ArtH 3171 Baroque Art
UMM – Prof. Dabbs
Spring 2006
[Take-home
essay question at the bottom]
BERNINI & Baroque Sculpture
I.
Before Bernini:
Maderno, Sta.
Cecilia, 1600
II. Bernini’s
early masterpieces: (all for Card. Scipione Borghese)
Very good Bernini site (although not comprehensive)
Pluto and Proserpina, 1621-22
-
Frontal
view, color
-
fantastic
detail (check this out!)
compared
to: Giovanni da Bologna, Rape [Abduction] of the
Sabine Woman, 1579-83 [Mannerist
style; know differences with Bernini’s]
Apollo and Daphne,
1622-25
- another full view, color
- detail
of heads (beautiful!)
David, 1623-24
comp. to:
Michelangelo, David,
1505
Annib. Carracci, Polyphemus Enraged, Farnese
Gallery, 1605
II.
Bernini & Co.
at St. Peter’s:
Ground plan with locations
of art works (mainly, good to know locations of the 4 statues of saints
around the baldacchino – a diagram of this was given
out in class]
Bernini,
St. Longinus, 1629-38 [another image at http://www.artrenewal.org/asp/database/art.asp?aid=133&page=6 then page down]
Duquesnoy, St. Andrew,
1629-40
Mochi, St. Veronica,
1629-32
Andrea Bolgi, St. Helen, 1630-39
Bernini, The Baldacchino,
St. Peter's,
Bernini, The Throne of
St. Peter [aka Cathedra Petri], 1657-66 *page down at this site
Maderno, façade for
St. Peter’s, 1607-12
*this site
has useful additional info on St. Peter’s
Here’s a 17th-century painting
showing Bernini’s bell-towers
[just for fun; didn’t see this in class]
Bernini,
Colonnades for the Piazza of St. Peter's, 1656-67, (fig. 3.7 diagram)
Aerial view of St.
Peter’s/colonnades
[correction: there are 140
figures of saints on the colonnades, and while sculpted by other artists, they
are said “in large part” to have been based
on
Bernini’s designs (per Hibbard). Also, the columns themselves are 52.4’
high. Just fun facts, won’t be tested on
this info!]
Additional background on
Italy Cyberguide (good overview, includes plans)
Student website
(good),
Dropped: Bernini, Tomb Monument of Urban VIII, 1628-47
(Minor, fig.4.3)
IV.
The Ecstatic Baroque:
Bernini, Ecstasy
of St. Teresa, Cornaro Chapel, Sta. Maria
della Vittoria
(1647-52) Figs. 1.5, 5.14;
- good detail view
- my shot of most of the
chapel
Bernini, Blessed Ludovica
Albertoni, 1671-74 [page down at this site]
King Louis XIV:
Perrault, Le Vau, Le Brun,
The
Louvre (east façade), 1667-70
Bernini’s design for The Louvre
Le Vau & Le Nôtre, Vaux-le-Vicomte (chateau of N. Fouquet),
1657-61 (Minor, figs. 9.13,9.14):
Official website of
the chateau [great photos, including 360’s]
Le Vau, Le Nôtre & Le Brun, Palace
of Versailles, garden façade 1669-85 (Minor, figs. 8.28, 8.29, 8.30)
Girardon, Apollo
& the Nymphs of Thetis, 1666-75
Le Brun (paintings) and Hardouin-Mansart
(architecture), Galerie des Glaces[or, Hall of Mirrors] bg 1678 (fig. 8.31)
[page down at this website, it
will give you a 360 view of the hall]
Charles Le Brun, The King
Governs by Himself, 1681 (fig. 8.32)
[won’t be shown for slide IDs, not finding image]
[dropped] Rigaud, Portrait of Louis XIV, 1701 (fig. 2.13)
Terms: rectilinear; pavillion
Check
out the official website of the Chateau of Versailles if you’d
like!
Other Versailles links
The Gallery of Marie de’ Medici, Queen
of
All
paintings by Peter Paul Rubens, 1622-25, originally for the
See complete listing and links at: http://www.abcgallery.com/R/rubens/rubensbio.html#Life%20of%20Marie
Especially look at: The Education of M de Medici;
Henri IV
Receiving the Portrait of M de Medici
The Felicity of the Regency
The
Council of the Gods [we didn’t discuss these last two, but still
helpful for getting a further idea of the incredible lengths to which
Marie
promoted herself!]
