This document discusses the characteristics and major artists of Baroque art in 17th century Italy and Spain, including Bernini, Borromini, Caravaggio, and Velazquez. It focuses on their architectural works like St. Peter's Basilica and churches, as well as paintings depicting religious subjects. The Baroque style was influenced by the Catholic church and used dramatic lighting, movement, and emotion to convey religious themes and glorify wealthy patrons.
Mannerism (from maniera, manner, or style), the artistic style prevailed in Italy from the end of the High Renaissance in the 1520s until Baroque style 1590. Early Mannerism (c.1520-35) is known for its "anti-classical" or "anti-Renaissance" style, which later evolved into High Mannerism (c.1535-1580), a more intricate, inward-looking, and academic style intended to cater to more sophisticated patrons. The term used for anti-classical indicates that the naturalism painting style is during the high renaissance departure to an artificial and exaggerated painting style, also known as Mannerism.
extreme information about rococo art.Rococo, less commonly Roccoco or Late Baroque, is an exceptionally ornamental and theatrical style of architecture, art and decoration which combines asymmetry, scrolling curves, gilding, white and pastel colours, sculpted moulding, and trompe-l'œil frescoes to create surprise and the illusion of motion and drama.
What does Rococo mean in art?
In practice Rococo is a style of short curves, scrolls and counter curves, often elaborated with fantasy. In fine art, Rococo prettiness, gaiety, curvaceousness and sensuality is exemplified in the work of François Boucher, Jean-Honoré Fragonard and Jean-Antoine Watteau and in the sculpture of Clodion.
Art History in Renaissance time. feautring Donatello, Leonardo, Michelangelo, Raphael, and Botiicelli
This is made for our class reporting,but my professor changed his mind, so maybe it would be of help to others if I share it.
Mannerism (from maniera, manner, or style), the artistic style prevailed in Italy from the end of the High Renaissance in the 1520s until Baroque style 1590. Early Mannerism (c.1520-35) is known for its "anti-classical" or "anti-Renaissance" style, which later evolved into High Mannerism (c.1535-1580), a more intricate, inward-looking, and academic style intended to cater to more sophisticated patrons. The term used for anti-classical indicates that the naturalism painting style is during the high renaissance departure to an artificial and exaggerated painting style, also known as Mannerism.
extreme information about rococo art.Rococo, less commonly Roccoco or Late Baroque, is an exceptionally ornamental and theatrical style of architecture, art and decoration which combines asymmetry, scrolling curves, gilding, white and pastel colours, sculpted moulding, and trompe-l'œil frescoes to create surprise and the illusion of motion and drama.
What does Rococo mean in art?
In practice Rococo is a style of short curves, scrolls and counter curves, often elaborated with fantasy. In fine art, Rococo prettiness, gaiety, curvaceousness and sensuality is exemplified in the work of François Boucher, Jean-Honoré Fragonard and Jean-Antoine Watteau and in the sculpture of Clodion.
Art History in Renaissance time. feautring Donatello, Leonardo, Michelangelo, Raphael, and Botiicelli
This is made for our class reporting,but my professor changed his mind, so maybe it would be of help to others if I share it.
Slideshow is a companion to Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 at Montgomery County Community College. Jean Thobaben - Adjunct Innstructor.
Giovanni Lorenzo Bernini (December 7, 1598 – November 28, 1680) was a pre-eminent Baroque sculptor and architect of 17th Century Rome.
Wikipedia-based presentation
The Galleria Borghese is the home of an extraordinary collections of large number of unique masterpieces, dating from antiquity. In 1807 nearly all the archaeological collection was sold by Camillo Borghese to his brother-in-law, Napoleon, becoming an essential part of the Louvre collection in Paris. Some of the pieces sold have been replaced by later acquisitions. The gallery is uniquely located in the middle of a park, serenely blending architecture and nature. Recent restoration, which took over a decade of work, of the build was completed in 1997. Among it collections are half a dozen of paintings by the young Caravaggio, Titan’s painting of ‘Sacred and Profane Love’. Several works by Raphael, some of the best sculpture by Bernini, include the David, Apollo and Daphine etc. It is one of the world most exclusive gallery.
