Baroque Midterm

using deliberate artistic figures or conventions to create an effect rather than natural, spontaneous actions

style of painting in which pigments mixed with water are applied to fresh, wet plaster

Use of a style that is appropriate for a given subject, situation, speaker or audience

Italian for "view," often highly-detailed, large-scale paintings depicting cityscapes or other vistas

="dark and gloomy," refers to style of painting in which contrast between dark and light are emphasized to create air of mystery and darkness. Figures in paintings often look like they have spotlight on them, with the surrounding space=dark

used to refer to various kinds of plasterwork, both exterior and interior; now refers to mixture of plaster or cement used to coat outsides of buildings

type of architectural ceiling painting; artist paints fictitious images on flat surface to create illusion of 3D architecture (ie. dome in Sant' Ignazio by Fr. Andrea Pozzo)

realistic style of painting depicting scenes from everyday life

use of painting large figures or objects in the foreground to increase the depth of the picture as a whole

style of painting in which paint, rather than being applied in layers, is applied all at once while the paint is still wet

changes made by the artist during the process of painting; usually hidden by a layer of paint

solution created during painting (ie. to cover mistake, make change) that can only be applied to that situation

applying layers of translucent colors to cover up the transition from one color to another; make everything blend more smoothly; create perceptions of depth, volume, form

technique used where humans are painted so that their arms/legs twist off-axis from body to make the figure look less stiff/more relaxed

"seen from below"- technique used for ceilings to provide true perspective; elements above the viewer are rendered in way as if viewed in true vanishing point perspective

to reduce or distort (certain parts of represented object that are not parallel to the picture plane) in order to convey illusion of three-dimensional space as perceived by the human eye

Built by Hadrian, 118-125 AD; facade looks like a square, but the inside is actually a dome which is open; floors are sloped to let water drain; first Roman temple to be converted into church; dome makes connection b/t earthly & spiritual worlds (open hole mirrors connection to heaven).

Built 1285 for Dominicans; only Gothic church in Rome; has blue ceilings decorated with stars; St. Catherine of Siena is buried here (except her head); screen hiding altar was later taken away to allow for the "clear" viewing of the altar in accordance with the Council of Trent's order that everything must be clear and direct

1623 – 1683 built by Oratzio Grassi; inspired by Carlo Moderno; contains 3 bays per side like Gesu as well as side altars and gigantic columns (like St. Peter's Basilica); dedicated to St. Ignatius of Loyola (founder of Jesuits)

the quality or state of being plastic; especially the capacity for being molded or altered

from the Greek word meaning "from those who have been hidden away"; texts of uncertain authenticity or writings where the authorship is questioned

to teach versus to delight

pose which is asymmetrical in that the figure twists around its vertical axis; the hips and legs, shoulders and head are in different planes; also called "weight shift"; gives naturalistic look to human pose

means "flattened relief"; technique invented by Donatello in which figures are distributed in very low relief in a perspectival space

rich fabric of gold and silk brocade; canopy of fabric carried in church processions or placed over an altar, throne or dais; a stone or marble structure built in the form of a canopy, especially over the altar of a church

a bishop's official chair or throne; the official chair of an office/position, such as a professor

an upward snakelike spiral movement to be examined from all sides

a scene presented on stage by costumed actors who remain silent and motionless as if in a picture

shrine within a temple, either a large niche or pedestal supporting two or more columns carrying an entablature and pediment thus forming a frame or canopied housing for a cult-statue; architectural frame around a doorway, niche, or window-aperture consisting of two columns or pilasters over which is an entablature with a pediment

small, three-dimensional sketch in wax or clay made by a sculptor in preparation for a larger and more finished work OR a rapid sketch in oil, made as a study for a much larger picture

described or thought of as having human form or human attributes; ascribing human characteristics to nonhuman things

the upper part of a classical building, resting on the columns and constituting the architrave, fraize and cornice

in architecture-construction filling in the upper angles of a square room so as to form a base to receive an octagonal or spherical dome. Later solution to this problem provided by pendentive

outside wall of a room or building that rises above an adjoining roof and contains windows

"St. Matthew Writing the Gospel"- Caravaggio; 1598; in St. Luigi dei Francesci; first painting was rejected; no setting, just 2 figures interacting; clarity & light of angel; red and orange robes symbolize fire and inspiration while writing gospel; stool likes it will fall out of painting into your space (foreshortening)

