The document discusses various movements within art history, focusing primarily on Romanticism and Realism. It outlines key artists such as Francisco Goya, Théodore Géricault, Eugène Delacroix, and Gustave Courbet, highlighting their biographies, artistic styles, and the context in which they created their work. It also touches upon themes such as emotion, social issues, and the political landscape of their times.

1. ART HISTORY 132
Romanticism
Romanticismaim: reaction against established order (“status
quo”)government religioncult of the artist:assertion of
subjective experience & feelingextreme states of emotionas
opposed to form & objectivity of Neo-Classicismcult of nature:
sublimewild, ever-changing aspectsexotic & supernatural
Fuselli’s The Nightmare
(1781)
Blake’s Ancient of Days
(c. 1800)
Francisco Goya
(1746-1828)biography:denied entry into Royal
Academyjourneyed to Rome (1771)court painter to Charles III
(1786)court Painter to Charles IV (1789)serious illness left him

2. deaf (1792-93)
media: oils & graphic arts
political context: social revolutionaryopposed to Charles IV’s
corrupt & suppressive reignsympathies w/ failed French
Revolution & Enlightenmentopposes FR invasion of SP in 1808
lead to Peninsular War (1808–1814)opposes "Intruder king",
Joseph I, brother of Napoleon
Goya
“Sleep of Reason Produces Monsters” date: 1798series: Los
Caprichosmedium: etching & aquatintsignificance: pro-
Enlightenment vs. cultural superstitionnarrative:
secular Temptation of St. Anthonymotifs: beasts of
the night (e.g., owls, bats & felines)composition:
dynamic diagonalrecalls Caravaggio’s
Entombmentlight/shadow: modified tenebrism &
chiaroscuro effects
(Left) CARAVAGGIO’s Italian Baroque Entombment (c. 1600)
vs.
(right) GOYA’s “Sleep of Reason Produces Monsters” (c. 1800)

3. Goya’s The Disasters of War
(c. 1800)
Goya’s Third of May, 1808
(1814)
Goya’s Saturn Devouring One of His Sons
(c. 1819-23)
Théodore Géricault
(1791-1824)training: self-taught @ Louvre (1810-15) copied
Titian, Rubens, Velazquezrejected prevailing
Neoclassicismaesthetic: Baroque revivalnarrow range (browns,
flesh tones)dramatic lighting effectsdynamic
compositionsnarrative: immediacy & emotional
intensitysubjects: contemporary eventsoutrage at French
monarchy’s restorationprocess: uncompromising truthInterviews
w/ survivorsreconstruction of events
Géricault’s Raft of the Medusa
(1818-19)

4. Eugène Delacroix
(1798-1863)
significance: “last of great artists of the Renaissance and
first modern” (Baudelaire)biography: bastard son of
Talleyrandsubjects: contemporary history exotic foreign
cultures reclining nudesancient & medieval literatureaesthetic:
Baroque revivalcompositions: dynamiccolor: Venetian influence
& Rubensbrushwork: painterly
11.psd
Delacroix’s Liberty Leading the People
(1830)
(Left) Delacroix’s Liberty Leading the People (1830)
vs.
(right) photograph of barricade at Maidan Square
during Ukrainian Revolution (2014)
(Left) Detail of Liberty from DELACROIX’S Liberty Leading
the People (1830 CE)
vs.

5. (right) Hellenistic Greek Winged Victory of Samothrace (c. 250
BCE)
(Left) Detail from DELACROIX’s Liberty Leading the People
(1830)
vs.
(right) detail from CARAVAGGIO’s Entombment (1603)
(Left) Detail from DELACROIX’s Liberty Leading the People
(1830)
vs.
(right) detail from CARAVAGGIO’s Death of the Virgin (c.
1600)
Delacroix’s Odalisque
(c. 1850)
(Left) DELACROIX’s French Romantic Odalisque (c. 1850)
vs.
(right) TITIAN’s Venetian Renaissance Venus of Urbino (c.

6. 1500)
(Left) DELACROIX’s French Romantic Odalisque (c. 1850)
vs.
(right) INGRES’ French Neo-Classical Grand Odalisque (c.
1815)
DELACROIX’s The Death of Sardanapalus
(1827)
Honore Daumier
(1808-1879)significance: political caricatures and
satires on social behaviorbiography: ardent Republican 1830:
contributes to anti-gov’t weekly Caricature1832:
sentenced to prison for 6 mo. for attacks on King L-P
1835: political satire suppressed 1848: returns to political
subjects w/ revolutionthemes: social injustice & class
warfaremedia: lithographystyle: Baroque revivaldynamic
compositionsstrong contrasts of light & shadow
Daumier’s Gargantua
(1831)

7. (Left) Detail from DAUMIER’s Romantic period Gargantua
(1831)
vs.
(right) detail from BOSCH’s Northern Renaissance Garden of
Earthly Delights (c. 1500)
Daumier’s Rue Transnonain
(1834)
(Top) DAUMIER’s Rue Transnonain (1834)
vs.
(bottom) detail from DELACROIX’s Liberty Leading the People
(1830)
15.psd
John Constable
(1776-1837)biography: resisted family obligations to take
over milling and farming business in Stour Valley
(Suffolk County)training: Royal Academy Schools life classes
and anatomical dissections studied and copied Old
Masterssignificance: “6-footers” valued by FR landscapists

8. (e.g., Monet) for light, color, brushwork
career: never financially successfulelected belatedly to RA at
age 52sold more paintings in FR than GBthesis: landscapes are
scientific & poeticimagination can’t alone produce art
technique: sketches painted in ‘plein aire’ (outdoors)subjects:
cult of nature picturesqueset w/in rural everyday lifemomentary
effects of nature cloud formations movement of waterplay of
light through dense foliage
Constable’s Hay Wain
(1821)
Constable’s Salisbury Cathedral
(1831)
(Left) RUISDAEL’s Dutch Baroque Jewish Cemetery (c. 1650)
vs.
(right) CONSTABLE’s English Romantic Salisbury Cathedral
(c. 1830)
J.M.W. Turner
(1775-1851)
biography: lower middle class

9. training: Royal Academy at age 14
career: opposed English Academy’s classicismopposite of
Reynold’s definition of History Painting (i.e., classical vs.
contemporary)art criticism: John Ruskin (c. 1840)praised T’s
landscapes as “true, beautiful, and intellectual”color: vibrant
transparenciesforms: dissolve & blur into atmospherenarrative
tone: sublimehumanity dwarfed by violence of nature
TURNER’s Houses of Parliament Burning
(1835)
Turner’s The Slave Ship
(c. 1840)
Turner’s Rain, Steam and Speed
(1844)
Turner’s Rain, Steam and Speed
(detail)locomotive: George Stephenson 1814: built steam-
powered machine1825: Stockton & Darlington Railway in NE
England, 1st public steam railway1829: The Rocket won
Rainhill TrialsEstablishes S’s company as pre-eminent builder
of locomotives on railways in UK, US and Europe1830: first
inter city passenger railway, Liverpool & Manchester

