object],[object Object]

Figure 24-28 JOSÉ DE RIBERA, Martyrdom of Saint Bartholomew, ca. 1639. Oil on canvas, approx. 7’ 8” x 7’ 8”. Museo del Prado, Madrid. 17 th Century Baroque Art - SPAIN ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-29 FRANCISCO DE ZURBARÁN, Saint Serapion, 1628. Oil on canvas, 3’ 11 1/2” x 3’ 4 3/4”. Wadsworth Atheneum, Hartford (The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund). ZURBARAN – Martyr at Peace, St. Serapion ,[object Object],[object Object],[object Object]

Figure 24-31 DIEGO VELÁZQUEZ, Surrender of Breda, 1634–1635. Oil on canvas, 10’ 1” x 12’ 1/2”. Museo del Prado, Madrid. VELAZQUEZ – Influential Spanish Court Painter ,[object Object],[object Object],[object Object],[object Object]

Figure 24-32 DIEGO VELÁZQUEZ, King Philip IV of Spain (Fraga Philip), 1644. Oil on canvas, 4’ 3 1/8” x 3’ 3 1/8”. The Frick Collection, New York. VELAZQUEZ – Portraying Royalty, King Philip IV of Spain ,[object Object],[object Object],[object Object],[object Object]

Figure 24-33 DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid. VELAZQUEZ – Art and Royal Life, Las Meninas ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-34 PETER PAUL RUBENS, Elevation of the Cross, Antwerp Cathedral, Antwerp, Belgium, 1610. Oil on panel, 15’ 1 7/8” x 11’ 1 1/2” (center panel), 15' 1 7/8" x 4' 11" (each wing). 17 th Century Baroque Art - FLANDERS (Spanish Netherlands) ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-35 PETER PAUL RUBENS, drawing of Laocoön, ca. 1600-1608. Black-and-white chalk drawing with bistre wash, approx. 1’ 7” x 1’ 7”. Ambrosiana, Milan. RUBENS – Drawing on the Masters ,[object Object],[object Object],[object Object]

Figure 24-36 PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil on canvas, approx. 5’ 1” x 3’ 9 1/2”. Louvre, Paris. RUBENS – Reveals the Pomp and Majesty of Royalty Arrival of Marie de’ Medici at Marseilles ,[object Object],[object Object],[object Object],[object Object]

Figure 24-37 PETER PAUL RUBENS, Allegory of the Outbreak of War, 1638. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Pitti Gallery, Florence. RUBENS – Protesting War, Allegory of the Outbreak of War ,[object Object],[object Object],[object Object]

Figure 24-39 CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7 3/4” x 2’ 1 1/4”. Museo del Prado, Madrid. CLARA PEETERS – “Breakfast Piece” ,[object Object],[object Object],[object Object],[object Object]

17 th Century Baroque Art - THE DUTCH REPUBLIC ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-41 GERRIT VAN HONTHORST, Supper Party, 1620. Oil on canvas, approx. 7’ x 4’ 8”. Galleria degli Uffizi, Florence. VAN HONTHORST – Depicting Daily Dutch Life ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-42 FRANS HALS, Archers of Saint Hadrian, ca. 1633. Oil on canvas, approx. 6’ 9” x 11’. Frans Halsmuseum, Haarlem. FRANS HALS – Leading Haarlem Painter of Portraits ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-43 FRANS HALS, The Women Regents of the Old Men’s Home at Haarlem, 1664. Oil on canvas, 5’ 7” x 8’ 2”. Frans Halsmuseum, Haarlem. HALS – Captures the Character of Devout Calvinist Women ,[object Object],[object Object]

Figure 24-44 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”. Mauritshuis, The Hague . REMBRANDT – Leading Dutch Painter of His Time ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-45 REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas (cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam . REMBRANDT – The Company of Captain Frans Banning Cocq (Night Watch) ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-46 REMBRANDT VAN RIJN, Return of the Prodigal Son, ca. 1665. Oil on canvas, approx. 8’ 8” x 6’ 9”. Hermitage Museum, Saint Petersburg. REMBRANDT – States of the Human Soul Return of the Prodigal Son ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-47 REMBRANDT VAN RIJN, Self-Portrait, ca. 1659–1660. Oil on canvas, approx. 3’ 8 3/4” x 3’ 1”. The Iveagh Bequest, Kenwood House, London. LIGHT – Hallmark of Rembrandt’s Style ,[object Object],[object Object],[object Object],[object Object]

Figure 24-48 REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca. 1649. Etching, approx. 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York. REMBRANDT – Hundred Guilder Print – Graphic Media ,[object Object],[object Object],[object Object],[object Object]

Figure 24-49 JUDITH LEYSTER, Self-Portrait, ca. 1630. Oil on canvas, 2’ 5 3/8” x 2’ 1 5/8”. National Gallery of Art, Washington (gift of Mr. and Mrs. Robert Woods Bliss). JUDITH LEYSTER – Portraitist (studied with Hals) ,[object Object],[object Object],[object Object]

Figure 24-50 AELBERT CUYP, A Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures (The “Large Dort”), late 1640s. Oil on canvas, approx. 5’ 1” ´ 6’ 4 7/8”. National Gallery, London. Figure 24-51 JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, approx. 1’ 10” x 2’ 1”. Mauritshuis, The Hague. Dutch Avidly Collected Landscape Paintings (Cuyp & van Ruisdael) ,[object Object],[object Object],[object Object]

