Jusepe de Ribera The Clubfooted Boy, oil on canvas, c. 1642, The Louvre, Paris

-spanish artist, spent his career in Naples (under spanish rule)

-had connections with Caravaggio's patrons

-shows his move towards a lighter pallete. 

-Low vantage point emphasizes his clubfoot. 

-A representation of charity. A reminder to give Alms. 

an emblem of transcending horrible crap to be a symbol of Christian ascension. 

Anthony van Dyck, The Marchesa Balbi, oil on canvas c. 1623

National Gallery of Art, Washington DC

-based closelt on Ruben's painting of maria serra pallavacina

-when we look at them together, we see the figure looks more lively, we can see space behind her, she is not closed in

Anthony van Dyck, Charles I with M. de St. Antoine, oil on canvas 1633

Buckingham Palace, The Royal Collection, London

-propogandic picture expected of a court painter royal coat of arms, very proud, authoritative posture

-Portrait of the man who took care of the royal horses

-supposed to look as though you could walk through this arch into natural space, seem as if he was riding right into the gallery

-similar paintings in the room of Roman emporers by Titian & Romano

-Derived from rubens portrait of the duke of Lerma on the white horse

Rubens, Deposition from the Cross,  1613, oil on panel O.-L Vrouwekathedraal, Antwerp

-influenced by rubens drawing from rome

-male figures have a michenangelesque robust figure

-very different characterization of christs body, here we are at the end of the ordeal where Christ has died and is being taken down from the cross

-red robe emphasized christ's pale skin

You're doin great baby girk!

 Seriously! Think of all these things you now know that the average person doesn't!

-you're great

-you're the best

-baroque art is pretty sweet

Keep at it! You're gonna kill it! 

P.P. Rubens Portrait of Maria Serra Pallavicina, oil on canvas c. 1606

Private Collection

-shows incredible detail to her costume

-shows her pet parrot, a symbol of Catholicism, as well as a usual pet to the wealthy at this time

-portraits were only a sideline in Ruben's career but he was a freaking boss

Rembrandt van Rijn, The Stoning of St. Stephen, c. 1625, oil on panel,

Lyon, Musée des Beaux Arts

-early in his career, more like his teacher's work, Pieter Lastman

-Large painting for Catholic patron, probably named Stephen wanted an image of his name-saint to reflect on as St. Stephen is not a common subject for paintings

-Lots of figures, treated in a way much like Lastman’s 

-introduction of Repoussior figures , intensifying the mood. Possibly based on an Elsehiemer painting that doesn’t survive. Possibly a self portrait in this, but people seem to be kinda reaching and cant decide which one he is.

Rembrandt van Rijn, Anna and the Kid (Tobit and Anna), oil on panel, 1626 Rijksmuseum, Amsterdam

-Still related to the style of his master, but starting to break away.

-Figures are larger and closer to the viewer. We can focus on their individuality.

-A few carefully rendered still life objects which shows them just barely getting by. This is an unusual story, from the Apocrypha not generally accepted to be part of the bible. No other painter could have equaled the humanity he brought to the story. Lots of attention to detail in the inclusion of objects and feel of the space. Vividly painted scene which depicts the day to day life of the old couple.

Rembrandt van Rijn, Descent from the Cross, oil on canvas c. 1633 

Alte Pinakothek, Munich

First painting for the Stadtholder. Inspired by ingravings of Ruben’s deposition from the cross(he never saw the real thing). His dark realism has completely transformed Ruben’s painting. Body of Christ just a kind of dead mass, not heroic. He deepened and intensified the scene. Deep emotional and physical reactions. Sensitive attention to individual suffering.

Rembrandt van Rijn, The Denial of St. Peter, oil on canvas 1660,

Rijksmuseum, Amsterdam

As the century wore on, collectors and patrons started to want a more refined, smooth finish which got in the way of Rembrandt’s career.  He has few commissions in the last years of his life. He produced some extraordinary history paintings which a strong focus on redemption and emotional depth. Christ shown in the dark background about to be taken away by the Roman Soldiers.

-Sparingly painted, the work is almost entirely monochrome.