10. Railwaybrushwork: “impasto”intuitive dabbing of paint w/
loaded brushimplies form, rather than purely descriptiveno use
of contour to define boundaries
Caspar David Friedrich
(1774-1840)biography: son of candle-maker training: studied in
Copenhagen until 1798, before settling in Dresdencareer:
won prize at Weimar competition organized by Goethe (1805)
narrative tone: sublimediscovered "the tragedy of
landscape"subjective, emotional response to natural
worldmetaphysical reflection on relation between humanity and
natural worldtheory of landscape: “the spiritual eye”“Art stands
as mediator between nature and humanity. The original is too
great and too sublime for the multitude to grasp”
FRIEDRICH’s Monk by the Sea
(1809-10)
FriedrichWanderer Above the Sea of Fogdate: 1818setting:
expansive & sublimeheroic feat to ascendatmospheric
perspectivemeaning: contradictory impression mastery over
landscape insignificance of individual w/in it figure:
anonymousfacelessimpossible to know whether young man is
exhilarated or terrified, or both
FRIEDRICH’s Abbey in the Oak Forest

11. (1809-10)
ART HISTORY 132
Realism
Realismcontext: politicalKing Napoleon IIInephew of Napoleon
Bonaparte; tried to overthrow Louis Philippe (2x)sentenced to
life in prison; escaped in 1846 to Englandreturned to FR w/
onset of [February] Revolution of 1848elected President of new
Second Republic (1848); dismantled it (1852) ; replaced it w/
Second Empire context: politicalKarl Marx’s Communist
Manifesto (1848)argument: history determined by material
wealth & class struggle (proletariat vs.
bourgeoisie/capitalists)context: culturalCharles Baudelaire
(1821-1867)significance: father of modern criticismsubjects:
commonplace, ordinary eventno longer to simply reveal beauty
& sublime; nor beholden to God“He shall be the true painter
who can pull out of everyday life its epic side….”
Gustave Courbet
(1819-1877)biography: rural upper-bourgeoisietraining: self-
educatedcopied Spanish, Dutch & Venetian masters @ Louvre
Baroque lighting (e.g., Caravaggio, Rembrandt)politics:
Socialismalso held pacifist viewsmature work: benefited from
Second Republic’s liberalization of Salonbuilt his own break-

12. away pavilion next to Exposition Universelle (1855)mixed
reviews; dismissed as jokeapproached bankruptcy before
closingsubjects: “Show me an angel, and I’ll paint one”to
record customs & appearances of contemporary societyrejects
historical painting of grand eventsno exotic localesnumerous
self-portraits, hunting scenes, landscapes, genre paintings
CourbetThe Stonebreakers (1849)narrative: Socialist
ideologysetting: rural Francefigures: anonymouselderly road
menderyoung assistantdepicted as faceless working
animalsscale: monumental composition: frieze-likecolor: muted
natural tonalities light/shadow: modified tenebrismperspective:
aerial
Courbet’s The Stonebreakers
(1849)
Courbet’s The Burial
(c. 1850)
(Left) COURBET’s French Realist Courbet’s The Burial (c.
1850)
vs.
(right) Early Roman Empire “Spoils of Jerusalem”

13. from the Arch of Titus (c. 75 CE)
Jean-François Millet
(1814-75)
The Sower (c. 1850)theme: class distinction in aftermath of
Revolution of 1848subject: laboring tasks of peasantry
vs.urban middle classnarrative: NT (Mark 4: 1–9,13-20)figure:
heroic/allegorical monumental scaledramatic
foreshorteningportrayal of nature:atmospheric qualitiesgolden
glow of sunlight
Millet’s The Gleaners
(c. 1850)
Rosa Bonheur
(1822-1899)biography: oldest child in a family of artistsearly
adherent of Saint-SimonianismChristian-socialist sect promoted
education of women alongside menprophesied coming of a
female messiahtraining: French Academy prohibited women
from studying nude modelinstead, factually depicted farm
animals themes: rural scenesvirtue of toil & common life of
agrarian life & peasantryindustrialization & mass migrations to
cities created ready market for such imagesprocess:zoological
studiesdetailed sketches in countryside & slaughterhouses

14. Bonheur’s Plowing
(1849)
Realism: EnglandFord Madox Brown (1821-1893) aim:
revolution against official art of Royal Academystyle:
naturalisticprecise realism in smallest detailunidealized land- or
cityscapesfigures: based on real model w/ real
proportionsthemes: invested w/ moral dignitymasterpiece: Work
(c. 1850-65)subject: Irish immigrant community in post-Famine
Londontheme: moral dilemmas associated w/ class
disparityissues: emigration, labor, joblessness &
crimefigures: “heroic” laborers of modern life
Brown’s Work (c. 1850)
Realism: United StatesThomas Eakins (1844-1916)The Gross
Clinic (1875)theme: empiricism & scientific progresssee
Rembrandt’s Anatomy Lessonrejected by art jurytaught anatomy
& figure drawingdisapproved of drawing from plaster castsused
nude modelallowed female students to study male nudeused
photographs in the classroomlight/shadow: Baroque
revivalchiaroscurotenebrism (modified)
EAKINS’ Realist The Gross Clinic (1875)

15. vs.
REMBRANDT’s Dutch Baroque The Anatomy Lesson (1632)
Realism: United StatesTanner (1856-1925)Banjo Lesson (c.
1890)training: Eakins’ student before moving to Parissubject:
dignity of African-Americansfigures: realisticcomposition:
dynamiccolor: warm hueslight/shadow: chiaroscurobrushwork:
painterly
Realism: United StatesWinslow Homer (1836-1910)biography:
-
reporter for Harper’s WeeklyReconstruction Era (c.
1870s)themes: sunny, optimistic pictures intense observation &
sense of identification w/ landscape nostalgia for a simpler,
more innocent timeyoung women & children enjoying
themselves outdoorsfigures: less individual, more universal
Homer’s The Veteran in a New Field
(1865)
Homer’s The Veteran in a New Field (1865)
vs.
O’Sullivan’s Harvest of Death (1863)

