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61 Cards in this Set
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baroque (adj) |
relating to or denoting a style of European architecture, music, and art ofthe 17th and 18th centuries that followed mannerism and is characterized by ornatedetail from French (originally designating apearl of irregular shape) highly ornate and extravagant in style |
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features of baroque art |
exaltation of energy and drama, a love of pomp and ostentation, a cultivationof elements of surprise, and a powerful appeal to the senses. The artists favoreddramatic light and dark contrasts, sumptuous colors, and an animation suggestive ofof whirling masses in space |
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Tenebrism |
Extreme contrasts of light and dark that “spotlight” either anindividual, a group or an object Both tenebrism and chiaroscuro enhanced a sense of theatricalityand three-dimensionality |
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Chiaroscuro |
Strong contrasts of light and dark Both tenebrism and chiaroscuro enhanced a sense of theatricalityand three-dimensionality |
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Gianlorenzo Bernini Baldacchino Roman Italian Gilt bronze100’ tallSaint Peter’s Basilica, Vatican, Rome |
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Gianlorenzo BerniniRoman Italian Ecstasy of Saint Theresa1645-42 Marble (life-size) Bernini endeavored to suggest with utmost plausibility themoment of maximum dramatic intensity |
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CaravaggioItalian, Roman1573-1610The Deposition of Christ1602-03oil on canvas9’8” x 6’7”Vatican, Rome |
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Key Characteristics of Caravaggio’s Work |
1. Compact groupings of figures 2. Solid modeling of bodies 3. Earthbound details: dirty feet and toenails 4. Concentrated lighting and uniform color 5. Asymmetrical composition based on curving figures and receding diagonals 6. Graceful rhythmic qualities and magnetic-like lines of force |
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CaravaggioItalian, Roman The Conversion of Saint Paul onthe Way to Damascus1601oil on canvas91” x 69”Santa Maria del Popolo, Rome |
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CaravaggioItalian, Roman The Supper at Emmaus1601oil on canvas55.5” × 77”National Gallery, London |
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Velázquez: The Spanish Golden Age (The Defeat of the Armada, 1588The Triumph of Pragmatism over Tradition) |
Anglican Church was torn between lingering RomanCatholic sentiment and Calvinist Puritanism and capitalism. Threat from the Spanish cemented it in favor of the latter. Elizabeth I supported the Dutch struggle for independence from Spain insomuch as it benefitedEngland, but Dutch commercial and seafaringprowess was understood as a potential threat. |
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Diego VelázquezSpanish Pope Innocent X1650oil on canvas19.3” x 16.6”49.2 x 41.3 cm “Innocent was notoriously ugly and fromcomparison with other portraits it is clear thatVelázquez idealized his physical features, butdid not hide the wily and indomitable characterfeared by his contemporaries.” |
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Diego VelázquezSpanish1599-1660 Philip IV of Spain1644oil on canvas |
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Velázquez Infante Baltasar Carlos on Horseback oil on canvas “Scholars believe that only this painting and PhilipIV on Horseback are entirely on by Velázquez’shand. Infante Baltasar Carlos onHorseback possesses a vitality and energy absentfrom the other portraits. The exaggeratedcurve of the horse’s belly might be explained by adeliberate calculation that the portrait would havebeen seen from below.” |
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Diego VelázquezSpanish1599-1660 The Feast of Bacchus (Los Borrachos)1629oil on canvas |
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Diego VelázquezSpanish1599-1660 Don Gaspar de Guzmán, Count-Duke of Olivares1635-36oil on canvas |
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VelázquezSpanish1599-1660 The Surrender of Breda1634-35oil on canvas |
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Velázquez The Family of Philip IV (Las Meninas) as one approaches the canvas, the marvelousillusion, Velázquez’s claim to immortality,dissolves into paint. With seemingeffortlessness, he built the image using theminimum means possible…It is perhaps thegreatest tour de force in Western painting. Insubject and execution, it is as the Frenchphilosopher Michel Foucault wrote in 1966, therepresentation of representation.” |
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VelázquezSpanish1599-1660 Philip IV of Spain in Brown and Silver |
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Velázquez Infante Baltasar Carlos as a Hunterdetail Baltasar Carlos lanced wild boar from his earlychildhood, with a skill admired by all who saw himin action. The exercise of hunting was consideredan essential part of a prince’s education |
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Velázquez Christ on the Cross oil on canvas The figure is very beautiful and very real, itscorporeity emphasized by play oflight across the flesh and shadow castagainst neutral background. Closely croppedand controlled by geometry, the crossseems suspended and the image takes on atimeless reality.” |