THE BAROQUE PORTRAIT
I. Allegorical Portraits: Rubens, Portrait of Marie de’ Medici as Bellona, 1622 Rubens, Helene Fourment as Aphrodite, 1630s
Compared to: Titian, Woman in a Fur Coat, c1540 [don’t have to know] II. The “Speaking Likeness”
Frans Hals: (added): The Merry Drinker, 1628-30 Portrait of a Couple (Isaac Massa & Beatrix van der Laen – names optional for exam), 1622Dropped: Hals, The Laughing Cavalier, 1624
Bernini: Portrait of Scipione Borghese, 1632 Portrait of Costanza Bonarelli, 1636-37 III. The “Other”: Agostino Carracci, Hairy Harry, Mad Peter, and Amon the Dwarf, c.1600 [sorry, not great image quality] Ribera, Magdalena Ventura with her husband & son, 1631
Van Dyck, Queen Henrietta Maria with Jeffrey Hudson & Ape, 1633
Velazquez, Sebastian de Morra, c.1645
[will drop Velazquez, “El Primo” (Don Diego de Acedo), c.1636-8, don’t have to know for IDs] IV. More Velazquez:
Juan
de Pareja, 1649-50
Las Meninas [The Ladies-in-Waiting], 1656 *for discussion Friday - LOOK carefully at this complex painting; who, or what, is it about?
[see the
Web Gallery of Art for details]
REMBRANDT (“Soul Man” of the Baroque)
Self-portrait,
1630 [etching ]
The Artist
in his Studio, c1629
Self-portrait in Oriental Costume,
with Dog, 1631
[sorry this is a commercial site, but all I could find!]
Self-portrait
as the Apostle Paul, 1661
Self-portrait
[with Two Circles], c1663
Self-portrait,
1658 [Nat’l
The Anatomy
Lesson of Dr. Tulp, 1632
The
Night Watch [Frans Banning Cocq
Mustering His Company], 1642
Blinding
of Samson, 1636 (Fig. 1.7)
Woman
Bathing (Hendricke),
1654
The
Jewish Bride, c1665
Dropped: Return
of the Prodigal Son, c1665 [sorry about that, but here it is for
you to look at and enjoy anyways!]
Rembrandt or not? The Philospher, c1653
[see below]

Also check: Girl with Broom,
c.1646-51
Names/Terms: Rembrandt Research Project (click on for
website link)
etching; impasto;
connoisseur (person)/ connoisseurship (activity); history painting; provenance;
trony/tronie
*to know
– hierarchy of genres of painting;
Rembrandt’s style and its development;
Rembrandt and intentionality of self-portraits
GENRE
PAINTING:
Judith Leyster:
Self-portrait at Easel,
1630
The
Merry Company, c.1630
Young Flute Player,
c.1630-35
The Proposition, 1631
Compared to: Honthorst,
The Procuress,
1625 [don’t have to know the Honthorst for ID
purposes]
Jan
Steen:
The Dissolute Household, 1668
The Feast of
St. Nicholas, 1660
Dropped: The Drawing
Lesson, 1665
[don’t have to know his self-portrait, or The Severe Teacher]
[excellent
Vermeer site: //www.essentialvermeer.20m.com/
The Art of Painting, c.1664
Woman with Water
Pitcher, c1664
Woman Holding a
Balance, c.1662
Woman in Blue
Reading a Letter, 1662‑64
Girl with Pearl
Earring, c1665
[do not have to
know the other Vermeers seen in class]
STILL-LIFE PAINTING: News flash: as of 4/17 I have decided NOT to include this
section on the exam, so still life images have been dropped.
TAKE-HOME
ESSAY QUESTION
Due: Monday April 24, 5 p.m.
Format: 2-3 pages,
double-spaced; can email to me, so long
as successfully received by 5 p.m. Mon.!
Topic: “Persuasive Strategies in Baroque Art”
Discuss 3 works of art from
the second half of the course which you felt were particularly successful in
their attempt to persuade you, the viewer, of
something.
What message(s) did they successfully convey, and how was this visually
achieved? Then, wrap up this brief
essay by making a
concluding statement regarding how
Baroque artists used style to communicate a message to the viewer.
*For
your choice of works of art, DO NOT pick something complex like “St. Peter’s”
or “
seen on the exam (one from the
exam would be o.k.).
** You
can use your notes, and if necessary a Baroque textbook (Minor and Harris are
the ones on reserve); but also use your
own observations too, especially when it comes to talking about style!!
---------------------------- FINAL UPDATE MADE TO LIST AS
OF 4/17/06 --------------------------------------------------