Baroque Art 1600-1800 Lesson PDF

BAROQUE ART 1600-1800  HISTORY OF BAROQUE the term Baroque probably derived from the Italian word barocco, which philosophers used during the Middle Ages to describe an obstacle in schematic logic. Another possible source is the Portuguese word barroco (Spanish barrueco),...

BAROQUE ART 1600-1800  HISTORY OF BAROQUE the term Baroque probably derived from the Italian word barocco, which philosophers used during the Middle Ages to describe an obstacle in schematic logic. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque ARCHITECTURE, PAINTING, AND SCULPTURE  GUESS THE SCRAMBLED LETTER OLEEMLCINGHA SIRMEI MICHELANGELO MERISI  Michelangelo Merisi da Caravaggio (also Michele Angelo Merigi or Amerighi da Caravaggio; /ˌkærəˈvædʒioʊ/, US: /- ˈvɑːdʒ(i)oʊ/; Italian: [mikeˈlandʒelo me ˈriːzi da (k)karaˈvaddʒo]; 29 September 1571 – 18 July 1610), known mononymously as Caravaggio, was an Italian painter active in Rome for most of his artistic life.  Born 29 September 1571 Milan, Duchy of Milan Died 18 July 1610 (aged 38) Porto Ercole, State of the Presidi Education Simone Peterzano Known for Painting  STILL LIFE It depicts a wicker basket heaped with various fruit and vegetables sitting on a stone table, caught in Caravaggio's usual strong yet mellow shaft of light falling from top left, "as if through a hole in the ceiling.  SUPPER AT EMMAUS The painting depicts the moment when the resurrected but incognito Jesus reveals himself to two of his disciples (presumed to be Luke and Cleopas) in the town of Emmaus, only to soon vanish from their sight (Gospel of Luke 24: 30–31). Cleopas  THE CONVERSION OF ST. PAUL the painting records the moment when Saul of Tarsus, on his way to Damascus to annihilate the Christian community there, is struck blind by a brilliant light and hears the voice of Christ saying, "Saul, Saul, why persecutest thou me?...And they that were with me saw indeed the light, and were afraid, but they heard not the voice..." (Acts 22:6- 11). Elsewhere Paul claims to have seen Christ during a vision, and it is on this basis that he grounds his claim be recognised as an Apostle: "Have I not seen Jesus Christ our Lord?" (I Corinthians 9:1). IGAN ORZNELO INNIRBE GIAN LORENZO BERNINI 1598-1680  Gian Lorenzo Bernini (born December 7, 1598, Naples, Kingdom of Naples [Italy]— died November 28, 1680, Rome, Papal States) was an Italian artist who was perhaps the greatest sculptor of the 17th century and an outstanding architect as well. Bernini created the Baroque style of sculpture and developed it to such an extent that other artists are of only minor  DAMNED SOUL Damned Soul (Italian: Anima dannata) is a marble sculpture bust by the Italian artist Gian Lorenzo Bernini as a pendant piece to his Blessed Soul.  The Blessed Soul (Italian: Anima Beata) is a bust by the Italian artist Gian Lorenzo Bernini. Executed around 1619, it is a pendant piece to the Damned Soul. Their original location was sacristy of the church of San Giacomo degli Spagnuoli, but they were then moved in the late 19th century, and then to the Spanish Embassy to the Holy See in Piazza di Spagna The set may have been inspired by prints by Karel van Mallery, although they were initially categorized as nymph and satyr.  