"Martyrdom of St. Matthew"-Caravaggio; 1598; Located in St. Luigi dei Francesci; Caravaggio initially tried to squeeze 25+ figures in; couldn't draw, though, so he played to his strengths; painted murder in still-life

"Santa Cecilia Giving Away Her Worldly Goods"-Domenichino; 1613; Located in St. Louis of the French inside Chapel of St. Cecilia; triangular composition; one side doesn't get closed off-extends outside painting; good use of composition (grouping figures in understandable way); clearly daytime (had to paint entirety of bodies rather than hiding in darkness); crazy behavior happens close to congregation, not altar (mimics everyday life of everyday people)

"Death of St. Cecilia"-Domenichino; 1614; located in St. Louis of the French; indoor setting (colors are deeper and more saturated bc light isn't washing them out); uses fewer figures so focus is on Cecilia; Cecilia is @ base of triangle rather than top; setting you understand; realistic rendering of color; grouping of figures tells clear & direct story

"Pilgrim's Madonna"- Carravagio 1602; in S'Augustino (church where Martin Luther turned against Catholicism) in chapel next to entrance; commissioned by Sixtus IV; emphasizes Mary, who had been undermined during Reformation; celebrates pilgrimage; woman in painting is clearly pleased; building is old & dilapidated; Mary is dressed in classicized manner (grand clothing of velvet and silk; no weight/mass despite her holding large baby Jesus)

"St. Augustine on the Trinity"-Lanfranco, oil on canvas, 1615; located in S'Augustino

"Melcchiore Cafa"-St. Thomas of Villanova; 1661; marble relief located in S'Augustino; sculpture that bursts out of space, creating more theatrical effect

"Crucifixion of St. Peter"-Caravaggio, 1600- Santa Maria del Popolo; oil on canvas; St. Peter being crucified upside down bc he found himself unworthy to die in same manner as Jesus

"Conversion of St. Paul" Caravaggio 1600; located in Santa Maria del Popolo; oil on wood; horse takes up majority of painting; orange & red=fiery passion of conversion/salvation

Located in SanLorenzo in Lucina by Bernini; 1668-75; in the funerary chapel of Gabriele Fonseca, who was one of the first physicians to use the chinine discovered by Jesuit missionaries; leans out of sculpture frame

"Crucifixion" located in San Lorenzo in Lucina by Guido Reni; 1640; oil on canvas; graceful figures; more muted colors (cool rather than warm); provides more of a setting

"Assumption of the Virgin" 1600 by Annibale Carracci; located in Santa Maria del Popolo in Cerasi Chapel; bright, happy colors; foreshortening (used on St. Peter's hand & St. Paul's feet); triangle composition

"The Rape of the Sabine Women" Pietro da Cortona; 1627 located in Capitoline Museum; oil on canvas; more movement/struggle; in more of a town/city setting (temple/obelisk in back); more light, not influenced by Caravaggio; dramatic space; story in front rather than in back

"The Fortune Teller" by Caravaggio 1596 located in Capitoline Museum; oil on canvas; genre painting (scene from everyday life"; young gypsy offering to read young wealthy man's fortune; seems like unimportant candid shot; life-size figures; blank background to focus on subjects; man seems to be superior bc of wealth (plumed hat, sword, damask silk, haughty expression, well-fed face; clean nails, proud posture); gypsy seems to be inferior (bent posture, behind him, gypsy clothes, dirty nails) however she is stripping off his ring-is in control

"Portrait of Pope Urban VIII" Pietro Da Cortona 1623; located in Capitoline Museum; brushstrokes allow for sheen on forehead, gentleness around eyes, full strokes of light on red robe (priestly light); facing an angle; accordion folds on white gown lining

"St. John" Caravaggio 1602; located in Capitoline Museum; complicated body position (all limbs engaged, not relaxed); foreshortening of the right leg; bicycle spoke lighting (light only hits certain parts); embraces the lamb, representing embracing spiritual life (almost sensual)

"Death of St. Petronilla" Guercino 1621; located in Capitoline Museum; made for St. Peter's; became a classicizing painter; heaven and earth connected by the blue in both Peter & Jesus; employs gigantic order to connect heaven and earth; flowers=only still-life element