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VelázquezSpanish1599-1660 Juan de Pareja, Velázquez’s African Servant |
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VelázquezSpanish The Fable of Arachne (The Spinners)1656-58oil on canvas |
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VelázquezSpanish1599-1660 Archbishop Fernando de ValdésCirca 1640-45oil on canvas |
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Velázquez Francisco Lezcano 1. “endowed with monumentality, equalizing his relationship to the full-sized world.” 2. looking down on the viewer 3. Possibly at the entrance of a cave, “symbol of the unknowable.” 4. penetrating unfocused gaze 5. “The vague connection to the viewer is echoed in the unsteady tilt of the head back and tothe side, and in the open mouth that drifts between smile and stupor. 6. Deck of cards “as a metaphor for mindlessness” |
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Velázquez The Toilet of Venus 1. reflecting ciaroscuro, figures stand out 2. soft and painterly forms 3. greater concern for elegance than realism |
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Peter Paul RubensGerman-Flemish1577-1640The Rape of the Daughters of Leucippus1618oil on canvas |
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Notes on Rubens |
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Rembrandt Harmenz van Rijn Dutch 1606-1669 Self Portrait as a Young Man |
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Rembrandt Harmenz van RijnDutch1606-1669Self Portrait |
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Rembrandt Harmenz van RijnDutch1606-1669Self Portrait at an Easel1660 |
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Rembrandt Harmenz van RijnDutch1606-1669Hendrickje Stoffels in Bed1640soil on canvas laid on panel |
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Rembrandt Harmenz van RijnDutch1606-1669Head of a Laughing Man1628 |
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Rembrandt Harmenz van RijnDutch1606-1669The Anatomy Lecture ofDr. Nicholas Tulp1632 |
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Rembrandt Harmenz van RijnDutch1606-1669The Anatomy Lecture ofDr. John Deyman |
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Rembrandt Harmenz vanRijnDutch1606-1669The Night Watch1642 |
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Rembrandt Harmenz van RijnDutch1606-1669The Syndics of theClothworkers Guild1662 |
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Rembrandt Harmenz van RijnDutch1606-1669The Syndics of theClothworkers Guild1662 |
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Notes on Rembrandt’s Bathsheba |
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Rembrandt Harmenz van RijnDutch1606-1669Woman Bathing1654 |
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Rembrandt Harmenz van RijnDutch1606-1669The Stone Bridge1638 |
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Rembrandt Harmenz van RijnDutch1606-1669The Slaughter House |
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Jan VermeerDutch1632-1675View of Delft1660-61oil on canvas |
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Notes on Vermeer |
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Jan VermeerDutch1632-1675The Milkmaid |
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Jan VermeerDutch1632-1675Young Woman with a Water Jug |
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Jan VermeerDutch1632-1675The Girl With a Pearl Earring |
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Jan VermeerDutch1632-1675The Allegory of Painting |
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Jan VermeerDutch1632-1675The Girl with a Red Hat |
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Notes on The Girl with a Red Hat |
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Nicolas PoussinFrench1593-1665Eliezer and Rebecca1648oil on canvas |
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Notes on Poussin |
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Après moi le déluge. |
After me the deluge. Attributed to Louis XV |
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Notes on the Rococo |
Irregularly scalloped curves, more complex and less vigorous than those of the 17th centuryPainterly technique and colors recalling RubensPastel, often sherbet-like huesEscapism through mythological (fantasy) subjectsContinuation of Baroque appeal to the sensesCandy-like effectsLove. Sexuality and overt eroticism |
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Jean-Antoine Watteau1684-1721Pilgrimage to Cythera1717Oil on Canvas |
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Jean-Antoine Watteau |
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François Boucher |
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François Boucher1703-1770Madame de Pompadour1750Oil on canvas |
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François Boucher1703-1770The Bath of Venus |
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Jean-Honoré Fragonard1732-1806Young Girl Reading |
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Jean-Honoré Fragonard1732-1806The Swing |