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Bernini, David  (1623)marble, 5’ 5”, Rome,Baroque 

BAROQUE STYLE:

Theatricality, drama

Emotional intensity

Agitation, dynamic movement

Virtuoso technique

Seems to transcend the boundariesof its space; involves viewer in theaction

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Bernini, Ecstasy of SaintTeresa (1645-1652)Cornaro Chapel, Rome,Baroque

Multimedia, combiningsculpture, architecture,painting, stained glass, andlighting effects

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Beside me on the left appeared an anbodily form . . . He was not tall but shand very beautiful; and his face was

aflame that he appeared to be one ofhighest ranks of angels, who seem to on fire . . . In his hands I saw a great spear, and at the iron tip there appeabe a point of fire. This he plunged intheart several times so that it penetraentrails. When he pulled it out I felt ttook them with it, and left me utterlyconsumed by the great love of God. Tpain was so severe that it made me utseveral moans. The sweetness caused

this intense pain is so extreme that oncan not possibly wish it to cease, nor one's soul content with anything but GThis is not a physical but a spiritual pathough the body has some share in iteven a considerable share.

St. Teresa of Avila

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BerniniBaldacchino (1624-1633), Gilded bronzeapprox. 100’ high 

Basilica of Saint PeterRome, Baroque

Built over the high altar, whichalso marks the tomb of St. Peter,the columns symbolize the unionof the Christian and Jewishtraditions. The vines symbolizethe Eucharist (i.e. the wine and

bread that symbolize the bloodand flesh of Christ), and thetwisting columns that are thoughtto represent columns of theTemple of Solomon.

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CaravaggioThe Entombment ofChrist(c. 1602-1604)

oil on canvas9’ 10” x 6’ 8 Vatican, Rome,Baroque

Key terms:

Caravaggisti=someone who

follows the style of CaravaggioCaravaggesque=in the style ofCaravaggio

Tenebrism=casting thebackground into deep shadowand spotlighting the figures in theforeground

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Caravaggio, The Calling of St. Matthew  (1600) 11’ x 11’,canvas, Rome, Baroque

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,Suzanna and theElders (1600), oilon canvas,Baroque

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,JudithBeheadingHolfernes(1620), Italy,

Baroque

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Jusepe de Ribera, Martyrdom of St. Bartholomew  (16344 ½ ’, oil on canvas, Naples, Baroque 

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Diego Velázquez,Water Carrier ofSeville (c. 1619) oil oncanvas, 3 ½’ x 2 ½’, Spain, Baroque

Velazquez eventually becamecourt painter to King Phillip IIof Spain. He made two tripsto Italy, one from 1629-31 andanother from 1649-51.

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Diego VelázquezLas Meninas (TheMaids of Honor) (1656)oil on canvas10’ x 9’, Spain,Baroque

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Peter Paul Rubens, The Raising of the Cross (1610-1611oil on canvas, center panel 15’ x 19’, Flanders (SpanishNetherlands), Baroque

Rubens went to Italy in 1600 and spent 8 years studying and copyingRenaissance works

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Peter Paul RubensHenry IV Receiving thePortrait of Marie de’Medici (1621-25)oil on canvas, 13’ x 10’ Flanders (SpanishNetherlands), Baroque

Marie de’ Medici, related to

the Medici family of Florence,was married to King Henry IVof France, and when he died,

she served as the regent forher young son. Rubens wascommissioned by her tocommemorate her life andmarriage in a series oftwenty-four paintings.

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Pieter Claesz, Still Life with Tazza (1636) 17” x 24”, DutcRepublic [key term: vanitas], Baroque

Rachel Ruysch

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Rachel Ruysch,Flower Still Life (c.1700), 30” x 24”,Dutch Republic,Baroque

Women artists, who weren’t allowed tosketch or paint from the nude and whothus faced difficulties in making historypainting, often turned to lessprestigious genres like flowers and stilllifes. Even though these works weren’t

as prestigious as images involving thehuman figure, they were enormouslypopular, and Ruysch made a lot ofmoney.