16. Homer’s Snap the Whip
(c. 1875)
IMAGE INDEXSlide 2: Photograph of Karl Marx.Slide 5:
COURBET. The Stone Breakers (c. 1850), Oil on canvas,
5’3” x 8’6” in., destroyed (1945).Slide 6:
COURBET. Burial at Ornans (1849), Oil on canvas,
approx. 10’ x 22’, Louvre, Paris.Slide 7: MILLET.
The Sower (c. 1850), Oil on canvas, 40 x 32 ½ in.,
Museum of Fine Arts, Boston.Slide 8: MILLET. The
Gleaners (c. 1855), Oil on canvas, 2’9” x 3’8” in.,
Musee d'Orsay, Paris.Slide 10: BONHEUR. Plowing in the
Nivernais: The Dressing of the Vines (1849), Oil on
canvas, 5’9” x 8’8”, Musee d’Orsay, Paris.Slide
12: BROWN. Work (1852-65), Oil on canvas, City Art
Gallery, Manchester, England.
IMAGE INDEXSlide 13: EAKINS. The Gross Clinic (1875),
Oil on canvas, 8’ x 6’5”, Jefferson Medical College of
Thomas Jefferson University, Philadelphia.Slide 14:
(Left) EAKINS’ Realist The Gross Clinic (1875); and
(right) REMBRANDT’s Dutch Baroque The Anatomy
Lesson (1632).Slide 15: TANNER. The Banjo
Lesson (1893), Oil on canvas, 49 x 35 ½ in., Hampton
University Museum, Virginia.Slide 17: HOMER. The Veteran
in a New Field (1865), Oil on canvas, 24 1/8 x 38 1/8
in., Metropolitan Museum of Art, New York. Slide 18:
HOMER, Winslow. Snap the Whip (1872), Oil on canvas,
22 ¼ x 36 ½ in., The Butler Institute of American Art,

17. Youngstown, Ohio.
ART HISTORY 132
Neoclassicism
*
Neoclassicismcontext: French Revolutioninternal class
(1793-
Napoleon Bonaparte (1769-1821)appointed to First
Consuldefeat of Royalist insurrection extinguished threat to
Nat’l Conventionpromoted to Commander of Interior & given
uniform system of law
Neoclassicismcontext: EnlightenmentVoltaire (1694-
1778)famous for wit & advocacy of civil libertiescritic of
religious intolerance and persecutionworks and ideas influenced
important thinkers of FR Revolutionhuman affairs ruled by
reason & common gooddispels w/ tradition & established
authority
Jean-Jacques Rousseau’s Social Contract, Or Principles of
Political Right (1762) theorized about best way to set up
political community in face of problems of commercial society

18. which he had already identified in his Discourse on Inequality
(1754)inspired political reforms or revolutions in Europe,
especially in FRargued against idea monarchs divinely
empowered to legislateonly the people, who are sovereign, have
that all-powerful right
context: aesthetic Johann Joachim Winckelmann (1717-
1768)German art historian & archaeologistturns against ornate
practices of Rococopioneering Hellenist who articulated
differences between Greek & Roman art "The History of
Ancient Art Among the Greeks“ (1764)concept: “noble
simplicity and calm grandeur”
Jacques-Louis David
(1748-1825)biography:deserted by mother at age 9 after father
killed in a duel; raised by unclestraining: enrolled at age
seventeen in Royal Academy of Painting & Sculpture4x before
awarded Prix de Rome (1774)Italy for advanced
studiessignificance: leading figure of Neoclassicismstyle:
follower of Poussinclarity achieved through drawing
subordinates color to linefigures: solid as
sculpturecompositions: planar horizontal planes arranged
parallel to picture plane scenes set against severe architecture
J-L David’s Oath of the Horatii
(1784)
J-L David’s The Death of Socrates

19. (1787)
Detail from J-L DAVID’s Neoclassical Death of Socrates (1787)
vs.
detail from RAPHAEL’s High Ren. School of Athens (c. 1500)
69.psd
J-L DavidDeath of Marat (1793)subject: political
assassinationradical journalist killed by Charlotte
Cordayblamed M for “September Massacres” (1792)theme:
secular lamentationsee Michelangelo’s Pietanarrative: murdered
while bathingcomposition: sublime geometric spacesbalances
stable & dynamic forcescommunicates narrativecolor: narrow
Baroque range w/ secondary tonalitieslight/shadow:
chiaroscuro
Detail from J-L DAVID’s Neoclassical Death of Marat (1794)
vs.
detail from MICHELANGELO’s High Ren. Pieta (c. 1500)
73.psd
74.psd

20. J-L David
Napoleon at St.-Bernard (1800)genre: equestrian
portraitcomposition: dynamicrearing horse diagonal
arrangement of forms & landscapegesture wind blown cape &
manecolor: narrow range of neutral earth tones w/
localized primarylight/shadow: even distributioniconography:
Hannibal (lower left) challenges Classical historycrossing
Alpsvantage point: low angle
(Left) J-L DAVID’s Neoclassical Napoleon at St. Bernard (c.
1800)
vs.
(right) TITIAN’s Venetian Renaissance Charles V (c. 1550)
Gros
Napleon on Arcole Bridge (1801)narrative: G present w/ FR
army near when N plants French tricolor
flag on Arcola bridge (1796)significance: G appointed by N to
post of inspecteur aux revues aesthetic: Baroque
influencescomposition: dynamiccolor: narrow range of browns
w/ primary accents & complimentslight/shadow:
dramaticspatial order: figure placed close to
picture planeperspective: aerial (see Venetians)
Gros’ Napoleon Visiting the Plague Victims at Jaffa
(1804)

21. Late Classical Greek Apollo Belvedere (c. 350 325 BCE)
vs.
detail from GROS’s Neoclassical Plague at Jaffa (1804)
VERROCCHIO’S Italian Early Renaissance
The Doubting of Saint Thomas (c. 1475)
vs.
detail from GROS’s Neoclassical Plague at Jaffa (1804)
86.psd
Jean Auguste Dominique Ingres
(1780- -of-all-
trades in artstraining: pupil of J-L David (1797-1801)adapts
mentor’s austere & didactic Neoclassicismadmitted to Ecole des
Beaux Arts (1799)wins Prix de Rome (1801)career: assumed
role as guardian of academic orthodoxy “a conservator of good
doctrine, and not an innovator”style: “designo” vs.
“coloré”precision of line & draftsmanshipRaphael’s polished
conception of beautybearer of tradition est by Poussin“super-
photographic” & physical accuracykeen sensitivity for
personality

22. IngresNapoleon on His Imperial Throne date: 1806figure:
iconicstrict frontalitydirect gaze spatial order: close to picture
planecomposition: stableenlivened by diagonal thrusts of
staffscolor: localized primary & golden
highlightslight/shadow: tenebrismiconography: Imperiallaurel
(Left) INGRES’ Neoclassical Napoleon on His Imperial Throne
(1806)
vs.
(right) detail of Christ from VAN EYCK’s Early Renaissance
Flemish
Ghent Altarpiece (c. 1425-50)
(Left) INGRES’ Neoclassical Napoleon on His Imperial Throne
(1806)
vs.
(right) INGRES’ Jupiter and Thetis (1811)
INGRES’ Grand Odalisque

