Baroque Art

Fall 2025

Last Supper, Veronese, 1570, brought to council for inappropriateness, had to “fix it”, created for church of St. Paul, 18 by 42 ft, oil on canvas

subject: originally last supper where Jesus and the twelve disciples met to celebrate the Passover. In this rendition, there are a few recognizable figures, but most of the painting consists of crazed individuals and people who do not match the setting at all.

function: goes completely against what the Church wanted art to represent during this time to counter the confusion set by the Reformation. The church wanted art to be clear in subject matter and believable, also it should teach and illustrate a story. Finally, it should be dramatic and impact the emotions instead of reason. This painting was not clear in subject matter and did not seem believable. It was dramatic, but he did use reason to add other people into the scene that weren’t originally there.

form: lot of extra people, chaotic image, improper animals, some are dressed as fools, soldiers, people acting improper, controversial due to many things, changed name to the Feast of the House of Levi which pleased them enough

Descent from the Cross, Pontormo, 1525

subject: Jesus is being taken down from the cross? maybe being put into the tomb by a variety of figures?

form: mannerist, bright colors, elongated figures, figures are floating and not naturally existing, feet are not firm on the ground, no tomb, no cross, church is not a fan of this painting, not anatomically accurate at all, torsos, arms, legs, feet, bending in places they can't bend, lot of hands not connected to bodies well

function: meant to go against the norm/reason, fully against the renaissance due to wanting artistic freedom, style changed, grace/elegance over proportion/realistic space, decorative, change the story a little, lack of clarity

Martyrdom of Saint Lawrence, Bronzino, 1570

subject: common for the time period, St. Lawrence is being killed by fire through a grilling method

function: mannerist, not the expected mood for this gruesome scene, figures are greatly exaggerated to allow for creative room

form: tons of people all around, colors are off, some are huge, deep nudity to push human form, lot of muscles, twisting poses, Roman influences, lot of columns and statues, greyish background, almost cartoonish

Cardsharps, Caravaggio, 1590

subject: 3 by 4ft, oil on panel, purchased and somewhat patroned by Del Monte, genre painting - scene of everyday life - unusual for central Italy, image of youth and gullibility, young, sheltered man is playing cards with more weathered people and does not realize they are cheating

form: lots of dark shadows and lightness of skin, yellows, blues, and oranges, holes in gloves, game board on the side coming off the table to engage with the viewer, 5 o'clock shadow on man - shows he is not being idealized, feather in his hat is very accurate, figures have an immediacy, take up a ton of room, hard to miss, very blank background, simple, not distracting, dramatic lighting, illuminating some features, cellar lighting effects, like opening a door to let in diagonal light

function: we have been left a spot at the table to be a part of the action taking place, going against mannerist intentions at the time and working greatly with light and shadow to create a realistic scene of everyday life.

Bacchus, Caravaggio, 1600

subject: Roman god of wine/parties is the elevated subject (history painting), unusual portrayal of this classical subject, Cardinal Del Monte also bought this painting

form: young male, idealized body and directly looking at viewer, round youthful face, unflawed, surrounded by food and wine - plentiful, lot of wine, crown of grape vines, doesn't show whole body, 3/4 length figure, food is rotten - not idealized, muscular arms and neck, is in a relaxed position, engaging directly in a suggestive manner, extending glass so as to ask if the viewer will engage, toying with tie around robe, dirty finger nails - not idealized, just poured wine from glass (bubbles, angle), rings of movement in wine, normally wears a shirt so his chest is very pale but face and hands are sunburn (seen as too real), leaning on a sheet w/ grubby pillow, acting as a model would have, very dark background that makes the figure very immediate and bright (tenebrism)

function: shows how a classical subject can have a very idealized figure, but can also have that figure be very relatable and humanlike

Fortune Teller, Caravaggio, 1600

subject: patron was Del Monte, 3 ft by 4 ft, young man is being cheated by a pretty fortune teller

form: young man has confidence, is cocky, has a large feather in his hat and a hand on his hip, woman is setting the ring from his finger by "reading his palm", trying to be charming with eye contact and slight smile, lighting in background uses angles and darkness, sword pointing out at viewer, texture of feathers is very detailed and accurate, open space for the viewer, no background to distract, details in the palms, nails, and clothing

function: reflects Northern Art, supposed to warn the viewer about the dangers of gullibility

Supper at Emmaus (London, National Gallery), Caravaggio, 1600

subject: influenced by a famous saint of the time St. Phillip Neri who believed in humility and equality in the social sphere of the church, Christ appears to His followers and reveals He is the resurrect Christ who couldn't believe this incredible revelation they had while eating with Him, Christ is shown blessing the food while they react dramatically to this scene

form: very baroque and dramatic, disciples are about to burst from their area, hands and bodies are directly interacting with Christ - almost seen as crude, jacket torn at elbow, scruffy, not idealized, hooked nose, course hands, long beard, Christ looks very different, puffy cheeks, not idealized, oily, not dignified, no stigmata or traditional devices, light from the scene seems to emanate from Him, instrument to show the power of the divine, waiter doesn't recognize Christ, basket of fruit is leaning over the edge of the table, Christ's shadow adds to His spiritual nature and the dynamic actions that He does with His hands, detailed table cloth, shell is on jacket which shows they are on a pilgrimage, softness of beard, red features, balding head

function: they are portrayed in a way that connects them to the everyday viewer, this is his own brand of interpretation for a religious subject

