Beruflich Dokumente
Kultur Dokumente
Paul
c. 1600
P/S: Southern Baroque Art
A: Caravaggio
L: Rome, Italy
M/T: oil on canvas
C: for Cerasi Chapel in the Roman church of Santa
Maria del Popolo
DT: in background, old hostler preoccupied w/ caring
for horse; eloquence & humanity depiction; stable
accident, not miracle=departs from typical
religious scenes painted
Ideas: illustrates the conversion of the Parisee Saul to
Christianity, when he became the disciple Paul
Death of the Virgin
c. 1600
P/S: Southern Baroque Art
A: Caravaggio
Pa: Laerzio Alberti
L: Louvre, Paris
M/T: oil on canvas
DT: figures near life-sized; Virgin surrounded by
overcome Mary Magdalen && apostles; dark
canvas, range of emotions
Ideas: rejected as unfit by the Parish; painting
recalls the Entombment in the Vatican in scope
Calling of St. Matthew
c. 1600
P/S: Southern Baroque Art
A: Caravaggio
L: San Luigi dei Francesi, Rome
M/T: oil on canvas
DT: light comes from 2 sources on right, creates
tenebroso effect on figures; diagonal shaft of
light points directly to St. Matthew (who points
unsure if Christ would select him); narrow stage
for figures to sit/stand
Ideas: Christ’s hand gesture = similar to Adam’s on
Sistine chapel; foppishly dressed=cutting-edge
Baroque fashion; slight halo=sanctity of scene
Entombment
c. 1600
P/S: Southern Baroque Art
A: Caravaggio
L: Vatican Museum, Rome
M/T: oil on canvas
F: visualization of transubstantiation (effect of turning
Eucharist meal into blood & body of Jesus)
DT: Christ’s body placed in grave, painting over an altar
so Christ is symbolically being placed on the altar;
figures pushed forward the picture plane, stone slab
come in forward toward the picture frame;
Nocodemus; figure looking at us = Caravaggio
himself; common figure drawn w/o aura of holiness
Ideas: transubstantiation rejected by Protestants
Judith and Maidservant w/ the Head of
Holofernes
c. 1625
P/S: Southern Baroque Art
A: Gentileschi
L: Uffizi, Florence
M/T: oil on canvas
DT: dramatic lighting, emotional pathos
Ideas: face of Judith a self-portrait, as she identified
with Old Testament heroines; Gentileschi raped
by male patron—event that went to trial;
Gentileschi specialized in painted images of
women triumphing over men; influence of
Caravaggio in the tenebrism of gory details
Judith Slaying Holofernes
c. 1625
P/S: Southern Baroque Art
A: Gentileschi
L: Uffizi, Florence
M/T: oil on canvas; tenebrism (“dark” subject matter)
DT: dramatic lighting, emotional pathos
Ideas: face of Judith a self-portrait, as she identified with
Old Testament heroines; Gentileschi raped by
male patron—event that went to trial; Gentileschi
specialized in painted images of women
triumphing over men; influence of Caravaggio in
the tenebrism of gory details; story from
Apocryphal work of Old Testament, the Book of
Judith—Judith charms Holofernes (enemy) w/
charm, when he’s asleep, she cuts off his head w/
maid’s help
Loves of the Gods
c. 1600
P/S: Southern Baroque Art
A: Carracci
L: Rome
M/T: fresco
C: Palazzo Farnese (palace ceiling)
DT: barrel vaulted ceiling combines w/ quadro
riportato w/ di sotto in su painting, idealized
bodies in variety of poses, vigorous movements,
rich color, figures overlap the painted & stucco
frames (sitting, hands over)
Ideas: loves of the gods played out in bacchanalian
abandon on the ceiling, rich colors inspired by
the Venetians
Triumph of the Barberini
c. 1633-1639
P/S: Southern Baroque Art
A: Pietro da Cortona
L: Palazzo Barberini, Rome
M/T: fresco
DT: easy movement of figures in open space
unified by extensive use of light & figure
Ideas: naturalist trend in painting; di sotto in
su; symbols of Barberini family include
bees & laurel wreaths
Los Borrachos
c. 1650
P/S: Southern Baroque Art
A: Velazquez
Pa: Philip IV
L: Museo del Prado, Madrid
M/T: oil on canvas
DT: scene in which God Bacchus crowns w/ crown of
leaves one of seven men around him; semi-
mythological character observes the scene
Ideas: alcohol seen as escape from daily life
Juan de Pareja
c. 1650
P/S: Southern Baroque Art
A: Velazquez
Pa: Juan de Pareja
L: Metropolitan Museum of Art, New York City
M/T: oil on canvas
F: portrait
DT: restricted palette of colors
Ideas: painted as a practice prior to portrait for
Pope Innocent X; to compensate for restricted
colors, loose, almost impressionistic style adopted
Las Meninas
c. 1650
P/S: Southern Baroque Art
A: Velazquez
L: Prado, Madrid
M/T: oil on canvas
C: originally in Philip IV’s study
DT: Velazques/ chross of Royal Order of Santiago,
elevating him to knighthood; group portrait of artist in
his studio @ work; he steps back from canvas & looks
@ us; light & dark contrast; dappled effect of light on
shimmering surfaces
Ideas: central=Infanta Margharita of Spain w/ her
meninas/attendants, dog, dwarf, & midget; 2
chaperones in half-shadow; @ doorway = Jose Nieto
(head of queen’s Tapestry works); king & queen in
mirror
Water Carrier of Seville
c. 1650