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Art is Us 5: Baroque, Northern Renaissance, Rococo

Its collection is primarily makeup of 16C and 17C Italian Baroque paintings with a noticeable Dutch pcollection, but it does cover a range of European printings before the 19C. If you are in Rome and only have time to visit one painting gallery in Rome then I would recommend you to visit this one. The Galleria Nazionale d’Arte Antica or National Gallery of Ancient Art has two sites in Rome - Barberini Gallery and the Corsini Gallery. The Barberini’s collection is more comprehensive and much larger than the Corsini Gallery, which more like an annex to Barberini.

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The Galleria Nazionale D’art Antica is the most important Painting gallery in Rome. It is mainly based in Palazzo Barberini, while Corsini is a second venve of the National Gallery. It was first open in 1895. Its collection is also second to the collection in Barberini. In general the description of the painting on exhibits is poor in comparison with other capital in Europe. Vital information is often missing. The Galleria Corsini is the only collection of paintings in Rome dating from the 1700s that remains intact from that period. The entire collection of artworks was sold to the Italian government in 1883. When you arrive at the gallery you are given sheets of papers describing the individual paintings in different rooms. However the gallery is situated on the eastern side of the River Tiber, which is a more of a local and student area of the city. The area is worse exploring.

Galleria Nazionale d'art Antica - Corsini, Rome

Rembrandt van Rijn (1606-69) was born in Leydon, Holland, the son of a miller. He spent a year at Leyden University. Later he set up shop in Leyton and became a follower of Caravaggio. His earlier known works known to us are dated in 1626. His paintings is well-known for the contrast between light and darkness, just as Caravaggio. After he became famous his works were sought after all over Europe. Rembrandt flourished and spent a fortune acquiring artistic curiosities.

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This presentation covers artwork from the Realist, Impressionist, and Post-Impressionist periods. Artists moved away from simply "re-"presenting the world, and started creating "art for art's sake." Works by Manet, Whistler, Monet, Renoir, Caillebotte, van Gogh, Toulouse-Lautrec, Degas, Cézanne, Gauguin, Seurat and others are featured. Class notes and audio are available at http://dicknelsoncolor.com/2015/art-is-us-2015-week-7/

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Caravaggio was one of the most extraordinary characters in the history of art. He was the prototype of the turbulent Bohemian artist, his explosive personality helping to obscure the traditional elements of his paintings. His dramatic use of light and shade and uncompromising realism creating a new pictorial vocabulary for European art. From c1599 he drew on High Renaissance and even antique models, with his decorum defying realism. His influence was indeed greatest on artists in areas of Flemish artistic ascendancy. It is almost impossible to overestimate the influence of Caravaggio. He was not only the most powerful and influential Italian painter of the 17C, but also one of the prototypes of the idea of the artist as a rebel outside the normal conventions of society, punctuated by disputes with patrons about his unconventional treatment of religious themes. Caravaggio was one of the few real revolutionaries who really changed the history of painting. His aggressively realistic and dramatically lit paintings swept away the remains of the late Renaissance Mannerist style. He marked the beginning of the Baroque painting. Fiercely original Caravaggio had left us a basket of rotting fruits and an aging Madonna that no artist had followed.

Caravaggio - Genius and Rebel

It is still difficult to believe such competent and successful female printer exist in the early 17th Century (the Baroque era). In the last month I have read a lot about her until such that I feel I know the person and I can say something about her. She was rape by her teacher at the age of 18. Because of that much had been written about her from the feminist point of view, which I think is a mistake. It really does her a dis-service and took away her artistic achievements. We should stick to facts and evidences rather than the speculations of how the her mental state. It is stupid to psychoanalyse someone who live centuries ago without basis. There are several points that stood out about Artemisia She was very successful, her patronage include the royalties of England, France and the Medici. She worked in many cities. She would be successful even by today’s standard. Her paintings lack the ‘female’ touch. It is indeed difficult to tell from looking at the painting alone that they were painted by a woman. Her attention to details and gestures shows that she was a thinking artist. This can be demonstrated by the two versions of Judith Slaying Hologernes. She likes strong colours particularly golden yellow and beautiful dresses. Her family relationship with her father and children were good. She liked the company of men and had many lovers. I think, her paintings were the equivalent of a fast action movie of today, full of movements and a bit of sex and violence on the side.

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