Religious movement is much of the Baroque art in Catholic countries associated: The Counter-Reformation.

List three adjectives or phrases that describe its style:

Dramatic theatricality.
Grandiose scale. Elaborate ornateness.

Carlo Maderno Santa Susana Rome, Italy

1597-1603

Giacomo della Porta faade of Il Ges Rome, Italy

ca. 1575-1584

Three ways in which Maderns Early Baroque church of Santa Susanna Three which Madern sGesu: Early Baroque church of Santa Susanna resembles the differsways fromin the church of Il
church Il Gesu: The of faade has a greater verticality, concentrating and dramatizing the major Each building has scroll buttresses connecting the upper and lower levels of the faade. features of its model. Each building has two pediments, one for each story. The faade s tall central section from the horizontal lower story. Sculptures in niches frame the centralprojects doorway forward in each building. Strong shadows cast by the vigorously projecting columns and pilasters mount dramatically toward the emphatically stressed central axis.

Carlo Maderno Santa Susana Rome, Italy

1597-1603

Giacomo della Porta faade of Il Ges Rome, Italy ca. 1575-1584

Carlo Maderno Santa Susana Rome, Italy

1597-1603

Four architects who worked on St. Peter's and note the primary contribution of each.
Donato dAngelo Bramante: The original plan and the concept of a hemispherical dome. Michelangelo: The reduced plan and the ogival dome with drum. Carlo Maderno: the faade. Gianlorenzo Bernini: the colonnaded piazza.

Carlo Maderno Aerial view of Saint Peters Vatican City, Rome, Italy
1506-1666

Baldacchino Canopy-like structure on columns, frequently built over an altar.

Gianlorenzo Bernini

baldacchino Saint Peters

Vatican City, Rome, Italy
1624-33 gilded bronze approximately 100 ft. high

Gianlorenzo Bernini
Scala Regia Vatican City, Rome, Italy
1663-1666

Four major characteristics of Bernini's sculpture that are typical of Baroque art in general.
Expansive and theatrical. The element of time usually plays an important role. Dynamic quality conveying a bursting forth of energy. Refusal to limit itself to firmly defined spatial settings.

Gianlorenzo Bernini David

1623 marble approximately 5 ft. 7 in. high

Gianlorenzo Bernini David

1623 marble approximately 5 ft. 7 in. high

Michelangelo's is shown depict before,David Bernini's is during and Donatello's is after the as fight Michelangelo and Bernini as more of thoughts a man, Donatello shows him a young Michelangelo's Bernini Donatello's is working is musculature bronze, in a more the is other baroque consistent 2 are style, marble. with combing the motion of and the concentration Renaissance: a (in look Donatello's is very early Renaissancehe is going towards more realistic features, as is seen with Goliath. boy, also lots of sexual symbolism in Donatello's, like the feather from Goliath's hat back David's idealized face) stomach to achieve figures a and dynamism tension-creating in the work scenesnot found he hasn't in the fought earlier yet, we still don't in the at pouchy and saggy behind of David. running up David's inner thigh. know what will happen.

Donatello

Bernini Michelangelo Buonarroti

Gianlorenzo Bernini interior of the Cornaro Chapel Santa Maria della Vittoria, Rome, Italy
1645-1652

Bernini depiction of the vision of St. Theresa:

As light (shining from behind a hidden window of yellow glass) pouring down on bronze rays suggesting the radiance of Heaven.

Gianlorenzo Bernini

Ecstasy of Saint Theresa

Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy
1645-1652

Who developed the sculptural architectural style to its extreme? Francesco Borromoni.

Francesco Borromini faade of San Carlo alle Quattro Fontane Rome, Italy
1665-1676

Two buildings designed by him.

San Carlo alle Quattro Fontane. Chapel of Saint Ivo. Both are located in the city of Rome.

Francesco Borromini

faade of San Carlo alle Quattro Fontane

Rome, Italy
1665-1676

While the circle had been the ideal geometric figure to Renaissance architects, Baroque planners preferred the oval.

Francesco Borromini plan of San Carlo alle Quattro Fontane Rome, Italy
1665-1676

They preferred the oval because the oval is a more dynamic form of the circle, creating an interior that appears to flow from entrance to altar, unimpeded by the segmentation characteristic of Renaissance buildings.

Francesco Borromini

dome of San Carlo alle Quattro Fontane

Rome, Italy
1665-1676

Francesco Borromini

Chapel of Saint Ivo College of the Sapienza

Rome, Italy
begun 1642

Francesco Borromini

plan of the Chapel of Saint Ivo College of the Sapienza

Rome, Italy
begun 1642

Francesco Borromini

dome of the Chapel of Saint Ivo College of the Sapienza

Rome, Italy
begun 1642

Francesco Borromini

dome of the Chapel of Saint Ivo College of the Sapienza

Rome, Italy
begun 1642

Guarino Guarini Palazzo Carignano Turin, Italy

1679-1692

Guarino Guarini Palazzo Carignano Turin, Italy

1679-1692

Guarino Guarini Chapel of Santissima Sindone Turin, Italy

1667-1694

Guarino Guarini Chapel of Santissima Sindone Turin, Italy

1667-1694

Bramante and Raphael Dome of Sant Eligio degli Orefici Rome, Italy
ca. 1509, reconstructed ca. 1600

Three characteristics of Caravaggio's style.

