7649454
Descripción
Fichas por Caroline Groppe, actualizado hace más de 1 año
|
Creado por Caroline Groppe
hace casi 8 años
|
|
| Pregunta | Respuesta |
| Ludovico Carracci, Madonna dei Bargellini, 1587, o/c, 9 x 6, Pinacoteca Nazionale, Bologna, (Originally in Church of Monache Convertite) * Patron: Bargellini family * Not yet baroque, this is counter reformation * Very clear iconography * Saint Francis of Assisi (brown) * Saint Dominic of Bologna (black with white collar) * Mary wears a red undergarment * Lapis lazuli colors her blue robe (along with azurite * Blue is because she’s queen of heaven (sky) and intercessor (sea) * Mary Magdalene represents repentance (bottom right) * Mrs Bargellini is in the bottom left * Usually Madonna is in the middle, so this is asymmetric, like Titian | |
| Titian, Pesaro Madonna, 1519-26, o/c, 15’ x 8’, Santa Maria Gloriosa dei Frati, Venice (insitu) * In titian’s work there steps separating us and Mary isn’t looking at us * The patrons, the Pesaro family, are in the picture * Its a Franciscan church * The Pesaro helped capture Turks, so theres a Turkish man in the corner | |
| Ludovico Carraci, Madonna delgi Scalzi, 1590, o/c 86 x 57, Pinacoteca Nazionale, Bologna (Originally in Scalzi) * Saint Francis is on the right * Saint Jerome is on the left ( he translated the new and old testaments into Latin) * Jerome found a lion limping, took a thorn out of its paw, and he became his friend * The crescent moon with mary’s bare feet * Band of stars over her head * Inspired by the line “woman clothed in sun, moon at her feet, with a crown of 12 stars | |
| Raphael’s Sistine Madonna, 1513 * Julius II is on the left * Renaissance to Baroque switched between Strong hues and Pastel * Barbara’s tower is on the right, she was imprisioned in a tower and put to death for christianity * Her father cut off her head and he was killed by a bolt of lightening, so she’s also the saint of sudden death * The Carracci idealized like Raphael * There counter reformations desperation broke the barrier between viewer and holy figures * Mary is softer and looking at us in Ludovico’s * The counter reformation is more personal * The aim of the Baroque is to be more attractive and accessible to get people back into the church after the reformation | |
| Agostino Carracci, Last Communion of Saint Jerome, 1592, o/c, 12’ x 7’, Pinacotecca, Bologna (Originally in Cortosa di San Girolamo * Saint Jerome was a Hermit, San Girolamo was a church for hermetic monks * Its looking back at Raphael’s School of Athens (perfect painting) * Classical architecture * Round arches * Busy * Overlapping * Cathusian monks have been around since 1084 * The iconography is very clear * The arch of their heads mirrors the architecture and unifies it | |
| Annibale Carracci, Mystic Marriage of Saint Catherine, 1586, o/c, 63 x 46, Capodimonte, Naples, Originally for Farnese Family in Parma * Farnese patronized the Carracci * Constantine had 4 co-emperors -Maxenias was one * He liked Catherine of Alexandria and wanted her, she was celibate, she married Jesus symbolically, Maxeniaes had her torn apart on spiked wheels, but she was saved by heaven, then beheaded and died anyway * The painting is derived diagonally between poor and fancy people * This one is a private commission and devotion | |
| Annibale Carracci, Resurrection of Christ, 1593, o/c, 85 x 63, Louvre, Paris * Diagonals everywhere * Dividing heaven and eartg * Vertical line of jesus’s leg * Jesus’s resurrection wasn’t in the bible but we know there were guards outside his tomb * Vertical lines are for stability * Diagonals are for movement | |
| Annibale Carracci, Butcher’s Shop, 1582, o/c, 6 x 8, Christ Church College, Oxford * It’s a scene from everyday life, so its a genre paintings * Genre is more common in the north, but italy had already done it for a few decades * Painterly brushwork * Very day to day and ordinary * Very populist | |
| Annibale Carraci, The Choice of Hercules, 1597, o/c, 65 x 93”, Capodimonte, Naples * It was in the Farnese Palace in Cardinal Odoardo’s study * It’s hung in the center of the ceiling so it’s an anchoring composition * Their Librarian Orsini probably suggested the subject * The “Choice” is vice or virtue * Vice is scantily clad with theater masks and musical instruments * Virtue is clothed * HIs leg is reaching towards Vice, he’s tempted * Pegasus stands for Fame * The Poet in the left is wearing a laureate wreath * The Farnese owned a lot of classical sculptures that inspired the Choice of Hercules | |