23. (1815)
(Left) INGRES’ Neoclassical Grand Odalisque (1815)
vs.
(right) BOUCHER’s Rococo Odalisque (c. 1750)
IMAGE INDEXSlide 2: DAVID, Jacques-Louis. Napoleon in
His Study (1812), Oil on canvas, 80 1/4 x 49 1/4”,
Samuel H. Kress Collection, National Gallery of
Art, Washington, D.C.Slide 4: DAVID, Jacques-Louis. Self-
Portrait (c. 1785).Slide 5:DAVID, Jacques-Louis. The Oath of
the Horatii (1785), 14 x 11’, Musée du Louvre.Slide 6:
DAVID, Jacques-Louis. The Death of Socrates (1787), Oil
on canvas, 51 x 77 1/4”, The Metropolitan Museum of
Art, New York.Slide 7: (Left) Detail of Socrates from
DAVID’s Neoclassical The Death of Socrates
(1787); and (right) detail of Plato and Aristotle
from RAPHAEL’s High Renaissance The School of
Athens (c. 1500).Slide 8: DAVID, Jacques-Louis. Death
of Marat (1793), Oil on canvas, 65 x 50 1/2 in,
Musees Royaux des Beaux-Arts de Belgique.
IMAGE INDEXSlide 9: (Left) DAVID’s Neoclassical Death of
Marat; and (right) detail from MICHELANGELO’s
High Renaissance Pieta (1500).Slide 10:
DAVID. Napoleon at St. Bernard (1800).Slide 11: (Left)
DAVID’s Neoclassical Napoleon at St. Bernard (1800);

24. and (right) TITIAN’s The Emperor Charles V on
Horseback (c. 1550), Oil on canvas, 130 3/4 x 109 7/8
in., Prado, Madrid.Slide 12: INGRES. Bonaparte as First
Consul (1804), Oil on canvas, 227 x 147 cm, Musée des
Beaux-Arts, Liège, Belgia.Slide 13: INGRES. Napoleon on his
Imperial Throne (1806).Slide 14: (Left) INGRES’
Neoclassical Napoleon on His Imperial Throne
(1806); and (right) detail of Christ from VAN EYCK’s
Early Renaissance Flemish Ghent Altarpiece (c. 1425-
50)Slide 15: (Left) INGRES’ Neoclassical Napoleon on His
Imperial Throne (1806); vs. (right) INGRES’ Jupiter
and Thetis (1811)
ART HISTORY 132
Rococo
(c. 1725-1775)
Rococo: Frenchcontext: 18th century FRpolitical: Louis XV
(1710-1774)life-span corresponds roughly to length of
Rococopatronage: powerful aristocratic familiesthemes:
aristocratic romantic pursuitsartistic style: reaction against
Baroque Classicism18C example of battle between
“designo”/“colore”shift away from Poussin’s emphasis on
“grand manner”more of an interest in Rubens’ sensual color
schemelighter, airydelicacy & refinement
Antoine Watteau

25. (1684-1721)biography: died from TB at age of 36Flemish
scenes of bucolic & idyllic charm (“fete galantes”)patrons:
never aristocratic; instead, bourgeois (e.g.,
bankers)significance: revives “colore” traditionreaction against
admirationstudied R’s Marie de Medici series at Luxembourg
Palacebrushwork: painterly
Watteau’s Pilgrimage to Cythera
(1717)
François Boucher
(1703-1770)Venus Consoling Love (c. 1750)training: began by
copying Wcareer: Director of Royal Academy1st Painter to
King of FRpatron: King’s mistress (Madame de
Pompadour)decorated her quarters at Versaillesaesthetic:
“colore” traditionfigure: idealizedpose: erotic
frontalitycomposition: dynamiccolor: pastellight/shadow: even
distributionnarrative: carried along by gazessurface textures:
material richness
Boucher
Odalisque (1745)patron: King Louis XVtheme: reclining
nude/Orientalismsetting: interiorpose: eroticcomposition:
diagonal thrustcolor: pastellight/shadow: even distribution

26. Jean-Honoré Fragonard
(1732-1806)The Swing (c. 1765)patron: FR Receiver
(Treasurer)cultural significance: ancien regime on eve of FR
Revolutionnarrative: hedonismpatron watching as mistress
pushed by Cardinalturbulence of movement pushes her skirt
bedcomposition: dynamiccolor: pastellight/shadow: even
distributionperspective: limited aerial
Jean-Baptiste-Siméon Chardin
(1699-1779)biography:born in Paris; son of
cabinetmakeradmitted to Royal Academy & exhibited regularly
@ Salon Louis XV granted C a studio and living quarters in
Louvrepatrons: rising middle-class subject matter: still-
lifegenrethemes: moralizing, yet not w/ symbolic
messagesaffirms social order & values hard
workfrugalityhonesty devotion to family
ChardinBack from the Market (1739)subject: genremiddle-class
Parisian householdpewter platterwooden furniturefresh water
basinspatial order: complex interior w/ opening
to exteriorcomposition: dynamiccolor: limited palette w/
pastelslight/shadow: modified tenebrismbrushwork: painterly

27. IMAGE INDEXSlide 2: CARRIERA, Rosabla. Portrait of
Watteau (1721), Oil on canvas.Slide 3: WATTEAU.
Pilgrimage to Cythera (1717), Oil on canvas, 4’3” x
6’4 1/2, Musée du Louvre, Paris.Slide 4: Detail of Venus in
WATTEAU’s Pilgrimage to Cythera Slide 5: BOUCHER.
Venus Consoling Love (c. 1750), Oil on canvas, 42 1/8
x 33 3/8 in., Chester Dale Collection, National Gallery,
Washington, D.C.Slide 6: BOUCHER. The Odalisque
(1753), Oil on canvas, 53.5 x 64.5 cm., Musée du
Louvre, Paris.Slide 7: FRAGONARD. The Swing (1767),
Oil on canvas, 85 x 73 in., National Gallery of Art,
Washington, D.C.Slide 8: CHARDIN. Self-Portrait (c. 1770),
Pastel, Musée du Louvre, Paris.Slide 9: CHARDIN.
Back from the Market (c. 1740), Oil on canvas, 18 1/2
x 14 3/4”, Museé du Louvre, Paris.
ART HISTORY 132
Baroque: Dutch
Dutch Baroquecontext: politicalUnited Dutch Republic Union of
Utrecht (1579)led by William of Orangesigned by several
northern provinces of Hapsburg Flandersbound them to maintain
rights against foreign tyranny (re: SP)achieved equal footing w/
other European powers (c. 1650)context: economiccenter of
fleethelped break supremacy of Spain; succeeded in closing port
of Antwerpmain professionsfishermen & peasantrysailors &

