Latin America, a great source of wealth for Europe, especially Spain, was the main destination of the millions of people enslaved and taken out of Africa between 1500 and The U.S. received about 523,000 enslaved immigrants. Cuba alone got more. Spanish America absorbed around 1.5 million and Brazil at least 3.5 million.
Of Popes, Peasants, Monarchs, and Merchants: Baroque Art 17 th
and Early 18 th Centuries in the West Europe in the 17 th Century,
after the treaty of Westphalia in 1648 ended the 30-Year War.
Europes power, trade, and financial markets are now world wide.
Latin America, a great source of wealth for Europe, especially
Spain, was the main destination of the millions of people enslaved
and taken out of Africa between 1500 and The U.S. received about
523,000 enslaved immigrants. Cuba alone got more. Spanish America
absorbed around 1.5 million and Brazil at least 3.5 million.
GIANLORENZO BERNINI (Italian, ), David, Marble, approx. 5 7 high.
Galleria Borghese, Rome. Bernini was influenced by Hellenistic
sculpture like this one, The Dying Gaul, c. 200 BC. (Roman copy),
Bernini, Self-Portrait, about 1625 GIANLORENZO BERNINI (Italian, ),
David, Marble, approx. 5 7 high. Galleria Borghese, Rome.
Diskobolos, 5 th c. Roman copy of Greek original Michelangelo,
Bound Slave, c. 1513 MICHELANGELO, David, 15011504. Marble, 13 5
high. DONATELLO, David, 1420s-1450s, bronze, 5 2 high. First
freestanding nude since antiquity BERNINI (Italian, ), David,
Marble, approx. 5 7 high. Galleria Borghese, Rome. BERNINI, Ecstasy
of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome,
Italy, 16451652. Marble, height of group 11 6. Detail: face of
Teresa Cornaro family busts in niches on sides, praying devoutly
and acting as witnesses to the holy drama. Teresa is experiencing a
transfiguring coma, the so-called Sleep of God, described by
mystics, in which a glimpse of Heavens glory is received. Mystics
like Teresa would pray for days, often unfed, to achieve such
visions. FRANCESCO BORROMINI, Chapel of Saint Ivo, College of the
Sapienza, Rome, Italy, begun Italian Baroque GUARINO GUARINI,
Palazzo Carignano, Turin, Italy, 16791692. Compare Baroque
architecture of Borromini and Guarini with Italian Renaissance
design of MICHELANGELO, Museo Capitolino, Capitoline Hill, Rome,
Italy, ca. 1537, not completed until the 17 th century. Compare
Baroque with Renaissance neo-classicism: ANDREA PALLADIO, Villa
Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 15661570,
one of the most influential architectural prototypes for the next
five hundred years. GUARINO GUARINI, Chapel of Santissima Sindone
(view into dome), Turin, Italy, 16671694. Compare Renaissance dome
of SantEligio degli Orefici (view into dome), Rome, Italy,
attributed to BRAMANTE and RAPHAEL, ca. 1509; reconstructed ca
CARAVAGGIO (Michelangelo Merisi, Italian, ), Conversion of Saint
Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, Italy, ca Oil on
canvas, approx. 7 6 x 5 9. Use of perspective, low horizon line,
and tenebrism brings the viewer into the experience. Theatricality
is a hallmark of the Baroque. CARAVAGGIO, Calling of Saint Matthew,
Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, ca.
15971601. Oil on canvas, 11 1 x 11 5. What role does light play in
this painting? Detail from The Creation of Adam, Michelangelo,
Sistine Chapel, c. 1511 Details (Matthew & Jesus) from
Caravaggios Calling of St. Matthew, Italian Baroque c. 15971601
ARTEMISIA GENTILESCHI (Italian, ), Judith Slaying Holofernes, ca.