DAVID The sculpture shows a scene from the Old Testament First Book of Samuel. The Israelites are at war with the Philistines whose champion, Goliath, has challenged the Israelite army to settle the conflict by single combat. The young shepherd David has just taken up the challenge, and is about to slay Goliath with a stone from his sling:  ECSTACY OF ST. TERESA The Ecstasy of Saint Teresa (also known as Saint Teresa in Ecstasy; Italian: L'Estasi di Santa Teresa or Santa Teresa in estasi) is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome. ETPRE UALP NREBUS PETER PAUL RUBENS 1577-1640  Born 28 June 1577 Siegen, Nassau-Dillenburg, Holy Roman Empire Died 30 May 1640 (aged 62) Antwerp, Spanish Netherlands Nationality Flemish Education Tobias Verhaecht Adam van Noort Otto van Veen Known for Painting, drawing, tapestry design, print design  He is well known for his painting of mythical and figurative subjects His commissioned works were mostly religious subjects, history painting of magical  SAMSON AND DELILAH Rubens depicts the moment when, Samson having fallen asleep on Delilah's lap, a young man cuts Samson's hair. Samson and Delilah are in a dark room, which is lit mostly by a candle held by an old woman to Delilah's left. Delilah is shown fully dressed, but with her breasts exposed. Her left hand is on top of Samson's right shoulder, as his left arm is draped over her LANDSCAPE WITH A TOWER  THE THREE GRACES In Greek mythology, the Charites (/ˈkærɪtiːz/; Ancient Greek: Χάριτες) or Graces were three or more goddesses of charm, beauty, nature, human creativity... he painting was held in the personal collection of the artist until his death, then was purchased by king Philip IV of Spain and in 1666 it went to the Royal Alcazar of Madrid, before hanging in the Museo del Prado.  PORTRAIT OF HELENE FOURMENT in 1630, Peter Paul Rubens married Helena Fourment, the daughter of a rich silk-and-rug merchant from the city of Antwerp. It was around this time that the painter’s second wife, who was thirty-six years his half-sister, began to appear frequently in the artist’s work in both compositions of a mythological nature and individual and family portraits.  Title: Portrait of Helena Fourment Creator: Peter Paul Rubens Date Created: c. 1630-32 Location Created: Flanders Physical Dimensions: 186 x 85 cm Medium: Oil on panel  REMBRANDT HARMENSZOON VAN RIJN 1606-1669 Born 15 July 1606 Leiden, Dutch Republic Died 4 October 1669 (aged 63) Amsterdam, Dutch Republi Known for Painting, printmaking, drawing Notable work:Self-portraits The Anatomy Lesson of Dr. Nicolaes Tulp (1632) Belshazzar's Feast The Night Watch (1642) The Hundred Guilder Print (etching, c. 1647–1649) Bathsheba at Her Bath (1654) Syndics of the Drapers' Guild (1662) Movement Dutch Golden Age Baroque Spouse Saskia van Uylenburgh ​ ​(m. 1634; died 1642)​ Children Titus and Cornelia Signature  SELF-PORTRAIT This is a portrait of studied spontaneity. His parted lips, tilted head, and leaning posture all evoke a moment of surprise and sudden animation, crafting a more dramatic encounter with the viewer. He wears what can best be described as a costume, culled from his collection of  Artist Rembrandt van Rijn Year 1629 Type Oil on wood Dimensions 44 cm × 34 cm (17.5 in × 13.5 in) Location Indianapolis Museum of Art, Indianapolis DIEGO VELASQUEZ 1599-1660  Born Diego Rodríguez de Silva y Velázquez Seville, Spain Baptised 6 June 1599 Died 6 August 1660 (aged 61) Madrid, Spain Known for Painting Notable work The Surrender of Breda (1634– 35)  Velázquez's paintings became a model for 19th century realist and impressionist painters. In the 20th century, artists such as Pablo Picasso, Salvador Dalí, and Francis Bacon paid tribute to Velázquez by re-interpreting some of his most iconic images.  THE SURRENDER OF BREDA The Surrender of Breda depicts a military victory, the 1624 Siege of Breda, during the Eighty Years War. This war began due to a revolt against Philip II of Spain by the Seventeen Provinces, which today includes the Netherlands, Belgium and Luxembourg. Velázquez captured the end of the battle, as he also differentiated the two sides: the Dutch and the Spanish. The painting presents the Spanish as a strong force, while including both sides of the battle and depicting facial