-Focus is more on Peter than Caravagesque interpretations

-light is a symbol of truth

Rembrandt, The Military Company of Captain Frans Banning Cocq... oil on canvas, 1642,Rijksmuseum, Amsterdam

 Group portraits became popular in the 1640s thanks to Frans Hals. A lot going on in this scene, a scene of preparation. Mobilized the group to action instead of seating them around a banquet table which would have been normal at this time. Invented the scene. Other artistic inventions include the space that he invented which appears to be noble. He also contributed a number of figures to the scene, people who weren’t members of the group. Only commissioned to paint 18 men, about 15 other figures. Including 3 children and a barking dog. Added figures are more general than the specific portraits. Captain and Lieutenant are striding out of the picture plane. Little girl to the left of the captain was one of the most daring additions, though the yellow of her dress was the ceremonial colour of the company. Shows 3 men in different moments of operating a musket. A very striking contrast even against the innovations of Frans Hals. Unlike Hals, the tradition in Amsterdam was to depict full length figures. 

Like Velázquez’s painting of Breda, Rembrandt takes inspiration from the size of the painting and uses a variety of brushwork inclusing loose impasto, washes as well as tight brushwork.  

Rembrandt van Rijn Portrait of Jan Six, oil on canvas1645

(Private Collection)

Noted for his loose impasto manner. Scaling back his palette to focus on reds, browns and yellows.

-Elegant but still informal portraits. Pulling on or taking off glove.

-Psychological grasp on the sitter- a moment between a personal thought and acknowledgment of the sitter.

-inspired by Titian and Raphael's portraits of noblemen

Rembrandt van Rijn, Bathsheba reading King David’s Letter, oil on canvas 1654, Paris, the Louvre

Square canvas. Seated outside, along a pool of water. Thrown off a beautiful brocaded dress and her white undergarments. Rembrandt invents the maidservant and this letter that was supposedly sent by King David. A different moment than usually chosen in this story, shows Bathsheba’s vulnerability, increased by the monumental nude (not idealized nude, but a plump middle-aged woman) this could be a painting of his own mistress. Demonstrates Rembrandts strength as a history painter by making it relatable.

Possible comparison to Artemisia's Susanna and the elders? Female nude, relatable point in story, human emotion, but very different visually, darks enhance Rembrandt's mood

Jusepe de Ribera, St. Sebastian, oil on canvas, 1651, Museo di San Martino, Naples

Fuses idealism and realism. Chest hair?  Image was painted for a monk’s cell. Intimate, highly devoted scenes very powerful for focusing meditation. Viewer must look at the saint (nowhere else to look). Very close to the suffering of Christ.

(vs. terBrugghen's St. Sebastian)

Johannes Vermeer The Procuress, oil on canvas c. 1656 Gemäldegalerie, Dresden

Early work, much more closely related to the Utrecht Caravaggisti. More dynamic and colour. Colours hint more towards Ruben. However, still life, blue/white/yellow pallet Vermeer continues throughout his career.

Light atomosphere characteristic of dutch painting.

Johannes Vermeer Woman Holding a Balance c. 1665 oil on canvas National Gallery of Art Washington DC

Noble simplicity. Every detail is important. Figure, mood and delicate action create mood. The very center of the composition is her hand holding the balance. Natural cool greys. Painting in the background is the last judgment, relates to the woman’s gesture, giving the work a vanitas theme.

Diego Velázquez, Old Woman Cooking Eggs, oil on canvas 1618,

 National Gallery of Scotland, Edinburgh

Young vs old. male vs female.

Still life beautifully rendered, no detail left out. Still working in Seville at this point.

-combination of genre and still life he was known for in early career

Gerrit van Honsthorst, The Procuress, oil on panel 1625 Centraal Museum, Utrecht

Profile in shadow used very strongly here. This picture is similar to caravaggio’s early genre paintings of the cardsharps etc. in style and theme (man might be taken advantage of) but sharper tennebrism than seen in his works. Repoussoir used here strongly. The warm light strengthens the colours in the picture. 

ter Brugghen St. Sebastian attended by St. Irene and her handmaid, oil on canvas 1625 Oberlin College, Allen Memorial Art Center, Ohio.

This version of the scene was popular in the north. In the past, St Sebastian is just an excuse to paint a more or less naked man. Here however is a better story. He only shows what he needs to to make the scene clear. He does not skimp on modeling and cramps things into the picture. The diagonal not only pulls our eye across the painting, but into the depth of it very successfully. These are ordinary people cast as holy saints. Ter Brugghes’ images often look cropped compared to caravaggio’s. He uses less foreshortening extending into our space, even though everything is so close to the picture plane.

