Conversion of St. Paulc. 1600

P/S: Southern Baroque ArtA: CaravaggioL: Rome, ItalyM/T: oil on canvasC: for Cerasi Chapel in the Roman church of Santa

Maria del PopoloDT: 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 Virginc. 1600

P/S: Southern Baroque ArtA: CaravaggioPa: Laerzio AlbertiL: Louvre, ParisM/T: oil on canvasDT: 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. Matthewc. 1600

P/S: Southern Baroque ArtA: CaravaggioL: San Luigi dei Francesi, RomeM/T: oil on canvasDT: 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

Entombmentc. 1600

P/S: Southern Baroque ArtA: CaravaggioL: Vatican Museum, RomeM/T: oil on canvasF: 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. 1625P/S: Southern Baroque ArtA: GentileschiL: Uffizi, FlorenceM/T: oil on canvasDT: dramatic lighting, emotional pathosIdeas: 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 Holofernesc. 1625

P/S: Southern Baroque ArtA: GentileschiL: Uffizi, FlorenceM/T: oil on canvas; tenebrism (“dark” subject matter)DT: dramatic lighting, emotional pathosIdeas: 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 Godsc. 1600

P/S: Southern Baroque ArtA: CarracciL: RomeM/T: frescoC: 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 Barberinic. 1633-1639

P/S: Southern Baroque ArtA: Pietro da CortonaL: Palazzo Barberini, RomeM/T: frescoDT: easy movement of figures in open space

unified by extensive use of light & figureIdeas: naturalist trend in painting; di sotto in

su; symbols of Barberini family include bees & laurel wreaths

Los Borrachosc. 1650

P/S: Southern Baroque ArtA: VelazquezPa: Philip IVL: Museo del Prado, MadridM/T: oil on canvasDT: 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 Parejac. 1650

P/S: Southern Baroque ArtA: VelazquezPa: Juan de ParejaL: Metropolitan Museum of Art, New York CityM/T: oil on canvas F: portraitDT: restricted palette of colorsIdeas: painted as a practice prior to portrait for Pope Innocent X; to compensate for restricted colors, loose, almost impressionistic style adopted

Las Meninasc. 1650

P/S: Southern Baroque ArtA: VelazquezL: Prado, MadridM/T: oil on canvasC: originally in Philip IV’s studyDT: 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 Sevillec. 1650

P/S: Southern Baroque ArtA: VelazquezL: Wellington Museum, LondonM/T: oil on canvasDT: rounded volumes of the foreground figures, the

H2O jug; H2O sweetened by a fresh fig placed for flavor

Ideas: intense Caravaggio tenebrism; deceptively simple genre scene has a sacred quality (handling over of the glass, clarity of H2O

Burial of Count Orgazc. 1585

P/S: Southern Baroque Art/Later Northern RenaissanceA: El GrecoL: Santo Tome, Toledo, SpainM/T: oil on canvasDT: combination of Venetian color, Spanish

mysticism, Mannerist elongationIdeas: great philanthropist; saints descend from heaven to bury

him, tomb directly below painting, being placed directly into tomb; Count Orgz died 3 centuries before painting commissioned

Martydom of St. Mauricec. 1585

P/S: Southern Baroque Art/Later Northern RenaissanceA: El GrecoL: Chapter House, Monasterio de San Lorenzo, El EscorialM/T: oil on canvasDT: no emphasis on spatial depth, weight, or

volume; heroic figure style of RomeIdeas: signature appears on the paper held in the

mouth of a serpent (the spirit of evil, or of

the Earth); expresses conviction of faith as a result of crusades

Davidc. 1650

P/S: Southern Baroque ArtA: BerniniL: Borghese Gallery, RomeM/T: marbleF: statueC: Bernini’s idealized self-portrait in the face of

DavidDT: intensive gaze, negative space animates area

around figure, meant to be seen from multiple views, in mid-action, swinging the slingshot, as shepherd’s weapon, at Goliath

Ideas: harp at David’s feet symbolized role as a psalmist

Cornaro Chapel

c. 1650P/S: Southern Baroque ArtA: BerniniL: Santa Maria della Vittoria, Rome, ItalyM/T: marbleC: dedicated to St. Paul, later rededicated to Virgin

MaryDT: nterior has a single wide nave under a low segmental vault,

with three interconnecting side chapels behind arches separated by colossal Corinthian pilasters with gilded capitals that support an enriched entablature

Ideas: interior suffered from fire in 1833; façade, however, was erected by Soria during Maderno's lifetime, 1624–1626

Aurorac. 1613

P/S: Southern Baroque ArtA: Guido ReniL: Casino Rospigliosi; RomeM/T: frescoDT: Aurora leads Apollo’s chariot, Cupid & the

Seasons dance about the heavenly car; soft modeling, sweet airy vision

Ideas: influenced by Raphael; Classicist trend in painting; quadro riportato

Raising of the Crossc. 1610

P/S: Flemish Baroque ArtA: Peter Paul RubensL: Cathedral, AntwerpM/T: oil on canvasDT: triptych acts as 1 continuous space across

3 panels, strong diagonals direct viewer’s attention to Christ, spontaineity of expression, heroic musculature of figures

Ideas: intensely religious, yet possessing exuberance & passion

The Surrender of Bredac. 1634-1635

P/S: Flemish Baroque ArtA: VelazquezL: Prado, MadridM/T: oil on canvasDT: stresses graciousness of Spanish victors,

militarily dignified, uniform fighting force, magnanimous in victory; Dutch=L, scattered, less organized, youthful; imaginary landscape of Breda tenderly rendered in background; cross in distant lake=Catholic>Protestants;

Ideas: depicts 1625 episode in which Dutch surrenders Breda town to Spanish; Spanish

weapons arrayed=symbol of military might of victors

Glorification of St. Ignatiusc. 1691-1694

P/S: Southern Baroque ArtA: Fra Andrea PozzoL: Rome, ItalyM/T: frescoC: ceiling fresco in the nave of Sant’IgnazioDT: illusion that heaven is opening up above the

congregation; Heaven & Earth commingle; St. Ignatius carried to waiting Christ in presence of figures personifying the 4 corners of the world

Ideas: dedicated to St. Ignatius, founder of the Jesuit Order

Flight into Egyptc. 1603-1604

P/S: Southern Baroque ArtA: Annibale CarracciL: Galleria Doria Pamphili, RomeM/T: oil on canvasDT: “ideal” or “classical” landscape;

represented nature ordered by divine law & human reason; tranquil hills & fields, quietly gliding skies, unruffled foliage, shepherds w/ their flocks = props of pastoral scene & mood; trees=dark against sky’s even light

Ideas: biblical narrative from Matthew 2:13-14; landscape background of Venetian Renaissance paintings