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Jacob van Ruisdael, View of Haarlem from the Dunes at Overvee22” x 24”, Dutch Republic, Baroque 

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Frans Hals, Officers of the Haarlem Militia Company of St. Adrianx 9’, oil on canvas, Dutch Republic, Baroque 

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Rembrandt van Rijn, The Anatomy Lesson of Dr. NicolaeTulp (1632) oil on canvas, 5’ x 7’, Dutch Republic,Baroque

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Rembrandt van Rijn, Captain Frans Banning CocqMustering His Company [The Night Watch] (1642) oil oncanvas, 12’ x 14’, Dutch Republic, Baroque 

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Rembrandt, Three Crosses (first state) (1653), 15” x 18”, drypointetching, Dutch Republic, Baroque

 Woman Holding

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Woman Holdinga Balance(1664), 16” x 14”,oil on canvas,Dutch Republic,

Baroque

H i th

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HyacintheRigaud, Louis XIV (1701), 9’ x8’, oil on canvas,

France, BaroqueLouis XIV, also known as theSun King, was the first ruler inEurope to attempt toestablish an absolutemonarchy in which the kingwas the undisputed leader of

government and society. Heused art quite effectively topromote this view of himself.

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Le Vau and Mansart, Palace of Versailles (1678-85), FraBaroque

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Le Vau and Mansart, Palace of Versailles (1678-85), FraBaroque

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Hall of Mirrors, Versailles (1678-85), France [240’ long xBaroque

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Jean-Antonine Watteau, Pilgrimage to the Island of Cythera (1717canvas, 4’ x 6’, Paris, Rococo[key term: fête galante=elegant outdoor entertainment]

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Francois Boucher, Girl Reclining: Louise O’Murphy  (1751), oil on ½’ x 2’, France, Rococo 

Jean Honore

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Jean-HonoreFragonard, TheSwing (1766), 3’ x2’, Rococo 

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Salon de la Princesse (1732), Paris, Rococo interior

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Canaletto, The Doge’s Palace and the Riva degli Schiavoni (1730½’, Venice, “Tourist art” [key term: the Grand Tour, veduta/vedute=“view” ]

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Canova, Pauline Borghese as Venus (1808), marble, 6’7”, Rome,Neoclassical

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For Josiah Wedgewood, “Am I Not a Man and a Brother?(1787), jasperware, England; “ Am I Not a Woman and aSister?” (1838), Neoclassical

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 Angelica Kauffman, Cornelia Pointing to her Children as her Treas(1785), 40” x 50”, London, Neoclassical 

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Joseph Wright of Derby, An Experiment on a Bird in the Air-Pumpx 8’, England, Neoclassical 

Jacques-Louis David, Oath of the Horatii  (1784-85), 11 x

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14’, Paris, Neoclassical 

Set in Rome of 7th c. B.C.E. The 3 sons of Horace [the Horatii] vow to fight to the

against the 3 Curiatii brothers. This work was commissioned by King Louis XVI,

after the beginning of the French Revolution in 1789, it was appropriated by the

Revolutionary (Jacobin) government.

Jacques-LouisDavid Death of

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David, Death ofMarat (1793), 5½ x 4’, Paris,Neoclassical

Portrait of Jean-Baptiste Belley

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Baptiste Belley(1797), 5 x 4’,France,Neoclassical

Inspired by the American andFrench Revolutions, thepeople of Haiti (many of themslaves brought from Africa towork on the plantations)rebelled against their Frenchcolonial rulers and declared

their independence. Belleywas a former slave sent toParis as a representative ofHaiti.