Hendrick ter Brugghen, The Calling of St. Matthew, oil on canvas 1621,Centraal Museum, Utrecht

clearly show his knowledge of Caravaggio. composition is much more closely grouped together in a tight mass. He almost eliminates foreground and background and cuts off the figures. Ter Brugghen often has little or no negative space in his compositions. This painting is an excellent example of Repoussoir in the figures of Christ and the Apostle on the side. Ter Brugghen also often sets figure in profile in shadow. Compared to Brugghen, even Caravaggio’s figures look idealized. Ter Brugghen often paints people in religious scenes in tatters and sunburnt; normal people.

Gerard Terborch The Parental Admonition, oil on canvas 1654 Staatliche Museum, Berlin

example of "Low life scene" scenes that demonstrate proper behaviour unlike the Merry company. Terborch, was known for this.

Paintings were generally very quiet and did not show very much movement, much like Vermeer’s. Best known for his skill in painting fabric and hair-do's.

Francisco de Zurbarán Christ on the Cross, oil on canvas c. 1627

Art Institute of Chicago, Chicago

his first signed piece. No narrative in this scene, no setting. One very specific detail: four nails instead of three. Church was remarkably lax on this subject of iconography. Three nails generally makes for a more twisted posture, four nails flattens the body. Shadows, drapery, and left lean prevent symmetry. Painting is huge and has a scultpture-like feel. The black setting has a timeless feeling.

 -worked in seville, more market for devitional and religious works

Nicholaes Maes The Idle Servant, c. 1655 Oil on panel National Gallery, London

Addressed viewer directly. With a smile, gestures to the sleeping kitchen maid, a symbol of sloth. Melancholie symbolism might hint at lovesickness being the reason for her neglect. The laziness will soon be felt by the well dressed gentlemen in the background, waiting for their food. Funny painting, but also morale lesson, loved by patrons. The mess is a beautiful still life. Cat represents lasciviousness, often associated with sloth. Maid servants became stock figures for misogyny in this time (lust, sloth, seduction etc)

These symbols used throughout their culture including news, theatre, sermons etc.

Idleness vs Industry

Frans Hals, Haarlem Militia Company of St. George, oil on canvas c. 1627, Frans Hals Museum, Haarlem

departure from the tradition. Retaining a sense of the horizontal row of figures, but has grouped them into clusters. Enlivened the rigid poses and composition. Diagonals (flags and flag poles) Some men are standing, some sitting, some around a table, some not. Creating the illusion of space, making it less congested. The impression is the one of casual irregularity, but there is some structure to it. Man looking to the viewer and tipping empty cup engages viewer, while others engage each other. Hals became very famous for this kind of painting.    

Artemisia Gentileschi, Susanna and the Elders, Oil on canvas, 1610 Private collection, Pommersfelden

Despite contemporary depictions which focus on Susanna’s sexuality, Artemesia’s is much more true to the story and focuses on the story more. The drama is much more Caravagesque.

Spanish for still life, Taken more generally, bodegón refers to the representation of common objects of daily life, frequently including food, flowers, or other objects. Often carried moral themes, Vanitas being a common one.

Popularity of still life rose out of the sucess of the middle class.

Diego Velazquez's Old Woman Cooking Eggs has elements of Bodegones

Willen Kalf, Still Life and Drinking Horn, 1653, an example of pure still life. 

Repoussoir

figures or elements that seem to frame the pictorial scene, often shown in half or full shadow.

ex. Gerrit von Honsthorst The Procuress, 1625

Rembrandt The Stoning of St Peter, 1625

Contra Jour

backlighting effect in a painting, usually an interior scene. Popular in Dutch genre painting.

ex Vermeer Woman Holding a Balance, 1665

 Pieter de Hooch, The Linen Cupboard, 1663

Modern Beeldense

“modern figures”, another (Dutch) term for genre painting

ex Nicholaes Maes, The idle Servant, 1655

Genre

 French for “kind” or “type” only started to be used in the 18th century art history.

WHY DO ALL OF THESE TERMS MEAN THE SAME THING WE HAD SO MANY TERMS WHY COULD SHE NOT CHOOSE SOME DIFFERENT ONES

Gerard Terborch, The Parental Admonition, 1654

Klovenirs: 

Dutch term for the Civic Guards, or local militia, specifically “Cavaliers”.

Frans Hals, The Militia Company of St George, 1627

Rembrandt, The Military Company of Captain Frans Banning Cocq, 1642

Pendant Pair-

 A pair of portraits, usually man and wife commissioned to be hung together, facing in at each other with the man on the left (his right)

Frans Hals Portrait of a Man holding a skull, 1611 and Portrait of a Woman, 1611

Peter Paul Rubens,  Equestrian Portrait of the Duke of Lerma 1603  Oil/Canvas    Museo del Prado, Madrid