Injected naturalism into both religious and classical subjects with unidealized figures. Sharply, dramatically lit figures emerging from a dark background. Invites the viewer to participate in the scene.

Caravaggio Conversion of Saint Paul Cerasi Chapel, Santa Maria del Popolo Rome, Italy
ca. 1601 oil on canvas approximately 7 ft. 6 in. x 5 ft. 9 in.

The common purpose of Caravaggio's Conversion of St. Paul and Bernini's The Ecstasy of St. Theresa:
To produce the representation of a vision, using actual light from each chapels
windows.

Gianlorenzo Bernini Ecstasy of Saint Theresa

Caravaggio Conversion of Saint Paul

Caravaggio Caravaggio attempted to compel the viewer accomplished thiss interest and involvement by using pictorialin the scene in such his religious devices as pictures. showing action taking place in the foreground; low horizon line; dramatic light.
Caravaggio Calling of Saint Matthew Contarelli Chapel, San Luigi dei Francesci Rome, Italy
ca. 1597-1601 oil on canvas 11 ft. 1 in. x 11 ft. 5 in.

Tenebroso Shadowy manner of dark settings enveloping their occupants.

Caravaggio David Victorious over Goliath

oil on canvas 43 1/4 x 35 7/8 in.

Caravaggio Entombment Chapel of Pietro Vittrice, Santa Maria in Vallicella Rome, Italy
ca. 1603 oil on canvas 9 ft. 10 1/8 in. x 6 ft. 15/16 in.

Self-Portrait as a Martyr

Characters from the Apocryphal Book of Techniques: Judith; Holofernes was an Assyrian general Artemesia uses tenebrism, spurting who was seduced bystrain Judith and blood, the physical of thethen beheaded by her. with the sword, and women struggling controlled highlights on the action in the foreground to portray the drama of the theme.

Artemisia Gentileschi Judith Slaying Holofernes

ca. 1614-1629 oil on canvas 6 ft. 6 1/3 in. x 5 ft. x 4 in.

The artists most influenced the style of Artemesia Gentileschi was Caravaggio and her father, Orazio Gentileschi.

Judith Slaying Holofernes (Caravaggio). c. 1598-1599 Oil on canvas 1.44m by 1.92m Galleria Nazionale d'Arte Antica, Barberini, Rome.

One of Artemisia's best works, this scene is tense with imminent danger as Judith and Abra prepare to flee Holofernes's tent with his severed head. Dramatic and unusual chiaroscuro, especially the shadows Judith's hand casts on her face, together with vigilant expressions and posture, add urgency to the scene.

Artemisia Gentileschi Judith and her Maidservant

ca. 1612-1613 oil on canvas 44 7/8 x 36 13/16 in.

Artemisia chose another biblical theme picturing a woman slaying an aggressor. Sisera was a cruel Canaanite leader who ruled the Israelites for twenty years. Barak defeated his nine hundred charioteers by a surprise Israelite attack. Sisera escaped and sought refuge in the tent of Jael, wife of Heber the Kenite. She gave the terrified Canaanite sanctuary. When he fell asleep, she drove a tent peg into his brain. The act fulfilled the prediction of Debora, prophetess and Israelite leader, who foresaw that a woman would slay Sisera.

Jael and Sisera.

1620. Oil on canvas. 0.923m by 1.275m Szepmuveszeti Museum, Budapest.

Artemisia Gentileschi Susannah and the Elders

1610 oil on canvas 66 7/8 x 46 7/8 in.

Three assumptions that were basic to the teaching of art at the Bolognese academy. Art can be taught. The teaching of art must include the classical and Renaissance traditions. The teaching must also include the study of anatomy and life drawing.

Annibale Carracci is credited with developing the "classical" Its roots were the landscape backgrounds of Venetian or Renaissance "ideal" landscape paintings.

Annibale Carracci Flight into Egypt

1603-1604 oil on canvas 4 ft. x 7 ft. x 6 in.

Carracci achieved heightened illusionism as the chiaroscuro is not the same for both the paintings and the figures surrounding them. The painter modeled the figures inside the quadri in an even light. The outside figures seem to be lit from beneath, as if they were actual three-dimensional beings or statues illuminated from below.

Annibale Carracci Loves of the Gods Gallery, Palazzo Farnese Rome, Italy
1597-1601 fresco

Annibale Carracci Loves of the Gods Gallery, Palazzo Farnese Rome, Italy
1597-1601 fresco

quadro riportato Transferred frame painting, or simulation of easel painting for ceiling decoration. The framed pictures are flanked by polychrome figures who turn their heads to gaze at the scenes around them, and by Atlas figures painted to resemble marble statues.

