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POPES,PEASANTS,MONARCHSANDMERCHANTSBAROQUEART
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BAROQUEARTINTHE17THCENTURY1.WithwhatreligiousmovementismuchoftheBaroqueartinCatholiccountriesassociated?
TheCounterReformation.
Listthreeadjectivesorphrasesthatdescribeitsstyle:
a. Dramatictheatricality.
b. Grandiosescale.
c. Elaborateornateness.
2.WhatcitywasthefocusofartisticpatronageastheCatholicchurchtriedtoreestablishitsprimacy?
Rome.
3.ListthreewaysinwhichMadernsEarlyBaroquechurchofSantaSusanna(FIG.241)resemblesthechurchofIlGesu(FIG.2249):
a. Eachbuildinghasscrollbuttressesconnectingtheupperandlowerlevelsofthefaade.
b. Eachbuildinghastwopediments,oneforeachstory.
c. Sculpturesinnichesframethecentraldoorwayineachbuilding.
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Listthreewaysinwhichitdiffers:
a. Thefaadehasagreaterverticality,concentratinganddramatizingthemajorfeaturesofitsmodel.
b. Thefaadestallcentralsectionprojectsforwardfromthehorizontallowerstory.
c. Strongshadowscastbythevigorouslyprojectingcolumnsandpilastersmountdramaticallytowardtheemphaticallystressedcentralaxis.
4.NamefourarchitectswhoworkedonSt.Peter'sandnotetheprimarycontributionofeach.
a. DonatodAngeloBramante:Theoriginalplanandtheconceptofahemisphericaldome.
b. Michelangelo:Thereducedplanandtheogivaldomewithdrum.
c. CarloMaderno:thefaade.
d. GianlorenzoBernini:thecolonnadedpiazza.
5.Whatisabaldacchino?
Canopylikestructureoncolumns,frequentlybuiltoveranaltar.
6.ListfourmajorcharacteristicsofBernini'ssculpturethataretypicalofBaroqueartingeneral.
a. Expansiveandtheatrical.
b. Theelementoftimeusuallyplaysanimportantrole.
c. Dynamicqualityconveyingaburstingforthofenergy.
d. Refusaltolimititselftofirmlydefinedspatialsettings.
7.InwhatwaydidBerninidepictthevisionofSt.Theresa(FIG249)?
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Aslight(shiningfrombehindahiddenwindowofyellowglass)pouringdownonbronzerayssuggestingtheradianceofHeaven.
8.Whodevelopedthesculpturalarchitecturalstyletoitsextreme?FrancescoBorromoni.
Nametwobuildingsdesignedbyhim.
a. SanCarloalleQuattroFontane. b.ChapelofSaintIvo.
BotharelocatedinthecityofRome.
9.WhilethecirclehadbeentheidealgeometricfiguretoRenaissancearchitects,Baroqueplannerspreferredtheoval.
.Why?Theovalisamoredynamicformofthecircle,creatinganinteriorthatappearstoflowfromentrancetoaltar,unimpededbythesegmentationcharacteristicofRenaissancebuildings.
10.Whatisthepurposeofthelateral,threepartdivisionofBaroquepalacefacades?Atripartiteorganizationallowsartiststointroducevarietyintotheirdesignswithoutdestroyingstructuralunity,andallowsaddedemphasistothecentralaxis.
Uponwhathumanpsychologicaltendencydoesitseemtobebased?Itisprobablybasedontheobservationthattheaveragepersoninstinctivelycanrecognizeuptothreeobjectsasaunit.Agreaternumberrequirestheviewertocounteachobjectindividually.
11.NametwocountrieswerethearchitecturalstylesofBorrominiandGuariniparticularlyinfluential?a. Austria b.SouthernGermany
12.ThecommonpurposeofCaravaggio'sConversionofSt.Paul(FIG.2418)andBernini'sTheEcstasyofSt.Theresa(FIG.249)was:Toproducetherepresentationofavision,usingactuallightfromeachchapelswindows.
13.ListthreecharacteristicsofCaravaggio'sstyle.