Figure 24-52 JAN VERMEER, The Letter, 1666. Oil on canvas, 1’ 5 1/4” x 1’ 3 1/4”. Rijksmuseum, Amsterdam. JAN VERMEER – Best-Known Dutch Interior Scene Painter ,[object Object],[object Object],[object Object],[object Object],Glimpses into the lives of prosperous, responsible and cultured citizens

Figure 24-53 JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Oil on canvas, 4’ 4” x 3’ 8”. Kunsthistorisches Museum, Vienna. VERMEER – The Science and Poetry of Light Master of Pictorial Light ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-55 PIETER CLAESZ, Vanitas Still Life, 1630s. Oil on panel, 1’ 2” x 1’ 11 1/2”. Germanisches Nationalmuseum, Nuremberg. CLAESZ – Vanitas Paintings – References to Death ,[object Object],[object Object],[object Object]

Figure 24-57 RACHEL RUYSCH, Flower Still Life, after 1700. Oil on canvas, 2’ 6” x 2’. The Toledo Museum of Art, Toledo (purchased with funds from the Libbey Endowment, gift of Edward Drummond Libbey). Figure 24-56 WILLEM KALF, Still Life with a Late Ming Ginger Jar, 1669. Oil on canvas, 2’ 6” x 2’ 1 3/4”. Indianapolis Museum of Art, Indianapolis. KALF - ,[object Object],RUYSCH - ,[object Object]

Figure 24-58 NICOLAS POUSSIN, Et in Arcadia Ego, ca. 1655. Oil on canvas, approx. 2’ 10” x 4’. Louvre, Paris. 17 th Century Baroque Art - FRANCE ,[object Object],[object Object],[object Object],Nicolas Poussin ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],Evenness and moderation in all things = essence of French classical doctrine

Figure 24-59 NICOLAS POUSSIN, Burial of Phocion, 1648. Oil on canvas, approx. 3’ 11” x 5’ 10”. Louvre, Paris. POUSSIN’S Finest Work – Burial of Phocion ,[object Object],[object Object],[object Object]

Figure 24-60 CLAUDE LORRAIN, Landscape with Cattle and Peasants, 1629. Oil on canvas, 3’ 6” x 4’ 10 1/2”. Philadelphia Museum of Art, Philadelphia (the George W. Elkins Collection). LORRAIN - Landscapes Tell No Dramatic Story ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-62 LOUIS LE NAIN, Family of Country People, ca. 1640. Oil on canvas, approx. 3’ 8” x 5’ 2”. Louvre, Paris. LE NAIN – Frenchman Who Painted Like the Dutch ,[object Object],[object Object],[object Object]

Figure 24-64 GEORGES DE LA TOUR, Adoration of the Shepherds, 1645–1650. Oil on canvas, approx. 3’ 6” x 4’ 6”. Louvre, Paris . LA TOUR – Religious Imagery in France ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-63 JACQUES CALLOT, Hanging Tree, from the Large Miseries of War series, 1633. Etching, 3 3/4” x 7 1/4”. Bibiliothèque Nationale, Paris. CALLOT – Perfected the Technique of Etching ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-61 FRANÇOIS MANSART, Orléans wing of the Château de Blois, Blois, France, 1635–1638. MANSART – French “Classical-Baroque” Architecture ,[object Object],[object Object]

Figure 24-65 HYACINTHE RIGAUD, Louis XIV, 1701. Oil on canvas, approx. 9’ 2” x 6’ 3”. Louvre, Paris. King Louis XIV – Preeminent Patron of the Period The Sun King – Center of the Universe ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-67 Aerial view of palace at Versailles, France, begun 1669, and a portion of the gardens and surrounding area. The white trapezoid in the lower part of the plan (FIG. 24-68) outlines the area shown here . VERSAILLES – From Hunting Lodge to Palace ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-69 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Versailles, Versailles, France, ca. 1680. Hall of Mirrors, Versailles – Hardouin-Mansart and Le Brun ,[object Object],[object Object]

Figure 24-70 FRANÇOIS GIRARDON and THOMAS REGNAUDIN, Apollo Attended by the Nymphs, Grotto of Thetis, Park of Versailles, Versailles, France, ca. 1666–1672. Marble, life-size. Park of Versailles. ,[object Object],A Grotto Sculpture for Versailles – by Girardon & Regnaudin ,[object Object]

Figure 24-71 JULES HARDOUIN-MANSART, Royal Chapel, with ceiling decorations by Antoine Coypel, palace of Versailles, Versailles, France, 1698–1710 . Versailles Royal Chapel - Hardouin-Mansart ,[object Object],[object Object],[object Object]

Figure 24-73 INIGO JONES, Banqueting House at Whitehall, London, England, 1619–1622. 17 th Century Baroque Architecture - ENGLAND ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-74 SIR CHRISTOPHER WREN, new Saint Paul’s Cathedral, London, England, 1675–1710. CHRISTOPHER WREN - St. Paul’s Cathedral, London ,[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-76 BALTHASAR NEUMANN, interior of the pilgrimage chapel of Vierzehnheiligen, near Staffelstein, Germany, 1743–1772. Figure 24-77 Plan of Vierzehnheiligen, near Staffelstein, Germany. Late Baroque Art and Architecture in GERMANY ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Figure 24-78 EGID QUIRIN ASAM, Assumption of the Virgin, monastery church at Rohr, Germany, 1723. Marble and stucco. German Illusionistic Spectacle by ASAM Desire to unify various artistic mediums ,[object Object],[object Object],[object Object],[object Object],[object Object]

Art history chap._24_a

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