Annibale Carracci Loves of the Gods, Triumph of Bacchus Gallery, Palazzo Farnese Rome, Italy
1597-1601 fresco

Annibale Carracci Loves of the Gods Polyphemus, Acis and Galatea Gallery, Palazzo Farnese Rome, Italy
1597-1601 fresco

Two influences blended by Reni in his Aurora fresco: Roman reliefs. Coins depicting emperors in triumphal chariots accompanied by flying Victories and other personifications.

Guido Reni Aurora Ceiling fresco in the Casino Rospigliosi, Rome, Italy
1613-1614 fresco

Pietro da Cortona Triumph of the Barberini ceiling fresco in the Gran Salone Palazzo Barberini, Rome, Italy
1633-1639 fresco

Three ways in which Pietro da Cortonas frescoed ceiling in the Palazzo Barberini praised his patron:
Divine Providence holds a crown of stars to bestow eternal life on the Barberini family.
The laurel wreath, another symbol of immortality.

The papal tiara and keys announcing the

personal triumphs of Urban VIII. Pietro da Cortona Triumph of the Barberini ceiling fresco in the Gran Salone Palazzo Barberini, Rome, Italy
1633-1639 fresco

Giacomo della Porta faade of Il Ges Rome, Italy

ca. 1575-1584

Three devices he used to achieve that effect: Gilded architecture opens up in the Effect Gaulli created with the a center of the ceiling to offer viewers glimpsehe of Heaven. fresco painted on the Jesus isof represented as a barely ceiling Il Ges in Rome: visible monogram in a blinding A dramatic, radiant light thattranscendent floats heavenward. Gaulli painted many of the sinners spiritual environment as well on three-dimensional extensions as the glory andstucco power of the that project outside the paintings Catholic Church. dome.

Giovanni Battista Gaulli Triumph in the Name of Jesus ceiling fresco with stucco figures in the vault of Il Gesu, Rome, Italy
1676-1679 fresco

The device did he use to merge heavenfor and earth wasin he The painter beside Gaulli who worked the Jesuits Rome illusionistically continued architecture into theof was Fra Andrea Pozzothe . Hechurchs painted own the ceiling of the church vault so that thein roof seems be lifted off. SantIgnazio Rome for to them.

Fra Andrea Pozzo Glorification of Saint Ignatius ceiling fresco with stucco figures in the nave of SantIgnazio, Rome, Italy
1691-1694 fresco

Fra Andrea Pozzo Glorification of Saint Ignatius ceiling fresco with stucco figures in the nave of SantIgnazio, Rome, Italy
1691-1694 fresco

The goal of many Ribera's style was Spanish Baroque influenced by the religious artists was to move viewers and to "dark manner" of encourage greater Caravaggio. devotion and piety. A theme that was particularly popular among them was death and martyrdom scenes.
Jos de Ribera Martyrdom of Saint Philip (Bartholomew)
ca. 1639 oil on canvas 7 ft. 8 in. x 7 ft. 8 in.

The type of lighting did Zurbaran use in his pating of Saint Serapion was Bright light shining on the figure with a dark background, to call attention to the saints death and to increase the dramatic impact of the image.

Francisco de Zurbarn Saint Serapion

1628 oil on canvas 3 ft. 11 1/2 in. x 3 ft. 4 3/4 in.

Francisco de Zurbarn Still Life with Pottery Jars

oil on canvas 18 1/8 x 33 1/8 in.

Francisco de Zurbarn Agnus Dei

oil on canvas 15 x 24 3/8 in.

Alonso Cano Saint Bernard and the Virgin

oil on canvas 105 1/8 x 72 7/8 in.

Bartolom Esteban Murillo The Immaculate Virgin of Soult

c. 1678 oil on canvas 107 7/8 x 74 3/4 in.

Velazquez was court painter to King Phillip IV.

Diego Velzquez Water Carrier of Seville

ca. 1619 oil on canvas 3 ft. 5 1/2 in. x 2 ft. 7 1/2 in.

Diego Velzquez Los Borrachos

ca. 1619 oil on canvas 64 3/8 x 87 7/8 in.

Velasquezs Surrender of Breda commemorate the Spanish victory over the Dutch in 1625.

Diego Velzquez Surrender of Breda

1634-1635 oil on canvas 10 ft. 1 in. x 12 ft. 1/2 in.

Diego Velzquez King Philip IV of Spain (Fraga Philip)

1644 oil on canvas 4 ft. 3 1/8 in. x 3 ft. 1/8 in.

subject of Las The composition extends in Meninas is in the Infanta depth both front of (through Margarita her gazes two of the the mirror with and the maids-in-waiting, her figures) and behind the painting favorite dwarfs, and a (through the open door). Form large dog, asare well as a and shadow represented man and a woman the of realistically. A greatin number background. intermediate values of gray come between lights and darks, instead of putting them side by side as Caravaggio did.

Diego Velzquez Las Meninas

1656 oil on canvas approximately 10 ft. 9 in. x 9 ft.

Diego Velzquez Las Meninas

1656 oil on canvas approximately 10 ft. 9 in. x 9 ft.

Diego Velzquez Las Meninas

1656 oil on canvas approximately 10 ft. 9 in. x 9 ft.

Diego Velzquez Las Meninas

1656 oil on canvas approximately 10 ft. 9 in. x 9 ft.