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a. Injectednaturalismintobothreligiousandclassicalsubjectswithunidealizedfigures.
b. Sharply,dramaticallylitfiguresemergingfromadarkbackground.
c. Invitestheviewertoparticipateinthescene.14.WhatwasCaravaggioattemptingtopresentinhisreligiouspictures?
Tocompeltheviewersinterestandinvolvementinthescene.
Whatpictorialdevicesdidheusetoachievehisgoal?Actiontakingplaceintheforeground;lowhorizonline;dramaticlight.
15.Whatistenebroso?
Shadowymannerofdarksettingsenvelopingtheiroccupants.
Listtwocountrieswhereitwasparticularlyinflential:
a. Spain b.TheNetherlands
16.WhichartistsmostinfluencedthestyleofArtemesiaGentileschi?Caravaggioandherfather,OrazioGentileschi.WhowereJudithandHolophernes?CharactersfromtheApocryphalBookofJudith;HoloferneswasanAssyriangeneralwhowasseducedbyJudithandthenbeheadedbyher.
WhattechniquesdoesArtemesiausetoportraythedramaofthetheme?Tenebrism,spurtingblood,thephysicalstrainofthewomenstrugglingwiththesword,andcontrolledhighlightsontheactionintheforeground.
17.ListthreeassumptionsthatwerebasictotheteachingofartattheBologneseacademy.
a. Artcanbetaught.
b. TheteachingofartmustincludetheclassicalandRenaissancetraditions.
c. Theteachingmustalsoincludethestudyofanatomyandlifedrawing.
18.Whoiscreditedwithdevelopingthe"classical"or"ideal"landscape?AnnibaleCarracci.
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Whatwereitsroots?ThelandscapebackgroundsofVenetianRenaissancepaintings.
19.WhatearlierworkstronglyinfluencedAnnibaleCarracci'sceilingfrescoesinthegalleryoftheFarnesePalaceinRome(FIG.2423)?MichelangelosSistineChapelceiling.
HowdidCarraccimodifytheoriginaltoachieveheightenedillusionism?Thechiaroscuroisnotthesameforboththepaintingsandthefiguressurroundingthem.Thepaintermodeledthefiguresinsidethequadriinanevenlight.Theoutsidefiguresseemtobelitfrombeneath,asiftheywereactualthreedimensionalbeingsorstatuesilluminatedfrombelow.
20.Whatisquadroriportatoandhowwasitused?Transferredframepainting,orsimulationofeaselpaintingforceilingdecoration.Theframedpicturesareflankedbypolychromefigureswhoturntheirheadstogazeatthescenesaroundthem,andbyAtlasfigurespaintedtoresemblemarblestatues.
21.NametwoinfluencesblendedbyReniinhisAurorafresco(FIG.2424):a. Romanreliefs.b. Coinsdepictingemperorsintriumphalchariotsaccompaniedbyflying
Victoriesandotherpersonifications.
22.ListthreewaysinwhichPietrodaCortonasfrescoedceilinginthePalazzoBarberini(FIG.2425)praisedhispatron:a. DivineProvidenceholdsacrownofstarstobestoweternallifeonthe
Barberinifamily.b. Thelaurelwreath,anothersymbolofimmortality.c. ThepapaltiaraandkeysannouncingthepersonaltriumphsofUrbanVIII.
23.WhateffectdidGaullicreatewiththefrescohepaintedontheceilingofIlGesinRome(FIG.2426):Adramatic,transcendentspiritualenvironmentaswellasthegloryandpoweroftheCatholicChurch.
Listthreedevicesheusedtoachievethateffect:a. Gildedarchitectureopensupinthecenteroftheceilingtoofferviewersa
glimpseofHeaven.b. Jesusisrepresentedasabarelyvisiblemonograminablindingradiantlight
thatfloatsheavenward.
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c. Gaullipaintedmanyofthesinnersonthreedimensionalstuccoextensionsthatprojectoutsidethepaintingsdome.
24.ThepanterbesideGaulliwhoworkedfortheJesuitsinRomewasFraAndreaPozzo.HepaintedtheceilingofthechurchofSantIgnazioinRomeforthem.
Whatdevicedidheusetomergeheavenandearth?Heillusionisticallycontinuedthechurchsownarchitectureintothevaultsothattheroofseemstobeliftedoff.
