Baroque II Baroque Painting in Italy Disegno colorito
Figure 24-17  CARAVAGGIO, () Conversion of Saint Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, Italy, ca. 1601. Oil o...
Figure 24-18  CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, ca. 1597–1601....
Figure 24-19  CARAVAGGIO, Entombment, from the chapel of Pietro Vittrice, Santa Maria in Vallicella, Rome, Italy, ca. 1603...
Figure 24-20  ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6 ’  6 1/3 ”  x 5 ’  4 ” . G...
Figure 24-22  ANNIBALE CARRACCI, Flight into Egypt, 1603–1604. Oil on canvas, approx. 4 ’  x 7 ’  6 ” . Galleria Doria Pam...
Figure 22-XX  GIORGIONE DA CASTELFRANCO (and/or  TITIAN ?), Pastoral Symphony, ca. 1508. Oil on canvas, approx. 3 ’  7 ”  ...
Figure 24-24  FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant ’ Ignazio, Rome, Italy...
Figure 24-9  GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1...
Figure 24-9  GIANLORENZO BERNINI,  Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of g...
QUICK THINK QUESTION <ul><li>In Baroque art such as the  Ectasy of St. Theresa  by Bernini, Caravaggio ’s  Entombment , or...
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  • REVISED FALL 2011 March 26, 2008 Baroque Painting in Italy
  • *CARAVAGGIO, (Michelangelo Merisi, d. 1610)Conversion of Saint Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, Italy, ca. 1601 -Saul lies on the ground, knocked from his horse and blinded by the power of God ’s light. -deep chiaroscuro shadows conceals any view of deeper space, leaving the foreshortening to suggest it -drama Tenebrism of Caravaggio and other elements of his style controversial in their time but widely influential, even today Dynamic composition Use of “ night lighting ” [tenebrism] with strong contrast of light and dark -Naturalism seen in Realistic detail and un-idealized figures (although others we do not study idealized nature as a form of naturalism, like the Bolognese academy painters
  • CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy [not on exam] Mysterious light emanates from upper right Tenebrism and dramatic use of light Dynamic composition Naturalistic detail Use of “ night lighting ” [tenebrism] with strong contrast of light and dark Realistic detail
  • CARAVAGGIO, Entombment, from the chapel of Pietro Vittrice, Santa Maria in Vallicella, Rome, Italy, ca. 1603. Oil on canvas -apart from dramatic composition, dramatic gesture, naturalism, and tenebrism/chiaroscuro, In its setting it appears Christ is being placed directly on the Altar, a Eucharisti, Counter-Reformation reference This painting was criticised as irreverent
  • *ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, Worked at Florence, Rome, and Naples What other painter ’s work does this remind you of? (a. Influenced by Caravaggio (composition, lighting, realistic detail) -personal history may have influenced resonance of theme for her (rape etc) -Judith, a Jewish heroine, went to Assyrian general Holofernes tent and waiting until he was asleep, beheads him and saves Israel What is baroque about this? -Baroque sense of drama on steroids -dramtic composition -tenebrisim, chiaroscuro
  • Figure 24-22 ANNIBALE CARRACCI, Flight into Egypt, 1603–1604. Oil on canvas, approx. 4 ’ x 7’ 6”. Galleria Doria Pamphili, Rome. Represnts the classicizing vein of Baroque as opposed to the Carravagiast strain. While Caravaggio was in the ascendence, this more classical strain would re-emerge in the 18th century as neo-Classicism
  • Figure 22-33 GIORGIONE DA CASTELFRANCO (and/or TITIAN ?), Pastoral Symphony, ca. 1508. Oil on canvas, approx. 3 ’ 7” x 4’ 6”. Louvre, Paris. Figure 24-22 ANNIBALE CARRACCI, Flight into Egypt, 1603–1604. Oil on canvas, approx. 4’ x 7’ 6”. Galleria Doria Pamphili, Rome. -Pastoral Symph. now thought to be by Titian, possibly beginning from an unfinished work by Giorgione -2005 radiography studies show the figure at right (poetry) has 2 underdrawings, and studies of work of both painters show the underdrawings are by the same hand, most likely Titian ’s -Shows sensuality of Venetian painting even more than Bellini: contrast of textures (drapery, skin) -men: courtier with lute; shepherd or rustic. -ambiguous subject- women do not communicate with men. (Is she?) -soft light a hallmark of Venetian painting IDEALIZED LANDSCAPE THE ROOTS OF CARRACCI ’S BOLOGNESE SCHOOL IDEALIZED LANDSCAPES
  • *FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant ’Ignazio, Rome, Italy, 1691–1694 an expert on perspective, wrote a published treatise about it -Jesuit theme: St. Ignatius Loyola was founder of Jesuit order, shows saint being received in heaven -Represents the height (literally) of Baroque illusionism- mixes architecture, painting and sculpture creating the illusion of heaven and earth joined through the open vaults of the church.
  • GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652 -A full spectrum of the arts merges in this Chapel: Architecture, Painting, and Sculpture -depicts the dramatic ecstasy of Saint Teresa, mystical Spanish visionary 16c Saint -Sculpltures of members of the Cornaro family sit in Theater boxes around the sides of the chapel -ceiling is painted with angels and the Holy Spirit as though it is not there -Marble group of St. Teresa and the Angel with the golden arrow piercing her heart is lit by a concealed window, focusing attention on religious rapture -counter-ref appeal to ecstatic, sensual religiosity
  • Figure 24-9 GIANLORENZO BERNINI, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11 ’ 6”. View of Chapel
  • QUICK THINK QUESTION In Baroque art such as the Ectasy of St. Theresa by Bernini, Caravaggio ’s Entombment , or Fra Andrea Pozzo’s Glorification of Saint Ignatius , what is the role of the viewer in relation to the work of Art? How does such art serve the aims of counter-reformation spirituality?
  • Ch24 Baroque II - Painting -Italy-slideshare

    1. 1. Baroque II Baroque Painting in Italy Disegno colorito
    2. 2. Figure 24-17 CARAVAGGIO, () Conversion of Saint Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, Italy, ca. 1601. Oil on canvas, approx. 7 ’ 6 ” x 5 ’ 9 ” . tenebrism
    3. 3. Figure 24-18 CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, ca. 1597–1601. Oil on canvas, 11 ’ 1 ” x 11 ’ 5 ” .
    4. 4. Figure 24-19 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.
    5. 5. Figure 24-20 ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6 ’ 6 1/3 ” x 5 ’ 4 ” . Galleria degli Uffizi, Florence.
    6. 6. Figure 24-22 ANNIBALE CARRACCI, Flight into Egypt, 1603–1604. Oil on canvas, approx. 4 ’ x 7 ’ 6 ” . Galleria Doria Pamphili, Rome.
    7. 7. Figure 22-XX GIORGIONE DA CASTELFRANCO (and/or TITIAN ?), Pastoral Symphony, ca. 1508. Oil on canvas, approx. 3 ’ 7 ” x 4 ’ 6 ” . Louvre, Paris. Figure 24-15 ANNIBALE CARRACCI, Flight into Egypt, 1603–1604. Oil on canvas, approx. 4 ’ x 7 ’ 6 ” . Galleria Doria Pamphili, Rome.
    8. 8. Figure 24-24 FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant ’ Ignazio, Rome, Italy, 1691–1694.
    9. 9. 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 ” .
    10. 10. Figure 24-9 GIANLORENZO BERNINI, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11 ’ 6 ” .
    11. 11. QUICK THINK QUESTION <ul><li>In Baroque art such as the Ectasy of St. Theresa by Bernini, Caravaggio ’s Entombment , or Fra Andrea Pozzo’s Glorification of Saint Ignatius , what is the role of the viewer in relation to the work of Art? </li></ul><ul><li>How does such art serve the aims of counter-reformation spirituality? </li></ul>

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