| Farnese Hercules, Roman Copy, 216 BCE, Greek originally 4th century, excavated in the 1500’s Inspired the Choice of Hercules | |
| Head of Hercules, Caracalla, 212-215 Inspired the Choice of Hercules | |
| Zeus and Hera (Jupiter and Juno), Annibale Carracci, Fresco, 1600, Farnese Palace * Attributes tell us who subjects are- Eagle and Peacock tell us its Zeus and Hera * Its was done for the wedding of the Farnese and Clement VIII’s Niece * They represent marriage, fitting for the Farnese wedding * The Slung Leg Technique is sensual * Another motif is the Curtain -Revalutio- revelation or amorous implication * The “frames” are painted on the curved ceiling * Quadro Riportato: A fresco that looks like multiple framed paintings (painting split up) * There’s not a lot of Fresco in Venice because of the damp/humidity * The Carracci combined the Fresco of Rome and easels of Venice to prove themselves and their talent and skill * Annibale was inspired by Michelangelo’s Sistine ceiling | |
| Raphael’s Galatea, inspired Carracci Peruzzi, Villa Farnesina, 1506-11, Rome * Annibale is buried next to Raphael by request, even though they never met | |
| Annibale Carracci, Landscape with the flight into Egypt, 1603-04, o/c, 48” x 98”, Galleria Doria Pamphili, Rome * It’s a made up setting but very realistic * It’s idealization and realism * It shows the holy family fleeing into Egypt * They’re less emphasized than the landscape * Originally in the Aldobrandini Palace * Camels in the back are the only indication its Egypt | |
| Caravaggio, Bacchus, 1595-6, o/c, 37 x 33”, Uffizi, Florence * Blank background provides emphasis on foreground * Still life on the table * Tarnished fruit is called Vanitas -empty- and wilted leaves mean mortality * Very realistic * He cropped figures to make them more intimate * Caravaggio in the 90’s painted young boys and still lifes * Caravaggio was in the north but came to Rome in the early 1590’s (right before the Carracci’s did) * The Borghese bought this and other Caravaggio’s paintings that had been lying around his studio, Paul V gave it to his family Clement VIII was super conservative so he would have hated it * But the current pope Paul V was Borghese and loved it | |
| Caravaggio, Cardsharps, c. 1594, o/c, 37 1/16 x 51 9/16”, Kimbell, Ft. Worth * Light vs Dark good and evil * Cropped, protecting into our space, very personal and interaction with viewer * Caravaggio lived with Cardinal del Monte for about 6 years, 1595-1601 * He let Caravaggio take other commissions * He then goes to live with Mattei, then gets his own house | |
| Caravaggio, Calling of Saint Matthew, 1599-1600, o/c, 10’6 x 11’2, Contarelli Chapel, San Luigi dei Francesi, Rome * San Luigi dei Frances, Saint Louis of France * Three big altar pieces in it are all about Matthew * The patron was named Matthew Contarelli but died before Caravaggio made them * Still insitu, in their original place * This was his first big public commission * He painted Alla Prima, meaning to the first, he didn’t prime the canvas * No drawings underneath, not one drawing of his exists, he bypasses that stage * Matthew will die by the sword, so theres a sword in the middle * Matthew is pointing at himself questioningly * Matthew is with his other tax collectors * Jesus is there, pointing at Matthew (red beard) * Jesus is in ancient clothes, but the rest are in 1600’s clothes to make it more relatable to get people to convert * Making it contemporary says that anyone can convert * Populism was trying to bring Catholicism down to people in the streets, make it common | |
| Caravaggio, Inspiration of St Matthew, 1602-03, o.c, 9’8” x 6’5”, Contarelli Chapel, San Luigi dei Francesi, Rome Angel inspring Matthew to write the gospel, telling him what to write | |
| The Inspiration of St Matthew, Original version, 1602 * The family rejected the original saint Matthew painting, it was destroyed eventually * Its not as flattering and Matthew is more helpless * Matthew’s feet are the focal point | |
| Caravaggio, Conversion of Paul, 1601, o/c, 7’6” x 5’8”, Cerasi Chapel, Santa Maria del Popolo, Rome * Cerasi Chapel, Santa Maria del Popolo, Rome * He wrote the story Acts, his name was originally Saul, he was on his way to go persecute christians * He was blinded by a flash of light, then when he joined Jesus his eyesight is regained * Super dramatic, in the middle of the conversion scene * The guy in the back is his servant * Super realistic, and an example of populism because its non idealized * Even more than realism is naturalism | |