25.NametwoSpanishrulersfromtheHapsburgdynastywhowerepatronsofthearts:a. PhillipIII b. PhillipIV
26.WhatwasthegoalofmanySpanishBaroquereligiousartists?Tomoveviewersandtoencouragegreaterdevotionandpiety.
Nameathemethatwasparticularlypopularamongthem:Deathandmartyrdomscenes.
27.Ribera'sstylewasinfluencedbythe"darkmanner"of:Caravaggio.
28.WhattypeoflightingdidZurbaranuseinhispatingofSaintSerapion(FIG.2429)?Brightlightshiningonthefigurewithadarkbackground,tocallattentiontothesaintsdeathandtoincreasethedramaticimpactoftheimage.
29.VelazquezwascourtpaintertoKingPhillipIV.
30.WhatdoesVelasquezsSurrenderofBreda(FIG.2431)commemorate?TheSpanishvictoryovertheDutchin1625.
31.WhatisthesubjectofLasMeninas(FIG.2433)?TheInfantaMargaritawithhertwomaidsinwaiting,herfavoritedwarfs,andalargedog,aswellasamanandawomaninthebackground.
Howmanylevelsofrealitycanyoufindinthepicture?Four.
Brieflydescribethem.Canvas,mirrorimage,opticalimage,andofthetwopaintedimages.
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WhatpaintingtechniquedidVelazquezuseinLasMeninas?Thecompositionextendsindepthbothinfrontof(throughthemirrorandthegazesofthefigures)andbehindthepainting(throughtheopendoor).Formandshadowarerepresentedrealistically.Agreatnumberofintermediatevaluesofgraycomebetweenlightsanddarks,insteadofputtingthemsidebysideasCaravaggiodid.
32.ThenorthernprovincesconstitutethemoderncountryofTheNetherlands,
whilethoseinthesouthconstitutethecountryofBelgium.
Duringtheseventeenthcentury,thissouthernregionwasknownasFlanders..33.InhisElevationoftheCross(FIG.2434)Rubenssynthesizedhisstudyofclassicalantiquity
withtheworkoftheItalianmastersMichelangelo,TintorettoandCaravaggio,whileaddinghisowndynamism.
Listthreefeaturesthatcontributetothedramaofthescene:
a. Foreshortenedanatomyandtwistedfigures.
b. Christisplacedonthecrossdiagonallywhichcutsdynamicallyacrossthepicturewhileincliningbackintoit.
c. Strongmodelinginlightanddark.
34.WhatmemberofthefamousFlorentineHouseofMedicicommissionedRubenstopaintacyclememorializingandglorifyinghercareerandthatofherlatehusband?MariedeMidici.
35.NamethepaintingthatembodiesRubensattitudetowardwar:AllegoryoftheOutbreakofWar.
Whatdidthefollowngallegoricalfiguressymbolize?
Monsters:Plagueandfamine.
Womanwithabrokenlute:Harmonycannotcoexistbesidethediscordofwar.
Architectfallenbackwards:
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Whatisbuiltinpeaceforthebenefitandornamentofcitiesislaidinruinandrazedbytheforcesofarms.
BookandpaperatthefeetofMars:Wartramplesonliteratureandotherrefinements.
Sorrowingwomaninblack:UnhappyEurope.
36.InwhattypeofpaintingsdidVanDyckspecialize?Courtportraiture.
Howcouldhisstylebestbecharacterized?Courtlymannerofgreatelegance,anddramaticcompositionsofgreatquality.
37.InwhattypeofsubjectmatterdidClaraPeetersspecialize?Stilllifes.
38.HowdidthereligiousandeconomicconditionsinseventeenthcenturyHollandeffectartisticpatronageandproduction?
a. AmsterdamhadthehighestpercapitaincomeinEuropeandenjoyedwidespreadprosperityacrossalargeproportionofsociety,expandingtherangeofartpatronage.
b. Politicalpowerincreasinglypassedintothehandsofanurbanpatricianclassofmerchants.Artpatronagecateredtothetastesofamiddleclassaudience.
c. Calvinismdemandedapuritanicalrejectionofartinchurches,andthusartistsproducedrelativelylittlereligiousartintheDutchRepublic,althoughitwastoleratedwhenartistscreatedit.