The Pinacoteca Nazionale of Bologna is one of those provincial gems in a country full of artistic treasures. It collection is stunning, fully documented the history of the city in its contribution to Italian art. The gallery is housed in the old Jesuit convent. It is located within walking distance from the city centre, in the university district. Its original formation is much older and linked to the foundation of the modern academy and the new university. Its included some of the major paintings produced in city, with emphasis on works by the Bologna School of painters. Among it wide collection are works by famous artist like Giotto, Franca, the Carracci family of painters, Raphael, Reni and Perugino, with paintings spanning from Gothic to the 18C. The majority of the images were taken during my visit to the city in 2017.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
How to Create Map Views in the Odoo 17 ERPCeline George
The map views are useful for providing a geographical representation of data. They allow users to visualize and analyze the data in a more intuitive manner.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
The Art Pastor's Guide to Sabbath | Steve ThomasonSteve Thomason
What is the purpose of the Sabbath Law in the Torah. It is interesting to compare how the context of the law shifts from Exodus to Deuteronomy. Who gets to rest, and why?
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
This is a presentation by Dada Robert in a Your Skill Boost masterclass organised by the Excellence Foundation for South Sudan (EFSS) on Saturday, the 25th and Sunday, the 26th of May 2024.
He discussed the concept of quality improvement, emphasizing its applicability to various aspects of life, including personal, project, and program improvements. He defined quality as doing the right thing at the right time in the right way to achieve the best possible results and discussed the concept of the "gap" between what we know and what we do, and how this gap represents the areas we need to improve. He explained the scientific approach to quality improvement, which involves systematic performance analysis, testing and learning, and implementing change ideas. He also highlighted the importance of client focus and a team approach to quality improvement.
3. Goals
• Identify representative Baroque artists and their works
• Identify representative Baroque architects and their works
• Recognize and cite artistic terminology from this period
• Understand the influence of the Roman Catholic Church on
art and architecture in 17th century Italy and Spain
• Recall hallmark formal devices used by Baroque artists and
architects
3
4. Baroque Art
• Recognize the distinctive characteristics of the Baroque style
• Identify representative Baroque artists and their works
• Identify representative Baroque architects and their works
• Compare and contrast the work of Italian and Spanish
Baroque painters
• Recognize and cite artistic terminology from this period
4
5. Maderno's design for Santa
Susanna in Rome stands as one
of the first manifestations of
Baroque design. It emphasized
the unique relationship between
this church and the Il Gesù in
Rome, an earlier church, which
proved to be highly influential
for Baroque designs.
CARLO MADERNO,
facade of Santa Susanna,
Rome, Italy, 1597–1603.
5
6. CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.
In the 17th century, the clergy rejected the central plans Bramante designed for St. Peter's during the Renaissance.
Paul V commissioned Maderno to add three nave bays to the nucleus of the basilica because the central plans
are associated with pagan buildings. 6
7.
8. Aerial view of Saint Peter’s, Vatican City, Rome, Italy. Piazza designed by GIANLORENZO BERNINI, 1656-1667.
8
9. Aerial view of Saint Peter’s, Vatican City, Rome, Italy, 1506–1666.
9
10. Bernini's Baldacchino serves both
functional and symbolic purposes.
It provides a dramatic and
compelling visual presentation for
the interior of St. Peter's. The
columns serve as a symbol that
invokes the past.
GIANLORENZO BERNINI,
baldacchino, Saint Peter’s, Vatican
City, Rome, Italy, 1624–1633.
Gilded bronze, 100’ high.
10
11. Bernini was commissioned to replace a
dangerous stairway in the Vatican. He
created a highly sophisticated design that
was dramatic and dynamic. This design
repeated on a smaller scale the grand
processional sequence found in St. Peter's
Scala Regia.
GIANLORENZO BERNINI, Scala Regia
(Royal Stairway), Vatican City, Rome, Italy,
1663–1666.
11
12. Bernini's David differs from previous
generations of this depiction. In his
David, the pivoting motion of the figure
seems to be moving through time and
space.
GIANLORENZO BERNINI, David,
1623. Marble, 5’ 7” high. Galleria
Borghese, Rome.
12
14. GIANLORENZO BERNINI, Ecstasy of Saint Teresa,
Cornaro Chapel, Santa Maria della Vittoria, Rome,
Italy, 1645–1652. Marble, height of group 11’ 6”.
14
15. Borromini designed the church of San Carlo alle
Quattro Fontane. He created a uniquely dynamic
Baroque church with the counterpoint of concave
convex elements in the façade that emphasized the
three-dimensional effect with deeply recessed niches
that emphasized the sculptural qualities of the
building.
FRANCESCO BORROMINI,
facade of San Carlo alle Quattro Fontane,
Rome, Italy, 1665–1676.
15
19. FRANCESCO BORROMINI, plan of
the Chapel of Saint Ivo, College of the Sapienza,
Rome, Italy, begun 1642.