28. from colonies (East & West Indies)
Frans Hals
(1580-1666)
The Merry Drinker (c. 1625)theme: secularized
Bacchusnarrative: glance & gesture heightens
immediacybrushwork: painterlyfigure: contemporary;
realisticcomposition: stability coupled w/
implicit dynamismcolor: muted w/ ruddy flesh toneslight:
dramaticimplied tenebrism (e.g., broad-rimmed hat)chiaroscuro
effectssurface reflections
(Left) HALS’ Dutch Baroque Merry Drinker (c. 1625)
vs.
(right) BERNINI’s Scipione Borghese (c. 1625)
Judith Leyster
(1609-1660)
Self-Portrait (c. 1625)tendency: Carravagio’s realismbrushwork:
“painterly”stylistic characteristics:large figure pressed into
foregroundHals’ theatricality narrative: momentary pause from
workcomposition: dynamiccolor: narrow rangelight/shadow:
even distribution

29. Rembrandt
(1606-1669)significance: empathy for human
conditionbiography:middle-class background (bakers)university
educationnever traveled to Italyyet complete knowledge of
classical iconographycareer: master of Dutch Golden
Agecommissions from court of The HaguePrince Hendrik until
1646early work: (c. 1625)success as portraitistlate career: (c.
1650)personal tragedy & financial hardshiplived beyond his
meansbuying art, prints and rarities objects from Asia
Rembrandt
Self-Portrait (c. 1660)aesthetic: realisticbrushwork:
painterliness combined w/ glazing
techniquecomposition: implicit triangular formatcolor: narrow
range w/ vibrant accentslight/shadow: tenebrism &
chiaroscurogaze: reveals interior emotionspsychological
powertragic experiences sorrowvulnerability
Detail of face and hand from
REMBRANDT’s Self-portrait (c. 1660)
RembrandtAnatomy Lesson (1632)genre: group portraitpatron:
guild of surgeonsaesthetic: realismfigures: individualized
characterizationsprofound psychological grasp of
personalitiesnarrative: anecdotal & immediatesubject:
dissection of publicly hung criminal for scientific
progressspatial order: breaks w/ Mannerist

30. compressioncomplex extension into backgroundcomposition:
pyramidalcolor: narrow rangelight/shadow: chiaroscurocadaver
set off against dark costumeleaning figure casts shadow on
corpse’s head
(Left) REMBRANDT’S Dutch Baroque Anatomy Lesson (1632)
vs.
(right) CARAVAGGIO’s Italian Baroque Death of the Virgin
(1606)
RembrandtNight Watch (1642)title: misnomerscale: life-
sizesubject: militiamen/guardsnarrative: insignificant event
raised to level of historical spectaclecomposition:
dynamiclooks randomzigzag, reverse ‘W’originally symmetric,
but trimmed, cutcolor: narrow range w/ primary &
chiaroscuro & spotlighting
Rembrandt’s Night Watch
(1642)
(Left) REMBRANDT’s Dutch Baroque The Nightwatch (c. 1650
CE)
vs.

31. (right) Early Roman Empire “Spoils of Jerusalem”
from the Arch of Titus (c. 75 CE)
Rembrandt
Night Watch (con’t.)figures: realismhighly animatedcomplex
motion united by use of lightlight/shadow:
chiaroscurotechnique: foreshorteningarm/hand catches beam of
lightcasts shadow on opposite figurecolor: vibrant accents
repeated throughout composition
Rembrandt
Prodigal Son (1665)subject: New Testament (parable of
Jesus)theme: mercynarrative: climatic & immediateaesthetic:
realism brushwork: “painterly”composition:
syntheticsymmetrical arrangement of principal narrative
charactersdynamic lines of sightcolor: harmonious warm
tonalities & rich highlightslight/shadow: chiaroscuro &
tenebrismperspective: limited linear depthcomplex extension of
space into rear room
Details from REMBRANDT’S The Prodigal Son
(left) father and son; and (right) of son’s tattered shoes
Johannes Vermeer

32. (1632-1675)
subject: genretheme: allegorical (re: Last
Book of Matthew (NT)composition:
syntheticasymmetricalstrongly geometriccolor: low-key w/
primary accentslight/shadow: chiaroscuroperspective: linearb/w
checkerred floor tilingledge of table
Johannes Vermeer
La Tour’s French Baroque Repentant Mary Magdalen (c. 1650)
vs.
Vermeer’s Dutch Baroque Woman Weighing Pearls (1664)
Vermeer
Allegory of Art (c. 1675)setting: artist’s studiotheme:
garlands perspective: linearcomposition: syntheticcolor:
vibrantlight/shadow: chiaroscuro & full daylight
brightness
IMAGE INDEXSlide 3: HALS. The Merry Drinker (c. 1630),
Oil on canvas, 317/8 x 26 1/4”, Rijksmuseum,
Amsterdam.Slide 4: LEYSTER, Judith. Self-Portrait (1635),
Oil on canvas 29 1/2 x 25 3/4 in., National
Gallery of Art, Washington, D.C.Slide 5: REMBRANDT. Self-

33. portrait (c. 1625), Oil on canvas, The
Mauritshuis, The Hague.Slide 6: REMBRANDT. Self-
portrait (c. 1660), Oil on canvas, 52 5/8 x 40 7/8”,
The Frick Collection, New York.Slide 7: Detail of (left) face;
and (right) hand from REMBRANDT’s Self-portrait
(c. 1660).Slide 8: REMBRANDT. The Anatomy Lecture of
Dr. Nicolaes Tulp (c. 1630), Oil on canvas, 169.5 x
216.5 cm., The Hague.Slide 9/10: REMBRANDT. The
Nightwatch (c. 1640), Oil on canvas, 12’2” x
14’4”, Rijksmuseum.Slide 11: Detail of central figures in
REMBRANDT’s The Nightwatch.
IMAGE INDEXSlide 12: (Left) REMBRANDT’s Dutch Baroque
The Nightwatch (c. 1650 CE); and (right) Early Roman
Empire “Spoils of Jerusalem” from the Arch of
Titus (c. 75 CE)Slide 13: Detail from REMBRANDT’s Dutch
Baroque The NightwatchSlide 14: REMBRANDT. The Return
of the Prodigal Son (c.1665), Oil on canvas, 8’8” x
6’7 3/4”, The Hermitage, St. Petersburg,
Russia.Slide 15: Details of (left) father and son; and (right)
son’s tattered shoes from REMBRANDT’s The
Return of the Prodigal SonSlide 16: VERMEER. Woman
Weighing Pearls (1664), Oil on canvas, 16 3/4 x 15
in., National Gallery of Art, Washington, D.C.Slide 17:
VERMEER. The Allegory of Painting (c. 1675), Oil on
canvas, 130 x 110 cm., Kunsthistorisches
Museum, Vienna.