39.InwhatwaywastheworkofGerritvanHonthorstinfluencedbyCaravaggio?Themundanetavernsettingandthenocturnallighting.
40.FransHalswastheleadingpainteroftheHaarlemschool,andspecializedingroupportraits.
.Whatarethemainelementsofhisstylethatdistinguishhisworksfromthoseof
hiscontemporaries?Hewaslessorderedandregimentedinhisdepictionofthesittersthanhiscontemporaries.Eachmanisbothatroopmemberandanindividual.Thefigureslookinmultipledirections.Heusestheuniformityofattiretocreatealivelyrhythm.
Writedowntwoadjectivesthatdescribehisstyle:
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a. Spontaneous. b. Vivacious.
41.WhocommissionedRembrandttopaintTheAnatomyofDr.Tulp(FIG.2444)?Thesurgeonsguild.
WhatdoesthistellusaboutparonageinHollandduringthe17thcentury?Thatguildscontinuedtobeactivepatronsoftheartsinadditiontotheuppermiddle,middle,andlowermiddleclasseswhodrovemostofthemarket.
42.WhatfeatureofTheCompanyofCaptainFransFanningCoq(FIG.2445)ledtoitsbeingmisnamedTheNightWatch?
ThevarnishRembrandtused,whichhasdarkenedconsiderablyovertime.
WhatdevicesdidRembrantusetoenliventhegroupportrait?Thecompanyispresentedscurryingaboutindramaticlighting.
43.ListthreeadjectivesorphrasesthatwouldcontrastRembrandtsreligiousworkstoCounterReformationartworks:
a. Spiritualstillness.b. HumanityandhumilityofJesus.c. Psychologicalinsightandsympathy.
44.WhatwasRembrandttryingtoexpressinhisportraitsandselfportraits?Themostsubtlenuancesofcharacterandmood.
45.BrieflydescribeRembrandt'suseoflightandshade.Herefinedlightandshadeintofinerandfinernuancesuntiltheyblendedwithoneanother,adevelopmentfromearlierpaintersuseofabruptlightsanddarks.Agreaterfidelitytoactualappearancesiscreatedbecausetheeyesperceivelightanddarknotasstaticbutasalwayssubtlychanging.
Howdoeshisuseoflightandshadeeffectthemoodofhislaterportraits?Variationoflightandshade,subtlymodulated,couldbereadasemotionaldifferences:thepsychologyoflight.Theprevailingmoodsarethatofquietness,tranquilmeditation,philosophicalresignation,andmusingrecollection.
46.Brieflydescribethetechniqueofetching.Acopperplateiscoveredinalayerofwaxorvarnish.Theartistincisesthedesignintothissurfacewithanetchingneedleorpointedtool,exposingthemetalbelow.Theplateisthenimmersedinacid,whicheatsawaytheexposedpartsofthemetal,actingthesameastheburininengraving.
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Whatareitsadvantagesoverengraving?Itismoremanageablethanengravingandallowsgreaterfreedomindrawingthedesign.Themediumssoftnessgivesetchersgreatercarvingfreedomandofferingthegreatestsubtletyoflineandtone.
47.ForwhatgenrewastheDutchpainterJudithLeystermostfamous?Portraiture.WhatcharacteristicdidshesharewithHals?Spontaneity.
48.WhatreasoncouldbegivenfortheDutchinterestinlandscapepainting?TheDutchhadaverydirectrelationshiptotheland,havingundertakenanextensivelandreclamationprojectthatlastedalmostacenturythatimpactedsocialandeconomiclife.
Nametwoartistswhospecializedinit:a. AelbertCuyp b.JacobvanRuisdael
49.WhatwasVermeer'sfavoritetypeofsubjectmatter?Interiorscenes.
50.InwhatwaydoesVermeer'suseoflightdifferfromRembrandt's?Herenderedspacesoconvincinglythroughhisdepictionoflightthatinhisworks,thepicturesurfacesfunctionsasaninvisibleglasspanethroughwhichtheviewerlooksintotheconstructedillusion.
