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| Calling of St. Matthew Michelangelo Merisi Caravaggio 1599 Rome, Contarelli Chapel, San Luigi dei Francesi |
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Religious art with a new, modern naturalism
Matthew is tax collector, probably one with coins. Not old man. Jesus on right.
Use of chiaroscuro and tenebrism makes the scene seedy/dramatic.
Action in hand gestures of "interlocutors", like Da Vinci. Artistic quotation w/Jesus hand looking like Michelangelo's Adam |
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Entombment of Christ
Michelangelo Merisi Caravaggio
Rome, Vatican Pinacoteca
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Again rugged, naturalistic, tenebristic
"Euchratic" painting abt body of Christ
The guy with the knees is Nicodemus, which is often painted as a self-portait but this one is of Michelangelo
Fingers of guy with torso emphasizes fleshiness of Christ |
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Victorious Cupid (Amor Vincit Omnia)
1602
Michelangelo Merisi Caravaggio
Berlin, Staatliche Gemaldegalerie
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Secular
Cupid trampling human achievements (lute, book, armor)
"aggressive nudity" is naturalistic
feather pointing to genitals is a visual quotation of Donatello's david and goliath
Commentary on Michelangelo's queerness? |
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Annibale Caracci
Landscape with the Flight into Egypt
1603
Rome, Galleria Doria Pamphili |
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Showed new interest in landscape painting that rose in Rome.
pastoralism reflected new investment in the countryside.
Lunette shape.
De-emphasis on figures.
Idealized land, camels suggest egypt |
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The Triumph of the Name of Jesus
fresco and stucco
Giovanni BATTISTA Gauli
1676-8
Church of the Gesu, Rome |
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Illusion of opening into the sky through oval
vsisionary art depicting the unseeable
the damned and angels are sculpted outside the painting
use of frame and shadow gives the illusion descent toward viewer
multi-media ensemble
inspired by theatrical sets
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The Glorification of Saint Ignatius Loyola (Allegory of the Missionary Work of the Jesuits)
Andrea Pozzo
1691-4
fresco
Church of Sant'Ignazio, Rome |
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Pozzo was both architect and theatre builder, obvious in paintin of architecture, techincally advanced
wrote an artistic treatise, use v scientific mathetmatical grid method for creating perspective on a vaulted ceiling
the parabolic mirror mixes religion, science, art
supposed to create extasy
"early modern religious Imac" |
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David
Gianlorenzo Bernini
1623
Rome, Galleria Borghese |
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breaks away from contrapposto tradition
Bernini used fixed points of view to create optimal dynamic impact instead of trying for a total 360* view
even more scowly than older davids
never moved from where it was carved |
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