34. ART HISTORY 132
Baroque: Flemish
Baroque: Flemishcontext: military historyEighty Years War (c.
1570-1650)controversy: six northern provinces of Netherlands
sought to separate from Spanish dominationreligious differences
autonomyoutcome: c. 1620 southern Netherlands
(Flanders)continued to be ruled by staunchly Catholic Spanish
regentsartists relied heavily on commissions from Church &
State
Peter Paul Rubens
(1577-1640)biography:raised Catholicclassically-educated
Humanist scholarspent eight (8) years in Italy (c. 1600-08)
profoundly influenced by Titianstudied High Ren masters &
Caravaggiosynthesizes Humanism:natural & supernaturalreality
& fantasylearning & spiritualitydiplomat knighted by both
Philip IV (SP) and Charles I (England)court painter to Spanish
regent in Flanders
Rubens
Raising of the Cross (1610)patron: Antwerp Cathedralnarrative:
immediacy; moment of doubtperspective:
overlapping/foreshortening & aerialcomposition:
dynamiccolor: vibrant, localized primarieslight/shadow:
chiaroscuro & tenebrismfigures: solid, sculpturalmusculature
derived from Michelangelodramatic, twisting, contorted
posesobservation of realityno trace of Mannerismstudy from

35. live models
RubensBacchus (c. 1640)theme: Humanisticfigures: idealized &
grotesquefull proportions ventures away from Classical
antiquityemphasizes rippling, dimpled fleshequates fleshiness
w/ prosperitycomposition: distilled, syntheticCVAimplicit
triangular formatrepeating gesturesdynamic diagonalsspatial
order: compressedperspective: minimal use of aerial &
linearcolor: vibrant Venetian qualitieslight/shadow:
chiaroscurobleaching effect (see Velazquez)emphasizes surface
texture e.g., wine decanter
Rubens’ The Garden of Love (c. 1625)
(Left) Detail from RUBENS’s Flemish Baroque The Garden of
Love (c. 1625)
vs,
(right) detail from Classical Greek Three Goddesses (c. 450
BCE)
RubensArrival of Marie de’ Medici date: c. 1625subject: history
paintingHenry IV (King of FR) first wife barrenobtained
permission from Pope to divorcede’Medici chosen financial
reasons political conveniencenarrative: moment of
recognitionaesthetic: combines Caravaggio’s realism w/
Carracci’s idealizationcomposition: dynamic color:

36. vibrantlight/shadow: dramatic chiaroscuro
effects
Rubens
Arrival of Marie de’Medici (con’t.)issue: royal propagandaR
glossed over truth (re: likeness) in favor of royal
patroncontrappostoimproved facial featuresruddy
complexionsurface texture:sheen of satin gownslace
Rubens
Arrival of Marie de’Medici (con’t.)theme: Humanistallegorical
representation of ancient gods &
goddessesFameNeptunefigures: idealizedcurvaceous &
supplemales: powerful musculature (re: Michelangelo)poses:
three views (frontal, ¾, rear)
(Left) detail of sea nymphs from RUBENS’s Arrival of Marie
de' Medici (c. 1625) vs.
(right) detail of Eve from Michelangelo’s High Ren Expulsion
from Paradise
(c. 1500) in Sistine Chapel
IMAGE INDEXSlide 3: RUBENS. Rubens, his wife Helena
Fourment, and their son Peter Paul (c. 1640), Oil on

37. wood, 203.8 x 158.1 cm.,
Metropolitan Museum of Art, New York.Slide 4: RUBENS.
The Raising of the Cross (1610), Center panel of a
triptych, 15’1” x 11’9 5/8”, Antwerp Cathedral,
Belgium.Slide 5: RUBENS. Bacchus (c. 1640), Oil on
canvas, transferred from panel, 191 x 161.3 cm.,
Hermitage, St. Petersburg, Russia.Slide 6: RUBENS. The
Garden of Love (c. 1630), Oil on canvas, 78 x
111 3/8 in., Prado, Madrid.Slide 7: (Left) Detail from
RUBENS’s Flemish Baroque The Garden of Love (c.
1625); vs. (right) detail from Classical Greek Three
Goddesses (c. 450 BCE)Slide 8: RUBENS. The Arrival of
Marie de' Medici (c. 1625), Oil on canvas, 155 x
115 1/4 in., Museé du Louvre, Paris.Slide 9: Detail of Marie
de’Medici and attendants from RUBENS’s
The Arrival of Marie de' Medici (c. 1625).
IMAGE INDEXSlide 10: Detail of Neptune and sea nymphs
from RUBENS’s The Arrival of Marie de'
Medici (c. 1625).Slide 11: (Left) detail of sea nymphs from
RUBENS’s Flemish Baroque The Arrival of Marie
de’ Medici (c. 1625); and (right) detail of Eve
from Michelangelo’s High Renaissance Expulsion from
Paradise (c. 1500) in the Sistine Chapel.
ART HISTORY 132
Baroque: French

38. Nicolas Poussin
(1595-1665)
bankrupted
by warslived almost entire life in Romereturns to Paris at end of
lifepatrons: Barberini (Catholic Cardinal) FR King Louis
XIIIstrengthened royal authority established FR Academyhighly
finished style historical/mythological themesmoralistic
drawingRaphael’s color schemenarrative:
easily legible gesturesfacial expressionsposes
PoussinHoly Family (c. 1650)style: classicizingfigures:
idealized (see Raphael)perspective: linear & aerialcompositions:
stablegeometric recessionverticals/horizontals at right
anglescolor: localized areas of primarieslight/shadow:
chiaroscuroiconography:apple/wisdom/fatestaircase/ascension
(Left) RAPHAEL’s High Renaissance Madonna of the Meadow
(c. 1500)
vs.
(right) detail in POUSSIN’s FR Baroque Holy Family on the
Steps (c. 1650)
Poussin’s Abduction of the Sabine Women

39. (c. 1625)
PoussinMidas and Bacchus (1625)subject: Humanisticfigures:
composition: Renaissance appropriationPerugino’s Delivery of
the KeysTitian’s Bacchanalcolor: Venetian warm, golden
tonalitylight/shadow: Titian’s shifting effectsnarrative:
minimizes actions & facial expressions
(Left) Classical Greek Apollo Belvedere (late 4th century BC)
vs.
(right) detail from POUSSIN’s FR Baroque Midas and Bacchus
(1625)
(Left) Detail from POUSSIN’s French Baroque Midas and
Bacchus (1625) vs.
PERUGINO’s Early Renaissance Delivery of the Keys (c. 1475)
from Sistine Chapel
TITIAN’s Venetian Renaissance Bacchanal (c. 1525)
vs.