51.Onwhatprincipledoesacameraobscurawork?Lightispassedthroughatinypinholeorlenstoprojectanimageonascreenorthewallofaroom.
52.ListthreeimportantfactsabouttheopticsofcolorthatareillustratedinVermeerspaintings:
a. Shadowsarenotcolorlessanddark.
b. Adjoiningcolorsaffecteachother.
c. Lightiscomposedofcolors.
53.HowdoesthemoodcreatedbySteensinteriorsdifferfromthatcreatedbyVermeer's?Steenpaintedscenesofchaosanddisruptionwithafestiveatmosphere.
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54.WhatmightthechildrensbehaviorsymbolizeinSteensFeastofSt.Nicholas(FIG.2454)?Theirbehaviormightbeasatiricalcommentaryonadultbehavior,inthiscaseselfishness,pettiness,andjealousy.
55.WhatisaVanitasstilllife?Stilllifesthatcontainobjectsthatfunctionasremindersofdeath,ormementomori.
56.ThepaintingsofRachaelRuyschreflectaparticularinterestin:Flowers.
57.WhichFrenchartistiscreditedwithhavingestablishedseventeenthcenturyClassicalpainting?NicolasPoussin.
Wheredidhespendmostofhislife?Rome.
WhattwoItalianartistsdidhemostadmire?TitianandRaphael.
58.WhatfourcharacteristicsofEtinArcadiaEgo(FIG.2458)aretypicalofPoussin'sfullydevelopedClassicalstyle?
a. Figuresbasedonclassicalstatuary.b. Thecompact,balancedgroupingofthefigures.c. Theevenlight.d. Thethoughtful,reserved,andmournfulmood.
59.WhattypeofsubjectsdidPoussinconsidertobeappropriateforpaintingsdoneinthe"grandmanner"?Battles,heroicactions,andreligiousthemes.
Whatdidhethinkshouldbeavoided?Minutedetails,aswellasalllowsubjectssuchasgenre.
60.PoussinandRubenswereconsideredasthetwopolesintheBaroquedebatebetweentheforcesofpassionandreason.Whichpoledoyouthinkeachartist
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represented?Whatcharacteristicsintheworkofeachartistdoyouthinnkwouldreflectthoseattitudes?
Rubens:Passion.Rubenswasknownforchaoticaction,decorativesplendor,andvigorousfigures.
Poussin:Reason.Hepreferredtousetheclassical,rationalmodeofpainting,withitscorrectnessandpropriety,andtoemployacertainevennessandmoderationinallthings.Forinstance,hepaintednatureassubordinatetoarationalplaninBurialofPhocion.
61.InwhatmajorwaydoesthelandscapeinPoussin'sBurialofPhocion(FIG.2459)differfromVanRuisdael'sViewofHaarlem(FIG.2451)?Itdoesnotdepictaparticularplaceandtime,butinsteadservesthenarrativeandissubordinatetoarationalplan.
62.WhatwasClaudeLorrain'sprimaryinterestinlandscapepainting?Todepictthebeautyofnatureintheformofanidealclassicalworld.Hebalancedgroupsofarchitecturalmasses,screensoftrees,andsheetsofwater.Inwhatcountrydidhedomostofhispainting?Italy.
63.DescribethefeaturesthatcreatetheimpressionofdignityandsobrietyapparentinMansart'sworkatBlois(FIG.2461).
a. Strongrectilinearorganization.b. Atendencytodesigninrepeatedunits.
WhatfeatureofthebuildingistypicallyBaroque?Theemphasisonfocalpoints(curvingcolonnades,changingplanesofthewalls,andtheconcentrationofornamentaroundtheportal).
64.ThelifeofFrenchpeasantswasthefavoritesubjectofLouisLeNain..
HowdohisdepictionsdifferfromthoseoftheDutchpainterJanSteen?Insteadofboisterousgoodhumor,LeNaindepictedsomberstillness,gravedignity,andsubservience.
65.TheFrenchartistCallotisbestknownforhisworksdoneinthemediumofetchings.
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HisMiseriesseriesrealisticallydepictsscenesofsharpdetailsoflifeanddeathseeninthewarsofLorraine.