 Copley, Thomas

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Mifflin and SarahMorris (1773), 61x 48”, Boston,Neoclassical

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Chiswick House (1726-1729), LondonNeoclassical

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Benjamin Latrobe, U.S. Capitol Building  (1808), Washington, D.CNeoclassical

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Henry Fuseli, The Nightmare (1781), 40” x 50”, London, Romantic

William Blake Newton (1795 1805) color print with ink a

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William Blake, Newton (1795-1805), color print with ink awatercolor, 18” x 23”, London, Romantic 

easonProduces

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Monsters (1797-8), aquatint,Spain, Romantic

Between 1797-8, Goyaproduced a series of 80aquatint, known as theCaprichos (Caprices orWhims), documenting theabuses he perceived incontemporary society.

Francisco Goya The Shootings of May 3rd  1808 (1814) 9 x 13’ S

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Francisco Goya, The Shootings of May 3 , 1808  (1814), 9 x 13 , SRomantic[Napoleon invaded Spain in 1808]

oya, a urnDevouring hisS (1819

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Son (1819-1823), Spain,Romantic

Painted directly onto the wallsof Goya’s house, these worksare known as his “Black

paintings.” 

H D i R T i A il 15 1834 lith h P

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Honore Daumier, Rue Transnonian, April 15, 1834, lithograph, PaRomantic

B d P i B iti h H f P li t (1836 60) E l d

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Barry and Pugin, British Houses of Parliament  (1836-60), EnglandRomantic [Gothic Revival]

  ,

Trinity Church,New York City

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New York City(1839-46),Romantic [GothicRevival]

 Arc de Triomphe (begun 1806), 164 x 148 x 72’, Paris,

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p ( g ), , ,Romantic[begun by Napoleon and finished under July Monarchy]

 Volunteers of1792 (The

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1792 (TheMarsellaise)(1833-36), Arcde Triomphe,

Paris, RomanticThe Marsellaise is the French National Anthem,written in 1792:

Ye sons of France, awake to glory,

Hark, hark! what myriads bid you rise!

Your children, wives and white-haired grandsires.

Behold their tears and hear their cries! (repeat)

Shall hateful tyrants, mischiefs breeding,

With hireling hosts, a ruffian band,

Affright and desolate the land,

While peace and liberty lie bleeding?

To arms, to arms, ye brave!

The avenging sword unsheath,

March on, march on!

 All hearts resolv'd

On victory or death! 

[NapoleonCrossing theAl ] (1800

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 Alps] (1800-1801), 9 x 8’,France

David continues on as the mostinfluential painter of his dayunder Napoleon. His style, whichhas become the basis of theFrench Academy of Art, begins totake on certain Romanticelements. For the purpose ofsimplicity, we will call this style

Academic Romanticism.

Note: inscribed on the rocks onthe lower left corner are thenames of Bonaparte, Hannibal,and Charlemagne, 3 great leaderswho also crossed the Alps.

Theodore Gericault, Raft of the Medusa (1818-19), 16 x 23’, Fran

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 Academic Romanticism[modern history painting]

Eugene Delacroix, Liberty Leading the People (1830), 8 x11’ France Academic Romanticism

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11 , France, Academic Romanticism [to commemorate the July Revolution]

Jean-Auguste-Dominique Ingres, Large Odalisque (1814Paris, Academic Romanticism

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[an odalisque refers to a woman in a harem;Orientalism=the often sensationalistic manner in which Europeancultures depicted and discussed Islamic cultures in the 19th c. andbeyond. ]

J h C t bl Th H W i (1821) 4 6’ E l d R ti

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John Constable, The Hay Wain (1821), 4 x 6’, England, Romantic

Joseph Turner, Slavers Throwing Overboard the Dead anDying —Typhoon Coming On [The Slave Ship] (1840),England Romantic

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England, Romantic

The Beautiful [regular, pleasing, soothing] vs. the Sublime [terrifying, violent]

Thomas Cole, The Oxbow (1836), U.S.A., Romantic [key term: Hu

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Thomas Cole, The Oxbow (1836), U.S.A., Romantic [key term: HuRiver School]

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Caspar David Friedrich Monk by the Sea (1809) Germany Roma

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Caspar David Friedrich, Monk by the Sea (1809), Germany, Roma