40. POUSSIN’s French Baroque Midas and Bacchus (c. 1625)
Georges de La Tour
(1593-1652)
Repentant Magdalen (c. 1650)aesthetic: realist tendencytheme:
penance & “vanitas”setting: simplified (see Council of
Trent/Caravaggio)figure: geometric simplicity compare to Early
Renaissancecomposition: dynamic diagonal thrustcolor: muted;
narrow range of brownslight/shadow: dramatic“contre
jour”variation of Caravaggio’s use of “tenebrism”silhouette
effect figure in front of light source (i.e., candle)iconography:
“memento mori” skull as reminder of death
La Tour
Martyrdom of St. Sebastian (1650)aesthetic: realistfigures:
geometric; analyticalcomposition: dynamicfigures aligned
diagonallynarrative carried along by gaze & gesturere:
Caravaggio’s Entombment color: muted tonalitieslight/shadow:
“conte jour”
(Left) LA TOUR’s FR Baroque Martyrdom of St. Sebastian
(c. 1650) vs.
(right) CARAVAGGIO’s Italian Baroque Entombment (c. 1600)

41. Le NainPeasant Family (c. 1650)subject: group portraittheme:
“genre” scene (daily life)meaning: dignity of hardship figures:
peasantssimplicity & seriousnesssee Velazquez Water
Carriercomposition: stablefrieze-likeseemingly random
placement figurescolor: muted earth toneslight/shadow: “contre
jour”iconography: religious allegoryEucharist (wine & bread)
Le Nain’s Smokers
(1643)
CALLOT’s The Miseries of War
(c. 1625)
IMAGE INDEXSlide 2: POUSSIN. Self-Portrait (c. 1650), Oil
on canvas, Musée du Louvre, Paris.Slide 3:
POUSSIN, Nicholas. Midas and Bacchus (1625), Oil
on canvas, Alte Pinakothek, Munich.Slide 4: Titian’s
Venetian Renaissance Bacchanal (c. 1525) vs.
Poussin’s French Baroque Midas & Bacchus (c. 1625)Slide
5: Comparison between (left) Classical Greek Apollo
Belvedere (late 4th century BC); and (right) detail of
Midas from POUSSIN’s French Baroque Midas and
Bacchus (1625).Slide 6: (Left) central figures

42. from POUSSIN’s French Baroque Midas and Bacchus
(1625); and (right) PERUGINO’s Early Renaissance
Delivery of the Keys (c. 1475) in the Sistine Chapel
IMAGE INDEXSlide 7: POUSSIN. The Rape of the Sabine
Women (c. 1635), Oil on canvas, 60 7/8 x 82 5/8 in.,
Metropolitan Museum of Art, New York .Slide 8:
POUSSIN. Holy Family on the Steps (c. 1650), Oil on
canvas, National Gallery of Art, Washington, D.C.Slide 9:
(Left) RAPHAEL’s High Renaissance Madonna of the
Meadow (c. 1500); and (right) detail of Madonna, Christ
Child and St. John the Baptist in POUSSIN’s French
Baroque Holy Family on the Steps (c.
1650).Slide 10:LA TOUR. Repentant Magdalen (c. 1640), Oil
on canvas, 44 1/2 x 36 1/2 in., National Gallery of
Art, Washington, D.C. Slide 11: LA TOUR.
Martyrdom of St. Sebastian (c. 1650), Oil on canvas,
167 x 130 cm., Musée du Louvre, Paris.
IMAGE INDEXSlide 12: (Left) LA TOUR’s French Baroque
Martyrdom of St. Sebastian (c. 1640); and (right)
CARAVAGGIO’s Italian Baroque Entombment (c.
1600).Slide 13:LE NAIN. Peasant Family (c. 1640), Oil on
canvas, 44 1/2 x 62 1/2”, Musée du Louvre,
Paris.Slide 14: Details in LE NAIN’s Peasant Family.Slide 15:
LE NAIN. Smokers in an Interior (1643), Oil on
canvas, 117 x 137 cm., Musée du Louvre, Paris.Slide 16:
CALLOT. “Hanging Tree” from The Miseries of War
(1629-33), etching, 3 ¾ x 7 ¼ in., Private Collection.

43. ART HISTORY 132
Baroque: Spanish
Diego Velázquez
(1599-1660)
biography:1623: became court painter to Phillip IV1628:
Rubens’ visit to SP influenced V to visit Italy1629: lives
in Italy for year and a half1649: second visit to Italystyle:
“Realist” tendencyinfluence of Caravaggio’s interest in surface
texturescolor: Venetian richness (re: Titian)brushwork:
“painterly”light: “chiaroscuro” & fascination w/ depicting
fleeting effectsthemes: genre scenesmythologicalroyal portraits
(political & religious)
VelázquezWaterseller of Seville (c. 1625)scene: genretheme:
mercytendency: realismage & facial
featuresclothingcomposition: stable; intelligiblecolor: muted,
narrow rangelight/shadow: tenebrism & chiaroscuro spatial
order: shallow overlappingforeshorteningsurface textures:
reflectionsbeads of water
(Left) Detail from VELÁZQUEZ’s Waterseller of Seville (c.
1625)
vs.

44. (right) detail from CARAVAGGIO’s Entombment (c. 1600)
Detail of water droplet on surface of jug
in VELÁZQUEZ’s Waterseller of Seville (c. 1625)
VelázquezFeast of Bacchus (1628-29)title: a.k.a. “Los
Borrachos”patron: Phillip IVnarrative: mock homagefigures:
ancient god w/ realistic humansspatial order: shallow
perspective: limited to overlapping and
foreshorteningcomposition: frieze-like arrangementbilateral
toneslight/shadow: manipulatedbleached-out Bacchus evenly
distributed humans
(Left) Detail from VELÁZQUEZ’s Los Borrachos (c. 1625)
vs.
(right) CARAVAGGIO’s Bacchus (c. 1600)
Velazquez
Los Borrachos (con’t.)contemporary figures:realistic, vigorous
naturalismruddy facesleathery skinplain garmentscomplex
gestures, gazes & poses enlivens narrative, despite frieze-like
composition

45. VelázquezSurrender at Breda (1635)significance: inspired by
1st trip to Italysubject: history paintingtheme: SP/Catholic
triumph/conquest over Dutch (Protestant)narrative:
courtly tone modified from Perugino’s
Deliverycomposition: Classical frieze-like
arrangementfigures: densely packedlandscape:
panoramicbrushwork: “painterly”color: vibrantlight: evenly
distributedperspective: aerial
(Left) detail from VELÁZQUEZ’s Surrender of Breda (c. 1635)
vs.
(right) detail from PERUGINO’s Italian Early Ren Delivery of
the Keys (c. 1475)
(Left) VELÁZQUEZ’s Spanish Baroque Surrender at Breda (c.
1650)
vs.
(right) UCCELLO’s Italian Early Renaissance Battle of San
Romano (c. 1450)
VelázquezMaids of Honor (c. 1650)title: a.k.a. Las Meninas
genre: royal group portraittheme: implicit Humanismcomparison
to Alexander the Great visiting his painter (Apelles) in studio