| Ludovico Carracci, Conversion of St Paul, 1587-89, 110” x 67”, Bologna, Pinacoteca Nazionale * Caravaggio is simplifying the scenes, making them less busy * Carracci’s is way busier * Paul's chains are in Rome * The Church of St Peters is over Peter’s grave * All insitu, never moved | |
| Annibale Carracci, Assumption of the Virgin, 1601, oil on panel, 8’ x 5’, Cerasi Chapel, Santa Maria del Popolo, Rome * Jesus ascended, Mary went bodily because she’s human, so she was assumpted * Carracci idealized her and made her young * Caravaggio may have been making a comment on her arms in the Paul painting * Most painters in Rome at the time were idealizing, so Caravaggio was new * It was probably in reaction to the idealization * It was a huge debate about whether Mary’s body went to heaven, the Catholic Church had not approved it * Nobody doubted her soul went to heaven, but her body was in question * In 1950 the church confirmed it | |
| Caravaggio, Death of the Virgin, 1601-02, o/c 12’ x 8’, Louvre, Paris. Originally for Santa Maria della Scala, Rome. * The Carmelites at this church were discout, not wearing shoes * Mary’s dying in the picture, it was rejected because she looks dead * He went and observed the dead body of a prostitute pulled out of a river * Vincenzo Giustiniani bought it in the end | |
| Caravaggio, Victorious Cupid (Amor Vincit Omnia), 1602, o/c, 60” x 43”, Staatliche Gemäldegalerie, Berlin * Vincenzo Giustiniani was the patron * Very sensuous, the focal point * The ignudi pose is reminiscent of Michelangelo’s Sistine ceiling * The Last Judgement is 1536-41 * Caravaggio’s cupid is modeled after Bartholomew holding his skin/Michelangelo’s portrait in the Last Judgement | |
| Caravaggio, David with the Head of Goliath, c. 1609-10, 4’ x 2’. Galleria Borghese, Rome * Caravaggio died in 1610 * He came to Rome in the 90’s, lived with various patrons, then lived alone in 1603, in 1606 he killed a man based on court records * He fled Rome because the penalty was beheading * Decapitation was a major concern of his * Caravaggio went south of Rome * Pope Paul V (Borghese) pardons him * He got sick with malaria or typhoid on his way home * He died on the shore by his ship so he’s buried there * David with the Head of Goliath was painted in Naples while fleeing * It could have been a thank you gift for the Borghese, or commissioned * Implied diagonal from David’s glance * Goliath’s face is a self portrait * The blank background makes it more personal and less historical * The Tenebroso is also showing light and dark and good and evil * The Disegno (drawing stage) let them idealize | |
| Artemisia Gentileschi, Susanna and the Elders, s&d (signed and dated) 1610 * Born in Rome, her father was a painter * The Baroque has more female artists * The academies like what the Carracci founded didn’t allow women * They didn’t want the female artists to see nude male models * She was the first woman allowed into the Florence academy of art * She was inspired by Michelangelo’s Adam and Eve * It was an Apocrypha story that didn’t make it into the bible * Susanna was threatened with rape by two old men who blackmailed her with adultery * Susanna refuses them, declares her innocence, and is cleared * Artemisia’s women are way more realistic than male painters * Since she couldn’t see male models, she proved herself by painting better female nudes than men * This is before her rape in 1611-12 | |
| Artemisia Gentileschi, Judith and her Handmaid with the Head of Holofernes, 1625, Detroit Institute of Arts * She was raped by Tassi, another student in her father’s studio * There was a big public hearing, her father didn’t even help her * Tassi got off without punishment * The blame went to Artemisia and the tortured her with thumbscrews * After the rape, she paints strong women who get back at men * She painted no less than 5 versions of Judith flaying Holofernes * Judith was a wealthy widow, Holofernes wanted her, he was going to take over Judith’s city * He invites her to his tent, falls asleep, and then beheads him and saves her people * The female model for Judith was used multiple times, Fellide * She was the Saint Catherine of Alexandria and the earring and her were in the Penitent Magdalene * She was the lover of the man Caravaggio killed * Judith is always a self portrait of Artemisia in all five * This is life sized, after the act * Candle as a source of light was popular around the time |
¿Quieres crear tus propias Fichas gratiscon GoConqr? Más información.