Require Once having The di Credi's "Madonna and Child" (c. 1500), pay close attention to stylistic features (i.e., composition, color, use of light/shadow, perspective, figures, pose, gestures, et al). Describe the object and compare/contrast it to pieces we have in the PowerPoint lectures or in the textbook. When selecting objects to compare the museum piece to, be discerning. That is, try to find objects that share more characteristics than not. The aim of this assignment is for students to develop an eye for style and to locate the subtle differences that distinguish one technique or tendency from another. Organize the paper, which should be five to seven (5-7) pages in length, into an introductory paragraph, body, and conclusion. The introduction may include some general information (e.g., historical, economic, cultural) about the object's specific time period, the technique utilized to create the object, etc. More importantly, the introduction should include a thesis statement about the object's overall aesthetic. Then organize the body in a logical, analytic fashion, and conclude the paper with some remarks about the significance of the object -- that is, how it fits into a larger Renaissance to Rococo art historical framework. Remember, this is NOT a research paper; however, if you quote a source (e.g., a placard or web site from the museum), be sure to cite it. ART HISTORY 132 Baroque: Italian Baroque: Italiancontext: ecclesiasticalCouncil of Trent (c. 1565)part of the larger [Catholic] Counter Reformationdefined role assigned to arts in Catholic Churchheadings:1) clarity, simplicity & intelligibility2) realistic interpretationin contrast to Renaissance idealizationappropriateness of age, gender, type, expression, gesture & dress3) emotional stimulus to piety Bernini (1598-1680)significance: successor to Michelangelounique ability to capture essence of narrative momentaim: to synthesize/unify sculpture, painting and architecture into coherent conceptual and visual wholepatrons: many associated w/ papacyearly age, came to attention of papal nephew, Scipione Borgheseknighted at age 23, by Gregory XVUrban VII, Alexander VII, Clement IXquality of naturalism: realismlight: used as metaphorical device in religious settings often, hidden light source intensifies focus of religious worship Bernini Bust of Scipione Borghese (1632)subject: portraiturepatron: Cardinal Scipione Borghese maternal uncle elected to papacy as Pope Paul V (1605)placed SB in charge of internal and external political affairs entrusted w/ finances of papacy and Borghese familyB’s first patron (c. 1618-24); also patron of Caravaggiocomposition: dynamicnarrative moment: mid-speechquality of naturalism: realistic BerniniApollo and Daphne (1622-25)patron: Cardinal Scipione Borghesesubject matter: early 17C Italian poetrysee Ovid’s Metamorphoses intellectual context: frustrated desire and enduring despair and pain, provoked by lovemeaning: ...

1. Require
Once having The di Credi's "Madonna and Child" (c. 1500), pay
close attention to stylistic features (i.e., composition, color, use
of light/shadow, perspective, figures, pose, gestures, et al).
Describe the object and compare/contrast it to pieces we have in
the PowerPoint lectures or in the textbook. When selecting
objects to compare the museum piece to, be discerning. That is,
try to find objects that share more characteristics than not. The
aim of this assignment is for students to develop an eye for
style and to locate the subtle differences that distinguish one
technique or tendency from another.
Organize the paper, which should be five to seven (5-7) pages
in length, into an introductory paragraph, body, and conclusion.
The introduction may include some general information (e.g.,
historical, economic, cultural) about the object's specific time
period, the technique utilized to create the object, etc. More
importantly, the introduction should include a thesis statement
about the object's overall aesthetic. Then organize the body in a
logical, analytic fashion, and conclude the paper with some
remarks about the significance of the object -- that is, how it
fits into a larger Renaissance to Rococo art historical
framework.
Remember, this is NOT a research paper; however, if you quote
a source (e.g., a placard or web site from the museum), be sure
to cite it.
ART HISTORY 132

2. Baroque: Italian
Baroque: Italiancontext: ecclesiasticalCouncil of Trent (c.
1565)part of the larger [Catholic] Counter Reformationdefined
role assigned to arts in Catholic Churchheadings:1) clarity,
simplicity & intelligibility2) realistic interpretationin contrast
to Renaissance idealizationappropriateness of age, gender, type,
expression, gesture & dress3) emotional stimulus to piety
Bernini
(1598-1680)significance: successor to Michelangelounique
ability to capture essence of narrative momentaim: to
synthesize/unify sculpture, painting and architecture into
coherent conceptual and visual wholepatrons: many associated
w/ papacyearly age, came to attention of papal nephew,
Scipione Borgheseknighted at age 23, by Gregory XVUrban VII,
Alexander VII, Clement IXquality of naturalism: realismlight:
used as metaphorical device in religious settings often, hidden
light source intensifies focus of religious worship
Bernini
Bust of Scipione Borghese (1632)subject: portraiturepatron:
Cardinal Scipione Borghese maternal uncle elected to papacy as
Pope Paul V (1605)placed SB in charge of internal and external
political affairs entrusted w/ finances of papacy and Borghese
familyB’s first patron (c. 1618-24); also patron of
Caravaggiocomposition: dynamicnarrative moment: mid-
speechquality of naturalism: realistic

