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- 19.1 Gianlorenzo Bernini, baldachino, St. Peter's, Rome
- Baroque style (1624-33)
- Gilded Bronze, four twisted columns with acanthus scrolls and surmounted by angels, gilded cross stands on an orb (appox. 95ft. high)
- Pope Urban VIII appointed Gian. to the interior decor of church until his death
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- Bernini, (Cathedra Petri) The Throne of St.Peter & Gloria, Rome
- Baroque architecture
- Gilded bronze throne, richly ornamated with bas-relief, encloses the relic
- On January 17, 1666 it was solemnly set above the altar of Saint Peter's Basilica in Vatican City. Greater than life-sized sculptures of four Doctors of the Church form an honor guard: St. Ambrose and St. Athanasius on the left, and St. John Chrysostom and St. Augustine on the right.
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- 19.13 Gianlorenzo Bernini, David, 1623. Rome, Italy
- Baroque style sculpture
- Marble, lifesize
- most important sculpture of the Baroque style in Rome. All trace of mannerism has disappeared. He represents a narrative moment in the midst of action
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- Gianlorenzo Bernini, Cornaro Chapel, Santa Maria della Vittoria, Rome, 1640s.
- Baroque style
- demonstrates Bernini's "environmental approach". He integrates the arts is a single project and uses the chapel as if it were a little theatre.
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- Gianlorenzo Bernini, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy
- Marble (11ft. 6in. high)
- Baroque style sculpture
- The main event over the altar represents the visionary world of the mystic saint. Like the David sculpture artist represents a moment of heightened emotion-in this case, the trasport of ecstasy.
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- Caravaggio, Boy with a Basket of Fruit, c. 1594.
- Oil on canvas (27in. x 26in.), Borghese Gallery, Rome, Italy
- In contrast to the Renaissance view of painting as the natural made visible through the window of the picture plane, Baroque artists draw the observer into the pic. by means other than the linear perspective. The details represent something else.
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- Caravaggio, Calling of Saint Matthew, 1599-1600, Oil on canvas, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy
- innovative approach to Christian subjects. Caravaggio's tenebrism-the use of sharply contrasting light and dark- enhances the Christian message. Jeseus enters the picture along with ta miraculous shaft of light penetrating the darkness.
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- Caravaggio, David with the Head of Goliath, Galleria Borghese, Rome
- Baroque painting, oil on canvas
- Christian iconography over good triumph over evil. David is portrayed as pensive, and golith is image of Caravaggio, signifying the relation between the two.
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- Caravaggio, Judith Beheading Holofernes, 1598-99, oil on canvas, Galleria Nazionale d'Arte Antica, Rome
- Baroque style painting
- The faces of the three characters demonstrate his mastery of capturing emotion.
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- Artemisia Gentileschi, Judith Slaying Holofernes, c. 1614-20. Oil on Canvas. Galleria degli Uffizi, Florence, Italy
- Baroque painting
- exhibits the Baroque tast for violence, illustrating an event from the Old Testament. The violence is enhanced by dramatic shifts of light and dark and by the energetic draperies. Artemisia is known for her pictures of heroic women and of violent scenes.
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- Artemisia, Self-Portrait - Allegory of Painting, c. 1630, oil on canvas, The Royal Collection, Kensington Palace, London
- Baroque style painting
- artist completed portrait at the end of her stay in Rome. She is seen from the side hard at work, hair draping to the side.
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- Peter Paul Rubens, Rasing of the Cross, center panel of the triptych, originally for the church of St. Walburgis and now in Antwerp Cathedral, 1610-11. oil on canvas.
- Northern European Baroque Painting
- Painting very much affected by Counter-Reformation concerns. Viewers drawn into painting and identify with Jesus' suffering. A touch of realism is introduced with the dog. Jesus form is the most extended highlight in the painting which is a Jesus as the Light of the World.
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- Rubens, Venus at the Mirror,c.1615. Oil on canvas. Sammlung Fürst von Liechtenstein, Vaduz, Liechtenstein
- Northern European Baroque Painting, began "Rubenesque"
- Seductive, leaves room for imagination, most likely painted for a man.
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- Rembrandt, Belshazzar's Feast, c. 1635. Oil on canvas. National Gallery, London, England.
- Baroque painting in Northern Europe
- Rembrandt shared the Baroque interest in naturalism and dramatic effects of light and dark.
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- Rembrandt, The Militia Company of Captain Frans Banning Cocq (The Night Watch), 1642. Oil on canvas. Rijksmuseum, Amsterdam, Netherlands.
- Originally located in the headquarters of the Amsterdam Civic guard.
- Came to be the pride of Amsterdam. Decided to show the action and tell a story which was different from the norm, at first wasnt accepted. Figures lift off painting with extreme detail and the glowing girl represents people protector.
