History Unit 3 Assignment: Timeline Activity
Leaks007
ART102Chapter24.pptxChapter 24
THE BAROQUE IN ITALY AND SPAIN
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Learning Objectives
Explain the Baroque elements contributing to the final design and appearance of Saint Peter’s in Rome.
Describe how Bernini and Borromini manipulated classical architectural elements to engender a sense of energy and drama.
Describe the critical part played by Caravaggio and Gentileschi in defining a new kind of representation in painting.
Define tenebrism and describe its impact on art both inside and outside of Italy.
Discuss how Spanish artists incorporated the values and emphasis of the Counter-Reformation in their works in Spain and New Spain.
Describe the career and artistic achievements of the Spanish painter Diego Velázquez, including his work under the patronage of Philip IV.
Explain the significance of the classical tradition in examples of 17th-century art and architecture.
Describe the advances and innovations in ceiling painting in Baroque buildings.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
2
MAP 24.1
24.1 Vatican City.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
3
Figure 24.1
24.1 Gian Lorenzo Bernini, Ecstasy of Saint Teresa, Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 1647–1652. Marble, group of Teresa and angel, 11' 6" high.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
4
Figure 24.2
24.2 Carlo Maderno, facade of Santa Susanna (looking north), Rome, Italy, 1597–1603.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
5
Figure 24.3
24.3 Carlo Maderno, east facade of Saint Peter’s (fig. 24.4), Vatican City, Rome, Italy, 1606–1612.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
6
Figure 24.4
24.4 Aerial view of Saint Peter’s (looking northwest), Vatican City, Rome, Italy. Piazza designed by Gian Lorenzo Bernini, 1656–1667.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
7
Figure 24.4A
24.4A Gian Lorenzo Bernini, Scala Regia (Royal Stairway), Vatican City, Rome, Italy, 1663–1666.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
8
Figure 24.5
24.5 Gian Lorenzo Bernini, baldacchino (looking west) inside Saint Peter’s (fig. 24.4), Vatican City, Rome, Italy, 1624–1633. Bronze columns, 66' high.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
9
Figure 24.6
24.6 Gian Lorenzo Bernini, David, from the Villa Borghese, Rome, Italy, 1623. Marble, 5' 7" high. Galleria Borghese, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
10
Figure 24.6A
24.6A Gian Lorenzo Bernini, Apollo and Daphne, from the Villa Borghese, Rome, Italy, 1623–1624. Marble, 8' high. Galleria Borghese, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
11
Figure 24.7
24.7 Gian Lorenzo Bernini, Fountain of the Four Rivers (left: general view, looking southwest; right: detail of grotto, looking east), Piazza Navona, Rome, Italy, 1648–1651. In the background: Francesco Borromini, Sant’Agnese in Agone, 1653–1657.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
12
Figure 24.8
24.8 Francesco Borromini, two views of the facade of San Carlo alle Quattro Fontane (left: looking south; right: looking southeast), Rome, Italy, 1638–1641.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
13
Figure 24.9
24.9 Francesco Borromini, interior looking northwest (left) and plan (right) of San Carlo alle Quattro Fontane (fig. 24.8), Rome, Italy, 1638–1641.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
14
Figure 24.10
24.10 Francesco Borromini, dome (seen from below) of San Carlo alle Quattro Fontane (fig. 24.9), Rome, Italy, 1638–1641.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
15
Figure 24.11
24.11 Francesco Borromini, facade of Sant’Ivo alla Sapienza (looking east), Rome, Italy, begun 1642.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
16
Figure 24.12
24.12 Francesco Borromini, plan of Sant’Ivo alla Sapienza, Rome, Italy, begun 1642.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
17
Figure 24.13
24.13 Francesco Borromini, dome (seen from below) of Sant’Ivo alla Sapienza, Rome, Italy, begun 1642.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
18
Figure 24.14
24.14 Guarino Guarini, dome (seen from below) of the Cappella della Santissima Sindone (Chapel of the Holy Shroud), Turin, Italy, 1667–1694.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
19
Figure 24.14A
24.14A Guarino Guarini, Palazzo Carignano (looking southeast), Turin, Italy, 1679–1692.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
20
Figure 24.15
24.15 Annibale Carracci, Flight into Egypt, 1603–1604. Oil on canvas, 4' 7' 6". Galleria Doria Pamphili, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
21
Figure 24.16
24.16 Annibale Carracci, Loves of the Gods, ceiling frescoes in the gallery, Palazzo Farnese (fig. 22.26), Rome, Italy, 1597–1601.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
22
Figure 24.16A
24.16A Caravaggio, Musicians, from the Palazzo Madama, Rome, Italy, ca. 1595. Oil on canvas, 3' 1/4" 3' 10 5/8". Metropolitan Museum of Art, New York (Rogers Fund, 1952).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
