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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