19
20. FRANCESCO BORROMINI, Chapel of Saint Ivo (view into dome), College of the Sapienza, Rome, Italy, begun 1642.
20
21. ANNIBALE CARRACCI, Flight into Egypt, 1603–1604. Oil on canvas, 4’ x 7’ 6”. Galleria Doria Pamphili, Rome.
21
22. As part of his training in art,
Annibale Carracci received
instruction in the classical and
Renaissance traditions as well
as anatomy studies and life
drawing resulting in his more
classically ordered style.
His work on the gallery ceiling
in the Palazzo Farnese in Rome
was arranged as framed
easel paintings.
ANNIBALE CARRACCI,
Loves of the Gods, ceiling frescoes
in the gallery, Palazzo Farnese,
Rome, Italy, 1597–1601.
22
23. Caravaggio's Conversion of St. Paul
presents the same dynamic emotion
and dramatic religious fervor with the
use of eloquent pictorial devices and
stage lighting in much the same way
as Bernini's Ecstasy of St. Teresa.
CARAVAGGIO, Conversion of St. Paul,
ca. 1601. Oil on canvas, 7’ 6” x 5’ 9”.
Cerasi Chapel,
Santa Maria del Popolo, Rome.
23
24. CARAVAGGIO, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”.
Contarelli Chapel, San Luigi dei Francesi, Rome
24
25. 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, Rome.
25
26. Artemisia Gentileschi's
work was most influenced
by Caravaggio.
ARTEMISIA GENTILESCHI,
Judith Slaying Holofernes, 1614–1620.
Oil on canvas, 6’ 6 1/3” x 5’ 4”.
Galleria degli Uffizi, Florence.
26
27. QUIDO RENI, Aurora, ceiling fresco in the Casino Rospigliosi, Rome, Italy, 1613–1614.
27
28. PIETRO DA CORTONA, Triumph of the Barberini, ceiling fresco in the Gran Salone, Palazzo Barberini, Rome, Italy, 1633–1639.
The ceiling fresco for Gran Salone in the Palazzo Barberini in Rome is a visual eulogy to the family. The papal tiara and keys
seen in the fresco announce the personal triumph of a family member, Urban VIII.
28
29. GIOVANNI BATTISTA GAULLI, Triumph of the Name of Jesus,
ceiling fresco with stucco figures in the nave vault of Il Gesù, Rome, Italy, 1676–1679.
29
30. FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant’Ignazio, Rome, Italy, 1691–1694.
Fra Andrea Pozzo created the illusion of Heaven opening above the heads of the congregation in the church of Sant'Ignazio
by illusionistically continuing the church's actual architecture into the vault so the roof seems to be lifting off.
30
31. José de Ribera was
most strongly
influenced by the
work of Caravaggio.
JOSÉ DE RIBERA, Martyrdom of Saint Bartholomew, ca. 1639. Oil on canvas, 7’ 8” x 7’ 8”. Museo del Prado, Madrid.
31
32. FRANCISCO DE ZURBARÁN,
Saint Serapion, 1628.
Oil on canvas, 3’ 11 1/2” x 3’ 5”.
Wadsworth Atheneum, Hartford
(The Ella Gallup Sumner and
Mary Catlin Sumner Collection
Fund).
32
33. DIEGO VELÁZQUEZ,
Water Carrier of Seville, ca. 1619.
Oil on canvas, 3’ 5 1/2” x 2’ 7 1/2”.
Victoria & Albert Museum, London.
33
34. DIEGO VELÁZQUEZ, Surrender of Breda, 1634–1635. Oil on canvas, 10’ 1” x 12’ 1/2”. Museo del Prado, Madrid.
34
35. Velásquez was the court painter for
Philip IV. He held the titles of First
Painter to the King and Chief
Steward of the Palace.
He accompanied the king to Fraga
during the Aragonese campaign.
While there he painted Philip's
portrait, it is known as the Fraga
Philip. Due to the dynastic inbreeding
in the Hapsburg line, Philip inherited
the Hapsburg jaw. Velásquez
compensates for this "jaw" in the
Fraga portrait by focusing
attention on the cloak and baldric
worn by the king by making them
shimmer.
DIEGO VELÁZQUEZ,
King Philip IV of Spain (Fraga Philip),
1644. Oil on canvas, 4’ 3 1/8” x 3’ 3”.
The Frick Collection, New York.
35
36. DIEGO VELÁZQUEZ,
Las Meninas (The Maids of Honor),
1656. Oil on canvas, 10’ 5” x 9’.
Museo del Prado, Madrid.
36