"Saint Sebastian" Guido Reni 1615; located in Capitoline Museum; shot full of arrows (armpit, stomach, side); gracefulness over accuracy (calm expression on face; not screaming/reacting to arrows; meant to show grace of saint; downplays graphic violence; angelic face"; setting

"Romulus and Remus" Peter Rubens 1615-16; located in Capitoline Museum; depicted chubbiness & fat rolls rather than ripped, sculpted figures; voluptuous; champion of school of color

built 1611-1613; suburban villa (built outside city walls); globalization (first diplomatic visit from Japan, Congo...); Age of Discovery; allowed people to gather w/o limitation of city

"Council of the Gods" Lanfranco 1624; located in the Galleria Borghese; fresco; quadratura (looks like easel painting transposed onto ceiling); arrangement around art=quadratura (false architecture); employs foreshortening

1632 Bernini; marble bust of Scipione Borghese; did two sculptures of Scipione in two weeks bc one broke; sketched diff faces of his subjects & fused them together to make realistic (diff angles; followed subject around); animated face (mouth about to open)

"Entombment" Rafael 1507; located in the Galleria Borghese; breakout painting; Jesus being carried to tomb; groups bunch of figures in single plane; facial expression of man carrying Jesus (strain; red in face; demonstrates how heavy Jesus is); Mary Magdalene sprints into scene (pink hand holds green, lifeless hand); wants to connect Mother Mary & Jesus so gives both lifeless appearance

"Sacred and Profane Love" Titian; located in the Galleria Borghese; wedding gift; covered woman=profane love; nude woman=sacred love; flowers symbolize beauty that ends shortly; uses landscape as interpretive context; nude woman holds lamp (eternity) & her landscape extends; dog chasing rabbit=fidelity; sacred love is looking at profane love, trying to offer her a better future

"Flight of Aeneas" Barocci 1598; located in the Galleria Borghese; loose brushstroke; from Virgil's Aeneid-Fall of Troy; Aeneas=son of Venus; picks up paralyzed father & god figures; triangular composition; allusion to Scipione (Scipio=support; Aeneas is supporting father-allows Scipione to see himself in Aeneas); can see sadness & darkness around father's face; strength of Aeneas; baby=blur; 3 ages of man

"Diana at Her Bath" Domenichino 1616; located in the Galleria Borghese; chaste goddess of the hunt; hone skills instead of trying to impress opposite sex; supposed to symbolize monks, who are also surrounded by others of their kind; deer symbolizing Acteon, who creeped on Diana while she was bathing; hunted by his own dogs; whispering in back gets audience involved

"Boy with a Basket of Fruit" Caravaggio; 1593; located in the Galleria Borghese; still-life; surface quality & glaze to depict diff fruits despite similar colors; fruit is beginning to rot-Baroque obsession w/ passage of time

"Madonna with the Serpent" Caravaggio; 1606; located in the Galleria Borghese; initially in St. Peter's but taken down for lack of decorum; Jesus=too old to be nude; Mary is old & wrinkly, not image of grace; demonstrated idea that Mary & Jesus are regular people, not wealthy; demonstrates that piety begins in he home (stepping on snake)

"Aeneas and Anchises" 1618; Bernini; located in the Galleria Borghese; first free-standing sculpture; balance-figures holding other figures; 3 ages of man: father's wrinkles, Aeneas' strength, baby

"Persephone and Pluto" Bernini; 1621; located in the Galleria Borghese; captures moment of action (Persephone crying, Pluto laughing; rigid, no give-like death)

"David" Bernini; 1623 located in the Galleria Borghese pope elected & called Bernini to build canopy of St. Peter's; Bernini put own self-portrait in David's face; depicted David during the battle instead of before/after (Baroque aspect of the now)

"The Truth Unveiled by Time" Bernini; 1645; located in the Galleria Borghese; struts between fingers=incomplete work; marble sculpture

"Piazza of the People"; features obelisk in the middle; was traveler's first view of Rome upon arrival; houses Santa Maria del Popolo, the first church the pilgrims stopped at during Jubilee; obelisk erected by Sixtus IV during his urban development plan; piazza is an oval

"Daphne and Apollo" Bernini 1623 Galleria Borghese; Baroque fascination with the present and the climactic moment; depicts Apollo touching Daphne and, at the moment his grasp reaches her, she begins transforming into a tree; marble