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- Rembrandt, Self-Portrait in a Cap, Open-mouthed and Staring, 1630. etching, 2 x 1.7 in.. Rijksmuseum, Amsterdam, Netherlands
- Baroque Painting in Northern Europe
- Shows him as a young person full of spirit. Uses great expression
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- Rembrandt, Self-Portrait Leaning on a Stone Sill, 1639. Etching at drypoint. Rembrandt House Museum, Amsterdam, Netherlands.
- Shows him as an aged man, exuding his self-confidence of success. His inner artistic energy seems to shine forth from the illumination of his face.
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- Rembrandt, Self-Portrait as Saint Paul (age fifty-five), 1661. Oil on Canvas. Rijksmuseum Foundation, Amsterdam, Netherlands.
- Baroque style in Western Europe
- After several personal tragedies, He is older and sadder. He is no longer the prosperous artist with confidence now is is as "Saint Paul", humbled and saddened.
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- Judith Leyster, The Last Drop (The Gay Cavalier), c. 1628-29. Oil on canvas. Philedelphia Museum of Art.
- Northern Baroque painting
- Death is starring him the the face, he's not on a stable chair, dressed in red, Momento More (time is running out)
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- Jan Vermeer, The Geographer, c. 1668. Oil on canvas. Stadelsches Kunstinstitut, Frankfurt, Germany
- Baroque style in Western Europe. Dutch painter.
- Known for light and contrast. Contemplating thought and surronding details are set with specific purpose.
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- Vermeer, The Allegory of Painting, c. 1666, Oil on canvas. Vienna. originally Netherlands
- Baroque style in Western Europe
- Depicts painter in his studio with a girl and a map of the Netherlands on the wall. Realistic visual representation.
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- Diego Velazquez, Venus with a Mirror, c. 1648. Oil on canvas. National Gallery, London, England
- Baroque style in Spain
- Portrait of a seductive lounging women. Influenced by greek helenistic sculpture. She is different from other venus' because she is completely facing away with her face only seen in the mirror.
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- Velazquez, Las Meninas, 1656. Oil on canvas. Madrid, Spain.
- The Baroque style in Spain
- Setting is large is stature, portrays him painting a portrait of the king and queen seen in the mirror. Shows his personal pride in his own status.
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- Jean-Honore Fragonard, The Swing, 1766. Oil on Cavas. Wallace collection London, England.
- Rococo painting in France
- Picture enlivened with frilly patterns. Comissioned by Baron de Saint-Julien, that specified that he paint the Baron's mistress on a swing with himself as the observer.
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- Dominikus Zimmermann, Wieskirche, Bavaria, 1745-54.
- Rococo architecture in Germany
- The Wies. longitudinal axis is emphasized by the deep oblong chancel. Eight freestanding pairs of columns with shadow edges support the ceiling. The ambulatory, which continues the side aisles, lies outside the columns.
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- Jacques-Louis David, Oath of the Horatii, first exhibited in 1785. Oil on canvas. Louvre, Paris, France
- Neoclassic style in France
- illustrates an event from ROman tradition in which honor and self-sacrifice prevailed.
- The story was known from a tragedy by Pierre Corneille in where Rome and ALba Longa had agreed to settle their differences by "triple" combat between tow sets of triplets-the Horatii of Rome and the Curiatii of Alba-rather than all out war.
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- Jacques-Louis David, Death of Marat, 1793. Oil on canvas. Musees Royaux des Beaux-Arts de Belgique, Brussels, Belgium.
- Neoclassical Style France
- Commisioned during the Reign of Terror, David used the principles of Neoclassical style in the service of contemporary political events.
- painting represents intellectual and political enlightenment.
- Marat was stabbed in his bathtub by Charlotte Corday, a supporter of the conservative Girondin group.
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- Jacques-Louis David, Napolean at Saint Bernard Pass, 1800. Oil on canvas. Musee National du Chateau de Versailles, France.
- Neoclassical in France
- depicts Napolean crossing the Alps which is clearly in the tradition of Roman equestrian portraits.
- His dramatic gesture and horse's pose are intimations of early Romanticism. David glorifies his patron.
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- Marie-Guillemine Benoist, Portrait of a Negress, 1800. Oil on canvas. Lourve, Paris, France.
- Neoclassicism in France
- Benoist combines aspects of Classicism and Romanticism reflecting the overlap of the two in the early 19th century
- exotic figure romantic with the turban and gold earring
- The clear edges, the smooth texture of the paint and the Neoclassical drapery enhance the unexpected impact made by a black woman depicted within a conventional European tradition.
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- Jean-Auguste-Dominique Ingres, Napoleon Enthroned, 1806. Oil on canvas. Musee de l'Armee, Paris, France.
- embodies the interplay of Neoclassicism and Romanticism; recalls the fussiness of Rococo.