16141620. Oil on canvas, 6 6 1/3 x 5 4. Galleria degli Uffizi,
Florence. Caravaggista theatricality, tenebrism and drama Poor
restoration has Removed the furrows from the women's foreheads that
indicated intense concentration and effort. Compare (left)
Gentileschis Judith Slaying Holofernes ( ) and Caravaggios Judith
Beheading Holofernes PIETRO DA CORTONA (Italian, ), Triumph of the
Barberini, ceiling fresco in the Palazzo Barberini, Rome, Italy,
16331639. Commissioned by Pope Urban VIII of the Barberini family.
What does the fresco tell you about the Counter-Reformation? DIEGO
VELZQUEZ (Spain, ), Water Carrier of Seville, ca (The artist was
around 20 years old.), Oil on canvas, 3 5 1/2 x 2 7 1/2. Wellington
Museum, London. Shows influence of Caravaggio. Know term: genre
DIEGO VELZQUEZ, Las Meninas (The Maids of Honor), Oil on canvas,
approx. 10 5 x 9. Museo del Prado, Madrid. CARAVAGGIO, Calling of
Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome,
Italy, ca. 1597 Oil on canvas, 11 1 x 11 5. Compare the
representation and role of light in Caravaggio and Velazquez.
Self-portrait of Diego Velzquez a detail in Las Meninas. He is
wearing the cross of the Order of Santiago that he was awarded in
According to legend, the king himself painted the cross. PETER PAUL
RUBENS (Flemish, ), Arrival of Marie de Medici at Marseilles,
16221625. Oil on canvas, approx. 5 1 x 3 9 1/2. Louvre, Paris. One
of 21 vast canvases for the queens new Luxembourg palace in Paris.
Ostentation and elaborate spectacle REMBRANDT VAN RIJN (Dutch, ),
The Company of Captain Frans Banning Cocq (Night Watch), Oil on
canvas (cropped from original size), 11 11 x 14 4. Rijksmuseum,
Amsterdam. REMBRANDT VAN RIJN, Self-Portrait, ca. 16591660. Oil on
canvas, approx. 3 8 3/4 x 3 1. Kenwood House, London. How is light
used for psychological purposes? Rembrandt, Self Portrait, 1629 (23
years old) What formal means does Rembrandt use to focus our
attention on the face? Is this really by Rembrandt? Read Assessing
Authenticity: The Rembrandt Research Project. REMBRANDT VAN RIJN,
Christ with the Sick around Him, Receiving the Children (Hundred
Guilder Print), ca Etching, approx. 11 x 1 3 1/4. Pierpont Morgan
Library, New York. Etching was perfected in the early 17 th
century. How is it different from engraving? What possibilities did
it open up for the art market? JAN VERMEER, Woman Holding a
Balance, c. 1664; Oil on canvas, 40.3 x 35.6 cm; National Gallery
of Art, Washington D.C. Protestant piety and prosperity JAN
VERMEER, Young Woman with a Water Pitcher, c ; Oil on canvas, 18 X
16 in. Metropolitan Museum of Art, New York JAN VERMEER, Allegory
of the Art of Painting, 16701675. Oil on canvas, 4 4 x 3 8.
Kunsthistorisches Museum, Vienna. Vermeers probable use of the
camera obscura First representation of a Camera obscura, 1544 JAN
VERMEER, Allegory of the Art of Painting, 16701675. NICOLAS POUSSIN
(French, ) Et in Arcadia Ego (Even in Arcadia I am present), ca Oil
on canvas, approx. 2 10 x 4. Louvre, Paris. Classicism aims at
evenness and moderation in all things. (Poussin) NICOLAS POUSSIN,
Burial of Phocion, Oil on canvas, approx. 3 11 x 5 10. Louvre,
Paris. From Plutarchs Life of Phocion (an Athenian general). A
noble landscape for a noble theme the Grand manner Compare Poussin
1648 Burial of Phocion with Rubens 1625 Arrival of Marie de Medici.
Both Baroque painters HYACINTHE RIGAUD (French, ) Louis XIV, Oil on
canvas, approx. 9 2 x 6 3. Louvre, Paris. French Baroque Art in the
service of Absolutism: The Sun King Aerial view of palace at
Versailles, France, begun 1669, and a portion of the gardens and
surrounding area. French Baroque JULES HARDOUIN- MANSART and
CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of
Versailles, Versailles, France, ca Controlling nature Gardens of
Versailles LOUIS LE NAIN (French Baroque era, ca ), Family of
Country People, ca Oil on canvas, approx. 3 8 x 5 2. Louvre, Paris.
Genre scene
