Art History: Chapter 22 Part Two
About this set
Created by:
cyanoshead on November 9, 2010
Subjects:
Description:
Spain, Flanders, Netherlands, French, Baroque
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22 terms
Terms | Definitions |
|---|---|
 FRANCISCO DE ZURBARÁN, Saint Serapion, 1628. Oil on canvas, 3' 11 1/2" x 3' 4 ¾" |  Spain: 17th Century. Context: Staunchly catholic, Spanish Inquisition, Golden Age of Spanish painting. Inspired by Caravaggio. Signature looks plastered onto the painting, alluding to the fact its just a painting as a means to avoid inspiring idolatry. Counter reformation ties: easy to understand, realistic (painted from life.) |
| DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10' 5" x 9' |  Painter to king phillip/queen marana. Viewer in implied position of king/queen? Painterly: strokes are visible. |
| Peter Paul Rubens, The Raising of the Cross, 1610-11. Oil on canvas (approx 15' x 21') |  Flanders- Flemish painter. Context: Under Spanish Control (Catholic.) Altarpiece for high altar. Venetian colore-like palette, dramatic lights and darks, but not as extreme as Caravaggio. Strong diagonal. Flemish in detail. |
| PETER PAUL RUBENS, Henry IV Receiving the Portrait of Marie de' Medici, 1621-1625. Oil on canvas (approx. 5' 1" x 3' 9 1/2") |  Attempt to -romanticize- a train-wreck of a (political?) marriage. |
| ANTHONY VAN DYCK, Charles I at the Hunt, ca. 1635. Oil on canvas, approx. 9' x 7'. |  English Baroque. Figure off center makes composition more interesting. Romanticizing Charles I, who was executed after the English civil war: result of religious conflict. |
| 22-37 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632 Oil on canvas, 5' 3 3/4" x 7' 1 ¼" |  Group portrait of guild members. Without aristocracy, paintings used to represent identity. Very active image depicting purpose of guild: partly result of slight diagonal of corpse. |
| Dutch Baroque | Netherlands: thriving merchant class, especially after Spanish aristocracy/monarchy removed, putting wealthy merchants in power. No longer a demand for religious paintings. Specialization begins. |
| Baroque qualities | Dramatic lighting, (high contrast.) Earthy, natural palette with only spots of brighter color. Emphasis placed on activity and use of interesting angles. For instance: each sitter is at a unique angle and has a unique expression. |
| Etching | Etching= printmaking method; the etcher prepares a metal plate with a wax or resin coating, then scratches a design into the ground, exposing the metal; the plate is dipped into acid, which bites the metal, creating recesses for ink. (The process could be repeated to create different 'states.') |
| REMBRANDT VAN RIJN, Three Crosses, (third state), 1653. Etching, approx 15" x 18" |  Same dramatic lighting present in his paintings. |
| JAN VERMEER, The Letter, 1666. Oil on canvas, 1' 5 1/4" x 1' 3 ¼". |  Only approx. 32 paintings known. Artist was also a bartender/art dealer. |
| Genre Scenes | Slice of life, disheveled, from a voyeuristic perspective. |
| Pieter Claesz, Still Life with a Tazza, 1636 Oil on panel (approx 17 x 24") |  Almost exclusively painted still life paintings, often containing the same items. Showing off abilities with different surfaces. Vani tas. |
| Vani Tas | "Vanity"; the fleeing quality of life. Don't put too much value in earthly life: it will pass. |
| Rachel Ruysch, Flower Still Life, ca. 1700. Oil on canvas (30 x 24") |  Typical fare for female artists of the time: accesible items available close to home and support from wealthy/artist father. |
| NICOLAS POUSSIN, Et in Arcadia Ego, ca. 1655. Oil on canvas, approx. 2' 10" x 4'. Louvre, Paris. |  Arcadia: idealized pastured realm. Arcadia Ego: Even in the idillic land of Arcadia, there is death. French Baroque: classical elements in French context. Helps develop landscape painting. |
| French Baroque/ Nicholas: | (Nicholas) highly inspired by the high renaissance instead of Caravaggio. Helps develop landscape painting. Classical elements in French context. |
| Hyacinth Rigaud, Louis XIV, 1701. Oil on canvas (approx 9' x 7') |  |
| Aerial view of palace at Versailles, France, 1668-85, begun by Louis Le Vau and continued by Jules Hardouin-Mansart, and a portion of the gardens and surrounding area. |  |
| Le Vau and Mansart, Garden façade of Versailles Palace |  |
| JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Versailles, Versailles, France, ca. 1680. |  |
| SIR CHRISTOPHER WREN, Saint Paul's Cathedral, London, England, 1675-1710. |  |
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