.66.WhichFrenchartistwasmostinfluencedbythenorthern"Caravaggisti"?GeorgesdeLaTour.
Inwhatwaysdoeshisstyledifferfromtheirs?Hedepictedreligiousscenes,notgenre,andpreferredsupernaturalcalmtothemotionanddramaticgesturesofthenorthernCaravaggisti.
67.TheFrenchRoyalAcademyofPaintingandSculpturewasestablishedintheyear1648.
.Whatwasitsprimarypurpose?Toregularizetaste.ItestablishedtheFrenchclassicalstyle.
68.WhatwasthepoliticalmeaningofLouisXIVsappelationleRoiSoleil(theSunKing)?Hewasthecenteroftheuniverse,ruledbydivineright,andensuredhimselfincontestableauthority.
Whatwashissignificanceasapatronofthearts?Hewasdeterminedtoorganizeartandarchitectureintheserviceofthestate.Hesparednothingtoraisegreatsymbolsandmonumentstohisownabsolutepower.
69.ListthreefeaturesofRigaudsPortraitofLouisXIV(FIG.2465)thatcontributedtoLouispersonificationofanabsolutemonarch:
a. Helooksoutattheviewerwithdirectness.b. Theposeimplieshaughtinesswithhishandonhishipandhiserminerobe
thrownoverhisshoulder.c. Thekingisthefocalpointoftheimageandisplacedsothatheseemsto
lookdownontheviewer.
70.WhatthreearchitectscollaboratedtodesigntheeastfacadeoftheLouvre?
a. ClaudePerrault b.LouisLeVau c.CharlesLeBrunWhatformwasusedforthecentralpavilionofthefacade?Aclassicaltemplefront.
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71.WhowastheprincipaldirectorforthebuildinganddecorationofthePalaceofVersailles?CharlesLeBrun.
WhodesignedtheparkofVersailles?Andr Le Ntre.
WhatwassymbolizedbythevastcomplexofVersailles?LouisXIVspowerandambition.
72.ListtwosourcesforGirardonsportrayalofApolloAttendedbytheNymphscarvedfortheParkofVersailles(FIG.2470):
a. GrecoRomansculpture b.Poussinsfigurecompositions..73.WhichfeatureofJulesHardouinMansart'sChurchoftheInvalides(FIG.2472)
ismostBaroque?Theillusionisticceilingdecorations.
Whichismostclassical?TheCorinthiancolumnlinedarcade.
74.WhichofthevisualorplasticartswasmostimportantinseventeenthcenturyEngland?Architecture.
75.NametheItalianarchitectwhohadthestrongestinfluenceonthebuildingsofInigoJones?Palladio.
76.WhodesignedSt.Paul'sCathedralinLondon?ChristopherWren.
WhatfeatureofthebuildingshowstheinfluenceofBorromini?Theupperlevelsandlanternsofthetowers.
WhatfeatureistakenoverfromtheeastfacadeoftheLouvre?Thesuperimposedpairedcolumnarporticos.
LATEBAROQUEARTOFTHEEARLYEIGHTEENTHCENTURY1. BlenheimPalaceinEngland(FIG.2475)wasdesignedby
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JohnVanbrughforJohnChurchill,dukeofMarlborough.
However,beforeitwascompleteditwascriticizedasbeingponderousandbizarre.
.2. WhodesignedthechurchofVierzehnheiligen(FIG.2476,2477)?
BalthasarNeumann.
3. TheatricalilluisionismisanimportantcharacteristicoftheworkoftheGermanBaroquesculptor:EgidQuirinAsam..
4. WhicheighteenthcenturyItalianpainterisbestknownforhiselegantillusionisticceilingpaintings?GiambattistaTiepolo.
DISCUSSIONQUESTIONS
1.StudytheelevationsandplansofBramantisPazziChapel(FIGS.2117to2119)19)andBorromini'sSanCarloalleQuattroFontane(FIGS.2410and2411).Contrastthebasicshapesusedintheplans,anddescribehowtheseformsrelatetotheelevationsofthebuildings.
2.Bernini'sarthasbeendescribedas"theatrical."Giveexamplesofitstheatricalityanddiscussthetechnicaldevicesheusedtocreatethem.