3. BerniniApollo and Daphne (1622-25)patron: Cardinal Scipione
Borghesesubject matter: early 17C Italian poetrysee Ovid’s
Metamorphoses intellectual context: frustrated desire and
enduring despair and pain, provoked by lovemeaning:
personal, special resonance for SB, who was widely ridiculed
for his attraction to other mennarrative moment:
transformativeA reaching out toward river nymph D, just as she
is transformed into laurel tree by her father prevent D from
being burned by touch of god of sunfigural type: androgynous
male (see Hellenistic Greek)
Bernini
David (c. 1625)patron: Cardinal Scipione
Borghesescommissioned to decorate Galleria Borghese at
private villastyle: “dynamic” tendenciesinfluences: Hellenistic
GreekBaroque qualities:spatial order: active vs. self-
containedrealism of detail & differentiation of texturedrapery:
abstract play of folds & crevasses attempting pictorial effects
traditionally outside sculpture’s domain
Classical Greek Discus Thrower (c. 450 BCE)
vs.
BERNINI’s Italian Baroque David (c. 1625 CE)
*

4. (Left) DONATELLO’s Italian Early Ren. David (c. 1450)
vs.
(right) BERNINI’s Italian Baroque David (c. 1625)
(Left) BERNINI’s Italian Baroque David (c. 1625)
vs.
(right) MICHELANGELO’s Italian High Ren David (c. 1500)
Bernini
Cornaro Chapel (c. 1650)function: funerary dedicated: Saint
Teresa mystic of Spanish Counter-Reformation 1st Carmelite
nun to be canonizedaesthetic influence: Humanism materials:
multimediamarble panelspainted ceilinggilded bronzesculpture
portraitslighting: windows, both hidden & apparent
Detail (“transverberation”) of Bernini’s
Ecstacy of St. Teresa
(c. 1650)
(Left) Detail of BERNINI’s Italian Baroque Ecstasy of St.
Teresa (c. 1650)

5. vs.
(right) MICHELANGELO’s High Renaissance Pietá (c. 1500)
Baroque: Italian
“Realist” tendencyCaravaggio (1573-1610)biography: in
permanent revolt against authorityfled
Rome because charged w/ manslaughterdied of malariastyle:
“realist” tendencyrejection of Mannerisminterest in surface
textures & appearanceshuman figure not prettifiednarrative:
heightened emotionmoment of recognition powerful
foreshortening light/shadow: dramatic chiaroscurospatial order:
systematically destroys space between event in
painting and viewer
CaravaggioCalling of St. Matthew (c. 1600)narrative:
NTmoment of recognitiongenre scene: anachronisticmundane
environmentcontemporary clothescomposition: dynamicnarrow
range of browns & flesh tones punctuated by primaries that
circulate vision through compositionlight: chiaroscuro &
“tenebrism”dark setting envelopes occupantssharply lit
figurese.g., Christ’s gesture highlighted by sharply descending
diagonal
Caravaggio

6. Conversion of St. Paul (c. 1600)narrative: NTmoment of
recognitionemotional stimulus to pietyfigures: realisticsetting:
ambiguous & distilledcomposition: clarity, simplicity &
intelligibilitycolor: narrow range punctuated by
complimentslighting: tenebrism & chiaroscurospatial order:
shallowdramatic foreshorteningoverlapping
CaravaggioEntombment (c. 1600)narrative: emotional stimulus
to pietyspatial order: shallow depth;
distilledforeshorteningoverlappingfigures:
realisticagednesscorpse of Christ discolored dangling
armcomposition: dynamiccompact, distilled arrangementvisually
coherentcolor: narrow range punctuated by primaries light:
“tenebrism” & chiaroscurodark backgroundselective
illuminationestablishes volume & mass
Caravaggio
Caravaggio’s Italian Baroque Entombment (c. 1600)
vs.
Raphael’s High Renaissance Deposition (c. 1500)
CARAVAGGIO’s Italian Baroque Entombment (c. 1600)
vs.