- Depicts Napolean as a deified Roman emperor
- Hints of romantic taste and traces of Mannerist elegance.
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- Jean-Auguste-Dominique Ingres, Grand Odalisque, 1814. Oil on canvas. Louvre, Paris, France.
- Neoclassicism late 18th early 19th centuries
- comissioned by Napolean's sister Caroline Bonaparte
- depicts an idealized, reclining nude, except this time the figure turns to gaze at the observer
- Ingres nude has precise edges a clear form
- reflects the popular contemporary craze for things "oriental" that followed Napoleon's failed military campigns in Syria and North Africa.
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- Theodore Gericault, Raft of Medusa, 1819. Oil on canvas. Louvre, Paris, France.
- Romanticism (late 18 early 19th century)
- Gericault's commitment to social justice is reflected in his acknowledged masterpiece
- commemorates a contemporary disaster as sea rather than a heroic example of Neoclassical patriotism.
- painting evoked by lines from the English Romantic poet, Coleridge.
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- Eugene Delacroix, Massacre at Chios, 1822-24. Oil on canvas. Louvre, Paris, France
- Romanticism (late 18 early 19th century)
- painting satisfies the Romantic interest in distant places and political freedom
- Delacroix enlists the viewer's sympathy for Greece by showing the suffering and death of its people while also concentrating on the details of their exotic dress.
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- Eugene Delacroix, Liberty Leading the People, 1830. Oil on canvas. Lourve, Paris, France.
- Romanticism
- painting refers to the july 1830 uprising against the BOurbon king Charles X, which led to his abdication. Louis Philippe, the "citizen-king" was installed in his place w/ limited powers.
- applies Romantic principles to the revolutionary ideal.
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- Francisco de Goya y Lucientes, Los Caprichos, plate 3, published 1799. Etching and aquatint. Metroplitan Museum of Art, NY.
- Inscribed on plate is Goya's warning against instilling needless fears in children: "Bad Education"
- "The Bogeyman Is Coming" Goya illustrates the nightime fears of childhood.
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- Goya, The Executions of the Third of May, 1808, 1814. Oil on cavas. Prado, Madrid, Spain.
- Goya champions Enlightenment views of individual freedom against political oppression.
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- John Constable, Salisbury Cathedral from the Bishop's Garden, 1820. Oil on canvas. Metro. Museum of Art, NY.
- Romanticism in England
- Nostalgia for the past is evident in the juxtaposition of the day to day activities of the present with the Gothic cathedral. Humanity, like the cathedral, is at one with nature, and there is no hint of the industrialization that in realisty was encraching on the pastoral landscape of the 19th century.
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- J.M.W. Turner, Burning of the Houses of Lords and Commons, October 16, 1834. 1835. Oil on fabric. Cleveland museum of art.
- Romanticism in Europe
- Worked on painting day and night to show events engaged.
- feeling of impact of heat, emotion through burst of color.
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- Turner, The Slave Ship or Slavers Throwing Overboard the Dead and Dying, 1840. oil on canvas
- Romanticism in England
- inspired by the Zong massacre
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- Thomas Cole, View from Mount Holyoke, Northhampton, Mass., after a Thunderstorm, 1836. Oil on canvas
- Romanticism in the U.S.
- Realistic depiction, two toned sky storm rolling in, detailed artistic placement, man and nature co-existing.
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- Edward Hicks, The Peaceable Kingdom. c. 1834. Oil on canvas. Washington D.C. National Gallery of Art
- Romanticism in the US
- references Isaiah 11:6-9
- People depicted together w/ out conflict, Utopia.
- Not realistic but folky.
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- Gustave Courbet, The Stone Breakers, 1849. Oil on canvas. Whereabouts unknown since WWII.
- French Realism
- reflects the impact of socialist ideas
- depicts the common worker, romantic nostalgia for a simple existence
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- Courbet, The Interior of My Studio: A Real Allegory.., 1855. Oil on canvas, Musee d'Orsay, Paris.
- French realism
- Satire on academic tradition, lots of activity, painting originally refused
- Started a new movement of art, held his own exhibition after being denied orig.
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- Daumier, Louis Philippe as Gargantua, 1831. Lithograph. Bibliotheque Nationale de France, Paris.
- French Realism
- The message of the caricature is clear. A never-satisfied king exploits his subjects and grows fat at their expense.
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- Diagram of a camer obscura.
- Realism/photography
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- Gaspard-Felix Tournachon (Nadar), Sarah Bernhardt, c.1864. Photo from a collodion negative. Paris, France.
- 19th century Realism photography
- The picture of Bernhardt at age 19 emphasizes her delicate features and quiet pose, in contrast to the large, voluminous, tasseled drapery folds.
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- Daumier, Nadar Elevating Photography to the Height of Art, 1862. Lithography.