3.CompareRibera'sMartyrdomofSt.Bartholomew(FIG.2428)withMantegnasSt. JamesLedtoMartyrdom(FIG.2147).Discusscomposition,paintingtechnique,andemotionalimpact.WhatmajorconcernsoftheItalianRenaissanceandtheCounterReformationinSpainaredemonstratedbytheseworks?
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4.DiscusstheinfluenceofCaravaggioonGerritvanHonthorst(FIG.2441),GeorgedelaTour(FIG.2464),andLouisleNain(FIG.2462).WhichaspectsofCaravaggiosstyledideachadopt,andhowdotheirworksdifferfromhimandfromeachother?
5.InwhatwaysdotheworksandlivesofRubensandRembrandtreflectthedifferentsocialandreligiousorientationsofseventeenthcenturyFlandersandHolland?
6.CompareRembrandt'sSelfPortrait(FIG.2447)withtheselfportraitsbyJudithLeyster(FIG.2449)andCaterinavanHemessen(FIG.2319),andVanEycksManinaRedTurban(FIG2010)Howhavetheartistsdepictedthedifferentpsychologicalstatesastheylookatthemselves?Doyouthinktheseworksillustratemajordifferencesinthephilosophiesofthetimesand/orplaceswherepaintedorthattheinterpretationsweresolelyindivisual?Why?
7.WhatwastheeffectoftheeconomicandreligiousclimateofseventeenthcenturyHollandonitsartists?
8.DiscusstherelativebalancebetweenBaroqueandRenaissancefeaturesinthefollowingbuildings:theeastfacadeoftheLouvre(FIG.2466),theChurchoftheInvalidesinParis(FIG.2472),theBanquetingHouseatWhitehall(FIG.2473),andSt.Paul'sCathedralinLondon(FIG.2474).
9.InwhatwaysdidLouisXIVinfluenceFrenchartoftheseventeenthcentury?HowdidhisutilizationofartdifferfromthatofPhilipIVinSpain?
10.CouldVelasquezsSurrenderatBreda(FIG.2431)andSteensFeastofSt. Nicholas(FIG.2454)serveasillustrationsofPoussin's"grandmanner"?Ifnot,whynot?
11.Whowaschieflyresponsibleforthedevelopmentof"classical"landscapepaintinginItaly?HowdidhisapproachdifferfromthoseofPoussin(FIG.2458),ClaudeLorrain(FIG.2460),andVanRuisdael(FIG.2451)?
12.ComparetheceilingpaintingsofTiepolo(FIG.2479)withthoseofMantegna(FIG,2246),Veronese(FIG,2154),Correggio(FIG,2241),Caracci(FIG,2423),PietrodaCortona(FIG,2425),andPozzo(FIG,2427).Whichisclosesttohiswork,andwhatfeaturesdotheyshare?
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13.Fromtheotherworksyouhavestudied,whichdoyoufeelareclosestinspirittoNeumannspilgrimagechurchofVierzehnheiligen(FIGS,2476and2477)andAsamsAssumptionoftheVirgin(FIG.2478)?
LOOKINGCAREFULLY,DESCRIBINGANDANALYZING
InLasMeninasVelasquezdemonstratedhismasteryofthedepictionofcomplexlevelsofvisualreality(p.688andFIG.2433).Studythepaintingverycarefullyandwriteanessayofatleastonepagedescribingit.Herearesomequestionsthatmighthelpyouwithyouranalysis,butdonotbelimitedbythem.Firstdescribetheroominwhichhehasplacedthemajorityofthefiguresanddescribeeachofthefiguresinthatspace.Thenlookforotherfiguresandescribethespaceinwhichtheywouldbestanding.Describetheartistsbrushworkandhisuseoflightanddarkandnoteheusestheseelementstoincreasethesenseofrealityofthescene.
MAP
Circlethefollowingonthemapbelow.
Haarlem Utrecht AmsterdamVersailles London
MAP 24-1 Europe at the onset of the Thirty Years War
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BAROQUE ART IN THE 17TH CENTURYLATE BAROQUE ART OF THE EARLY EIGHTEENTH CENTURY
MAP