7. MICHELANGELO’s High Renaissance Pieta (c. 1500)
Caravaggio’s Supper at Emmaus
(c. 1600)
Baroque: Italian
“classicizing” tendencyCarracci (1560-1609)aesthetic:
“classicizing”movement against Mannerist artificiality training:
private teaching academy drawing from life & Roman
sculptures, coins, medallions clear draftsmanship medium:
fresco (“Grand Manner”)figures: heroic
characteristics:illusionistic surfacesHigh Renaissance
decorationdraws inspiration fromMichelangelo’s Sistine
ChapelRaphael’s frescos in Vatican
CARRACCI’s
“classicizing” tendency Italian Baroque
Flight into Egypt
(c. 1600)
Carracci Farnese Gallerystyle: “Classicizing”patron:
Farneseprogram: mythological themessee Ovid's

8. Metamorphosis also alludes poem written by Lorenzo de Medici
(c. 1475)format: illusionistic enhancement of
architectural space (“quadri riportati”)themes:
mythological moralizing messages hidden religious content
Carracci’s Triumph of Bacchus & Ariadne
Farnese Gallery (c. 1600)
CarracciFarnese Gallery (con’t.)Polyphemus & Galateasubject:
of ancient Greek sculpture Classical DiscobolusHellenistic
Laocoönreverses legsone arm extended down, other uphead
tilted
Carracci’s Italian Baroque Polyphemus and Galatea (c. 1600
CE)
vs.
Myron’s Classical Greek Discus Thrower (c. 450 BCE)
Carracci’s Italian Baroque Polyphemus and Galatea (c. 1600
CE)
vs.
Hellenistic Greek Laocoön (c. 150 BCE)

9. RENI’s “classicizing” tendency
Italian Baroque
Aurora
(1613-14)
IMAGE INDEXSlide 3: Portrait of Bernini by BACICCIO (c.
1665)Slide 4: BERNINI. Bust of Scipione Borghese (1632),
marble, 31in. high, Galleria Borghese, Rome.Slide 5:
BERNINI. Apollo and Daphne (1622-25), marble, 96 in.
high, Galleria Borghese, Rome.Slide 6:
BERNINI. David (c. 1625), Marble, , lifesize, Galleria
Borghese, Rome.Slide 7: Comparison between
Classical Greek Discuss Thrower (c. 450 BCE)
vs. BERNINI’s Baroque David (c. 1625).Slide 8: (Left)
DONATELLO’s Early Renaissance David (c. 1425);
and (right) BERNINI’s David (c. 1625)Slide 9: (Left)
MICHELANGELO’s HIGH Renaissance David (c.
1500); and (right) BERNINI’s David (c. 1625)Slide 10:
BERNINI. Cornaro Chapel (c. 1650), Church of Santa
Maria della Vittoria, Rome.Slide 11-12:
BERNINI. The Ecstasy of Saint Therese (c. 1650),
Marble, Cappella Cornaro, Santa Maria della
Vittoria, Rome.
IMAGE INDEXSlide 13: CARAVAGGIO. Detail of self-
portrait from David (1606- 07), Oil on wood, 90.5 x

10. 116 cm, Kunsthistorisches Museum, Vienna.Slide 14:
CARAVAGGIO. The Calling of Saint Matthew (1600), Oil
on canvas, 10' 7 1/2" X 11' 2”, Contarelli
Chapel, San Luigi dei Francesi, Rome.Slide
15: Detail of Christ and St. Peter from CARAVAGGIO’s
Calling of St. Matthew.Slide 16:CARAVAGGIO.
Conversion of St. Paul (1600-01), Oil on
canvas, 90 1/2 x 70 in., Cerasi Chapel, Santa Maria del
Popolo, Rome. Slide 17: CARAVAGGIO.
Entombment (c. 1600), Oil on canvas, 300x 203
cm., Pinacoteca Vaticana, Rome.Slide 18: Detail of Mary
from CARAVAGGIO’s Entombment.Slide 19: Comparison
between CARAVAGGIO’s Entombment (c.
1600) vs. RAPHAEL’s High Renaissance Descent from the
Cross (c. 1500).
IMAGE INDEXSlide 20: CARRAVAGIO. Supper at Emmaus
(1601), Oil on canvas, 77 by 55 in., National Gallery,
London.Slide 21: Portrait of Annibale CARRACCI. Slide 22:
CARACCI. Flight into Egypt (c. 1603-04), Oil on canvas,
4’ x 7’6”, Galleria Doria Pamphili, Rome. Slide
23: CARACCI. Loves of the Gods (c. 1600), Ceiling frescoes
in the gallery, Palazzo Farnese, Rome.Slide 24:
CARRACCI. Bacchus and Ariadne, central ceiling panel
from Farnese Gallery (c. 1600).Slide 25:
CARRACCI. Polyphemus and Galatea, from Farnese
Gallery (c. 1600).Slide 26: Comparison between
(Left) CARRACCI’s Polyphemus and Galatea vs.
(right) Classical Greek Discuss Thrower (c. 450
BCE).Slide 27: Comparison between (left) CARRACCI’s
Polyphemus and Galatea vs. (right)
Hellenistic Greek Laocoön (c. 200 BCE).Slide 28: RENI.
Aurora (1613-14), ceiling fresco in the Casino
Rospigliosi,Rome.