46. attendants, & court
IV
Velázquez
Las Meniñas (con’t.)self-portraitpainting as endeavor worthy of
courtly recognitionpose: frontalV ordained into royaltyinsignia
of Royal Order of Santiagostylized red crossdid not receive
honor of knighthood until 1659 (three years after execution of
painting)
Velázquez
Las Meniñas (con’t.)Princess Margaritafive-year old daughter
of Philip IV & second wifebrushwork: painterlyelaborate dress
& jewelsmultiplicity of texturesdetails dissolve into intuitive,
chaotic mixture of color
IMAGE INDEXSlide 2: VELÁZQUEZ. Self-portrait (1640),
Oil on canvas, 45.5 x 38 cm., Museo Provincial, Valencia,
Spain.Slide 3: VELÁZQUEZ. The Waterseller of Seville (c.
1625), Oil on canvas, 42 x 31 7/8”, Wellington Museum,
London.Slide 4: (Left) detail from VELÁZQUEZ’s The
Waterseller of Seville (c. 1625); and (right) detail from
CARAVAGGIO’s Entombment (c. 1600).Slide 5:
Detail of water droplet on surface of jug in
VELÁZQUEZ’s The Waterseller of SevilleSlide 6:
VELÁZQUEZ. Los Borrachos (1628-29), Oil on canvas,
65 x 88 ½ in., Museo del Prado, Madrid.Slide 7: (Left)
Bacchus from VELÁZQUEZ’s Los Borrachos (c.

47. 1625); and (right) CARAVAGGIO’s Bacchus (c.
1600).Slide 8: Detail of realistic figures in VELAZQUEZ’s Los
Borrachos.Slide 9: VELÁZQUEZ. The Surrender of
Breda (c. 1635), Oil on canvas, 10’ x 12’, Museo
del Prado, Madrid.
IMAGE INDEXSlide 10: (Left) detail of Christ delivering keys
to Saint Peter from PERUGINO’s Early Renaissance
Delivery of the Keys (c. 1475); and (right) detail of
handing over the keys from VELÁZQUEZ’s The
Surrender of Breda (c. 1635).Slide 11: (Left) VELÁZQUEZ’s
Spanish Baroque The Surrender of Breda (c. 1635);
and (right) UCCELLO’s Early Renaissance Battle of
San Romano (c. 1450).Slide 12: VELAZQUEZ. Las
Meninas; or “The Maids of Honor (1656), Oil on
canvas, 10’ 5" x 9’ 1”, Museo del Prado,
Madrid.Slide 13: Detail of self-portrait from
VELÁZQUEZ’s Las Meninas.Slide 14: Detail of Princess
Margarita from VELÁZQUEZ’s Las Meninas.
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

48. to Renaissance idealizationappropriateness of age, gender, type,
expression, gesture & dress3) emotional stimulus to piety
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
Conversion of St. Paul (c. 1600)narrative: NTmoment of
recognitionemotional stimulus to pietyfigures: realisticsetting:

49. 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.
MICHELANGELO’s High Renaissance Pieta (c. 1500)

50. 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
Metamorphosis also alludes poem written by Lorenzo de Medici
(c. 1475)format: illusionistic enhancement of

51. 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)

52. RENI’s “classicizing” tendency
Italian Baroque
Aurora
(1613-14)
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

53. 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)
*

54. (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)
vs.

55. (right) MICHELANGELO’s High Renaissance Pietá (c. 1500)
IMAGE INDEXSlide 3: CARAVAGGIO. Detail of self-
portrait from David (1606- 07), Oil on wood, 90.5 x
116 cm, Kunsthistorisches Museum, Vienna.Slide 4:
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 5:
Detail of Christ and St. Peter from CARAVAGGIO’s
Calling of St. Matthew.Slide 6: CARAVAGGIO.
Conversion of St. Paul (1600-01), Oil on
canvas, 90 1/2 x 70 in., Cerasi Chapel, Santa Maria del
Popolo, Rome. Slide 7: CARAVAGGIO.
Entombment (c. 1600), Oil on canvas, 300x 203
cm., Pinacoteca Vaticana, Rome.Slide 8: Detail of Mary
from CARAVAGGIO’s Entombment.Slide 9: Comparison
between CARAVAGGIO’s Entombment (c.
1600) vs. RAPHAEL’s High Renaissance Descent from the
Cross (c. 1500).
IMAGE INDEXSlide 10: CARRAVAGIO. Supper at Emmaus
(1601), Oil on canvas, 77 by 55 in., National Gallery,
London.Slide 11: Portrait of Annibale CARRACCI. Slide 12:
CARACCI. Flight into Egypt (c. 1603-04), Oil on canvas,
4’ x 7’6”, Galleria Doria Pamphili, Rome. Slide
13: CARACCI. Loves of the Gods (c. 1600), Ceiling frescoes
in the gallery, Palazzo Farnese, Rome.Slide 14:
CARRACCI. Bacchus and Ariadne, central ceiling panel
from Farnese Gallery (c. 1600).Slide 15:
CARRACCI. Polyphemus and Galatea, from Farnese
Gallery (c. 1600).Slide 16: Comparison between

56. (Left) CARRACCI’s Polyphemus and Galatea vs.
(right) Classical Greek Discuss Thrower (c. 450
BCE).Slide 17: Comparison between (left) CARRACCI’s
Polyphemus and Galatea vs. (right)
Hellenistic Greek Laocoön (c. 200 BCE).
IMAGE INDEXSlide 18: RENI. Aurora (1613-14), ceiling
fresco in the Casino
Rospigliosi,Rome.Slide 19: BERNINI. Bust of Scipione
Borghese (1632), marble, 31in. high, Galleria
Borghese, Rome.Slide 20: BERNINI. Apollo and Daphne
(1622-25), marble, 96 in. high, Galleria
Borghese, Rome.BERNINI. David (c. 1625), Marble, , lifesize,
Galleria Borghese, Rome.Slide 20: Portrait
of Bernini by BACICCIO (c. 1665)Slide 21: Comparison
between Classical Greek Discuss Thrower (c. 450
BCE) vs. BERNINI’s Baroque David (c. 1625).Slide 22: (Left)
DONATELLO’s Early Renaissance David (c. 1425);
and (right) BERNINI’s David (c. 1625)Slide 23: (Left)
MICHELANGELO’s HIGH Renaissance David (c.
1500); and (right) BERNINI’s David (c. 1625)Slide 24:
BERNINI. Cornaro Chapel (c. 1650), Church of Santa
Maria della Vittoria, Rome.Slide 25: BERNINI.
The Ecstasy of Saint Therese (c. 1650), Marble,
Cappella Cornaro, Santa Maria della Vittoria, Rome.