- 19th century Realism
- Height in this image is satirically equated with the lofty aspirations of photography to the status of ART.
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- Julia Margaret Cameron, Mrs. Herbert Duckworth, 1867. Photograph
- 19th century Realism
- Cameron manipulated techniques in order to achieve certain effects, preferring blurred edges and a dreamy atmospher to precise outlines.
- The softness of the face emerge gradually from the darkness, seem literally "painted in light."
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- Manet, Le Dejeuner sure l'Herbe, 1863. Oil on canvas. Paris, France
- French realism in the 1860s
- Its not a Realist painting in the social or political sense of Daumier, but it is a statement in favor of the artist's individual freedom
- forms seem advanced to the viewer
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- Manet, Olympia, 1865. Oil on canvas. Paris, France
- 19th century realism
- Olympia is naked, rather than nude, an impression emphasized by her bony unclassical proportioned body thought to represent a prositute.
- direct visual impact which caused a scandal
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- Alexandre-Gustave Eiffel, Eiffel Tower, Paris, 1887-89. Wrought-iron superstructure on a reinforced concrete base, 984ft.
- 19th century realist architechture
- originally built to be a temp. structure designed as a landmark for the Universal Exposition of 1889, celebrating the centenary of the French Revolution.
- at first was so controversial a petition for its demolition was issued and was only saved because of its use of as a radio antenna.
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- Manet, A bar at the Folies-Bergere, 1881-82. Oil on canvas. London, England
- 19th century Impressionism, France
- Absorbing light exemplifies the Impressionist obsercation of the effect of atmospheric pollution-a feature of the industrial era- on light, color, and form.
- The impression that an image is one section of a larger scene is another characteristic of Impressionism related to photography.
- Imagery is very well noted throughout.
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- Edgar Degas, Absinthe, 1873. Oil on canvas. Paris, France.
- 19th century impressionism in France
- Also represents a "slice of life
- The poses convey psychological isolation and physical inertia.
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- Degas, Dancer with a Bouquet, Bowing. c.1877. Pastel and gouache on paper. Paris, France.
- 19th centure Impressionism in France
- Expresses a wide range of movement.
- main dancer's face illuminated by unseen light giving her a masklike appearence.
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- Mary Cassatt, The Boating Party, 1893-94. Oil on canvas. National Gallery of Art, Wash. DC
- 19th century Impressionism in France
- uses the Impress. "close-up" inspired by photography
- emphasizes intimacy between mother and chile with a slanting viewpoint. The rower is depicted as a stron silhouette.
- Compact forms creat an image of powerful monumentality.
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- Claude Monet, Impression: Sunrise, 1872. oil on cavas. Paris, France.
- 19th century Impressionism in France.
- The term Impressionism is derived from critics negative view of painting.
- Used technique of "broken color"
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- Claude Monet, Bassin des Nympheas (Water Lily Pond), 1904. oil on canvas. Denver art museum
- 19th century Impressionism in France
- illustrates Monet's style nearly 40 years later, reflect his direct observation of nature
- shows reflected light in patterns of color
- viewer forced to take account of the technique and medium in experiencing the painting.
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- Keisei Eisen, Oiran on Parade, c. 1830. Wood block print. London, England museum.
- 19th century Impressionism in France
- illustrates one of the Edo period's high-ranking courtesans, and she is decked out in full regalia for public viewing
- Prussian Blue which is used was a recent import from the West and evidence of contact between the East and Europe before 1853.
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- Katsushika Hokusai, The Great Wave at Kanagawa, from the series 36 views of Mt. Fiji, ca. 1830-32. Polychrome woodblock print; ink and color on paper
- 19th century Impressionism
- made a great impact on Impress. with series of scenes shown in different views.
- dramatic rise of the wave and its nearness to the plane creates its impressive effect with the Mt. insignificant in the background.
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- Utagawa Hiroshige, Night View, Saruwaka Street at Night, 1856. Woodblock print. England
- Impressionism from Edo (currently Tokyo)
- rendered in linear perspective. Sense of busy streets seen from an elevated vantage point.
- Reflects cross-cultural Influences between W. Europe and the Far East.
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- Hiroshige, Plum Garden, Kameido.
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- Auguste Rodin, The Thinker, ca. 1904. Bronze. Berlin, Germany.
- 19 century Impress. French sculpture
- reveals the influence of Italian Renaissance sculpture on Rodin's concept of the monumental human figure.
- Immobilized by thought
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- Auguste Rodin, Balzac, 1892-97, plaster, 9ft. 10in. high. Paris, France.
- 19th century Impressionism sculpture in France
- demonstrates his interest in conveying the dynamic, experimental process of sculpture, rather than in the finished work.
- The great novelist looms upward like a ghostly specter wrapped in a white robe.
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