Gardner Chapter 24
BAROQUE
ART& ARCHITECTURE IN ITALY & SPAIN
(revised 8/08)
VOCABULARY AND IMAGES
Baroque
Tenebrism
Baldachin
Counter-Reformation
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ITALY
ARCHITECTURE
Carlo Maderno (completion
of St. Peter's, Vatican)
Santa Suzanna, Rome,
1597-1603
St. Peter's, facade,
1606-12
Francesco Borromini
(1599-1667)
San
Carlo alle Quattro Fontane,
1638-67, Rome
http://web.kyoto-inet.or.jp./org/orion/eng/hst/baroque/quattro.html
http://www.mcad.edu/AICT/html/renbrq/RMA/RMA042.html
http://www.mcad.edu/AICT/html/renbrq/RMA/RMA043.html
Gianlorenzo Bernini
Piazza
San Pietro, Vatican City, Rome,
1656-67
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SCULPTURE
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PAINTING
Caravaggio (Michelangelo Merisi; 1573-1610)
http://cgfa.sunsite.dk/caravagg/index.html
(variety of paintings by Caravaggio)
Conversion
of St. Paul, c. 1601
(oil/canvas)
http://cgfa.sunsite.dk/caravagg/p-carava16.htm
Calling of St. Matthew, c. 1599-1602
http://metalab.unc.edu/wm/paint/auth/caravaggio/calling/calling.jpg
*Entombment,
c. 1603
http://cgfa.sunsite.dk/caravagg/p-caravag5.htm
Artemisia Gentileschi
(1593 ? c. 1653)
*Judith SlayingHolofernes,
c. 1614-20
http://sunsite.dk/cgfa/g/p-agentileschi2.htm
Annibale
Carracci (1560-1609)
Flight
into Egypt, 1603-4, (oil/canvas)
http://sunsite.dk/cgfa/carracci/p-carracc3.htm
Loves of the Gods, ceiling,
Palazzo Farnese, Rome, 1597-1601
Pietro da
Cortona (1596-1669)
*Triumph
of the Barberini,
ceiling fresco,
Palazzo Barberini, Rome, 1633-39
http://www.kfki.hu/~arthp/html/p/pietro/cortona/index.html |
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Chapter Review Questions
| 1. What are some of
the
political, economic and religious, scientific factors
that contributed to Baroque art and architecture?
2. What are the formal characteristics of the
Baroque
style?
Discuss the role of the viewer
as it pertains to Baroque art and architecture.
3. How does Bernini's design and sculpture for the
Cornaro
Chapel (fig. 24-1 and 24-8) exemplify
characteristics of Baroque art?
4. Compare and contrast Caravaggio's Entombment
(fig. 24-20) with Ruben's Raising of the Cross (fig. 24-34) in
terms of subject, lighting,
composition,
and audience envolvement.
5. Compare Bernini's David (fig. 24-7) with
Michelangelo's version of the same subject (fig. 22-13).
What Baroque elements does Bernini accentuate in his version?
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