23
Figure 24.17
24.17 Caravaggio, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11' 1" 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
24
Figure 24.17A
24.17A Caravaggio, Conversion of Saint Paul, ca. 1601. Oil on canvas, 7' 6" 5' 9". Cerasi chapel, Santa Maria del Popolo, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
25
Figure 24.17B
24.17B Caravaggio, Entombment, from the chapel of Pietro Vittrice, Santa Maria in Vallicella, Rome, Italy, ca. 1603. Oil on canvas, 9' 10 1/8" 6' 7 7/8". Pinacoteca, Musei Vaticani, Rome.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
26
Figure 24.18
24.18 Caravaggio, The Taking of Christ, from the Palazzo Mattei, Rome, Italy, 1602. Oil on canvas, 4' 4 5/8" 5' 8 3/4". National Gallery of Ireland, Dublin (on indefinite loan from the Jesuit Community, Dublin).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
27
Figure 24.19
24.19 Artemisia Gentileschi, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6' 6 1/3" 5' 4". Galleria degli Uffizi, Florence.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
28
Figure 24.20
24.20 Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, ca. 1638–1639. Oil on canvas, 3' 2 7/8" 2' 5 5/8". Royal Collection, Kensington Palace, London.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
29
Figure 24.21
24.21 Guido Reni, Aurora, ceiling fresco in the Casino Rospigliosi, Rome, Italy, 1613–1614.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
30
Figure 24.22
24.22 Pietro da Cortona, Triumph of the Barberini, ceiling of the Gran Salone, Palazzo Barberini, Rome, Italy, 1633–1639. Fresco, 78' 46'.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
31
Figure 24.23
24.23 Giovanni Battista Gaulli, Triumph of the Name of Jesus, ceiling fresco with stucco figures on the nave vault of Il Gesù (fig. 22.59, left), Rome, Italy, 1676–1679.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
32
Figure 24.24
24.24 Fra Andrea Pozzo, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant’Ignazio, Rome, Italy, 1691–1694.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
33
Figure 24.25
24.25 Juan Sánchez Cotán, Still Life with Game Fowl, ca. 1600–1603. Oil on canvas, 2' 2 3/4" 2' 10 7/8". Art Institute of Chicago, Chicago (gift of Mr. and Mrs. Leigh B. Block).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
34
Figure 24.26
24.26 José de Ribera, Martyrdom of Saint Philip, ca. 1639. Oil on canvas, 7' 8" 7' 8". Museo del Prado, Madrid.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
35
Figure 24.27
24.27 Francisco de Zurbarán, Saint Serapion, 1628. Oil on canvas, 3' 11 1/2" 3' 4 3/4". Wadsworth Atheneum Museum of Art, Hartford (The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
36
Figure 24.28
24.28 Juan Martínez Montañés, Battle of Demons and Angels, main panel of the retablo in the apse of San Miguel, Jerez de la Frontera, Spain, ca. 1609–1613. Painted and gilded wood.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
37
Figure 24.29
24.29 Diego Velázquez, Water Carrier of Seville, ca. 1619. Oil on canvas, 3' 5 1/2" 2' 7 1/2". Victoria & Albert Museum, London.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
38
Figure 24.29A
24.29A Diego Velázquez, Christ on the Cross, from the Convent of San Plácido, Madrid, Spain, ca. 1631–1632. Oil on canvas, 8' 1 5/8" 5' 6 1/2". Museo del Prado, Madrid.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
39
Figure 24.30
24.30 Diego Velázquez, Surrender of Breda, 1634–1635. Oil on canvas, 10' 1" 12' 1/2". Museo del Prado, Madrid.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
40
Figure 24.30A
24.30A Diego Velázquez, King Philip IV of Spain (Fraga Philip), 1644. Oil on canvas, 4' 3 1/8" 3' 3 1/8". Frick Collection, New York.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
41
Figure 24.31
24.31 Diego Velázquez, Las Meninas (The Maids of Honor), 1656. Oil on canvas, 10' 5" 9'. Museo del Prado, Madrid.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
42
Figure 24.32
24.32 Bartolomé Esteban Murillo, Immaculate Conception of the Escorial, ca. 1661–1670. Oil on canvas, 6' 9 1/8" 4' 8 5/8". Museo del Prado, Madrid.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
43
Figure 24.33
24.33 Claudio de Arciniega and others, Metropolitan Cathedral of the Assumption of Mary (looking northeast), Mexico City, Mexico, 1573–1817.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
44
Figure 24.34
24.34 Jean-Baptiste Gilles or Martinez de Oviedo, west facade of the Iglesia La Compañía de Jesús (Church of the Society of Jesus), Cuzco, Peru, 1650–1668.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
45
Discussion Questions
Is Bernini’s sculpture Ecstasy of Saint Teresa more theatrical or religious? How is it characteristic of the Baroque style?
What are the main ways architecture changed during the Baroque period?
How do Baroque painters in both Italy and Spain use darkness, tenebrism, to achieve their artistic goals? Why do you think tenebrism emerged as an important technique at this time?
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
46
