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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. AmsterdamhadthehighestpercapitaincomeinEuropeandenjoyedwide