Incredulity of Thomas, Caravaggio, 1600

subject: Cardinal Del Monte owns it, Thomas doesn't believe, Jesus appears to disciples, Thomas can see with his own eyes and then believes

form: Thomas looks old, wrinkles, hooked red nose, Christ encourages Thomas to put his finger in the open wound, soft look in His eyes, pale bright skin, Thomas looks shocked, rags of off white, all figures besides Christ look like regular people, very dark background - tenebrism, awareness of light and divinity, elbows poking put, engaging and physical, folds in clothing are classical

function: shows a different interpretation of this scene of the bible, makes Thomas look very old and Christ looking very understanding of Thomas' disbelief

Calling of St. Matthew, Caravaggio, San Luigi dei Franchesi, Contarelli Chapel (Rome), 1600

subject: Contarelli family are the patrons, 10 ft by 11, oil on canvas, Christ calls Matthew, the tax collector, to be a follower of His with Peter, surrounded by other tax collectors focused on money

form: cellar lighting, dark space and yellow light,, dramatic use of tenebrism, brought figures as close to the front as possible, light pulls us in to Matthew who is gesturing to himself, shocked expression, dark clothes, attention to detail in the stock outfits, swords, and objects on table, figures are oblivious to Christ, tax collectors have glasses, Christ's gesture is the same as Michelangelo's Creation of Adam, Christ has a subtle halo, Peter looks disheveled

function: desire to celebrate St. Matthew, also to celebrate the patriarch of the family, first time composition type for Caravaggio, Caravaggio's perspective is that these tax collectors have spiritual blindness - disconnect from the present situation of Christ's calling

Martyrdom of St. Matthew, Caravaggio, San Luigi dei Franchesi, Contarelli Chapel (Rome), 1600

subject: shows the murder of St. Matthew in a church by a swordsman sent from the King of Ethiopia, killed while praying in a church

form: very dramatic, hard to tell location since altar is "hidden" in the background, light of the scene makes it more easy to see the swordsman and Matthew - very chaotic, diagonals introduce energy - big x shape that creates immediacy, figures are diving out of the way, anger of the aggressor, Matthew has a shocked face, angel coming in and reaching down to touch Matthew, offering him a martyr's palm, did it alla prima - didn't work out the first time, includes a self portrait of him witnessing the murder

function: shows the horrors of Matthew's death

St. Matthew and the Angel, Caravaggio, San Luigi dei Franchesi, Contarelli Chapel (Rome), 1600

subject: altarpiece, Matthew is receiving divine inspiration while writing his gospel

form: feet are normal and average looking, angel is in the air contorting while looking down at Matthew, Matthew is recording the inspiration by the angel on his own, bright red clothes, more saintly imagery, light halo, not as ruddy, unique sitting motion, excitement and emotional - like a child, angel is very dynamic with movement, light is very dramatic and warm, illuminates thinking and conversation, not able to be mistaken, looks very divine

function: originally, there was a different painting that had a lot more contact and human aspects than the second painting

Conversion of Paul, Caravaggio, Santa Maria del Popolo, Cerasi Chapel (Rome), 1600

subject: transformative moment where Christ blinds Saul so that he changes his ways, oil on canvas, 7 ft tall, Saul converts after whole scene and regaining his sight,

form: simplifying the scene, not too many figures, but still dramatic, others around don't understand what's happening, can see the light of God on the top right, dramatic hand gestures - reaching to the skies, bit quiet, light works really well as bright, warm, accepting, horse is greatly rendered, Saul is muscular, pretty, and youthful, almost like he is falling towards us

function: shows Paul’s conversion in a unique way that was not previously shown this way

Crucifixion of St. Peter, Caravaggio, Santa Maria del Popolo, Cerasi Chapel (Rome), 1600

subject: workers are lifting Peter and his cross upside down to crucify him, large painting

form: very dramatic, physical action, groaning and straining of figures, very realistic and difficult, bodies in interesting poses, dirty mud, whiteness of Peter (purity?), muscles popping, pulling and reaching, in mid elevation, use of diagonal forms, spike in his hands and feet, Peter has a yearning/sad look in his eyes

function: odd portrayal of subject, Peter's eyes are drawn to the altar which is intentional, image engages with us and charges the space - gaze is breaking out of the image which pulls the audience in

Death of the Virgin, Caravaggio, (Rome, Santa Maria della Scala - rejected), 1600

subject: 12 ft by 8 ft, oil on canvas, commissioned by a papal lawyer for family chapel, Mary's death surrounded by the apostles who all miraculously appeared there (as told by the Golden Legend), Ruben's patron bought this piece after it was rejected

form: Mary looks dead, not delicate or graceful, her arms are thrown out, like writing in pain, people are much more vocal and real, human expression of overwhelming grief, appears to be limp, no control, lot of red, complete absence of blue, no evidence of the divine, diagonal cellar light illuminates Mary, painted her feet, strange resting place for Mary, color palette is very harsh, Mary looks average, hair is a mess, weary look, clothes are loose - like she has been in pain, wash basin and rag, drapery draws our attention down to her - says she is important, woman tending to Mary is Mary Magdalene (a follower who has a tattered past), tenebrism, dramatic light over Mary

function: very different portrayal of Mary - normally she appears to be sleeping, not dead, died without pain, etc. In this piece, she is humanized and does not have much of a divine presence like how she was described in the Bible and other books

Iconography

The visual images and symbols used in a work of art or the study or interpretation of these.

Council of Trent

A pivotal ecumenical council of the Roman Catholic Church, held between 1545 and 1563, to address the Protestant Reformation by clarifying Catholic doctrines and reforming the Church's internal practices

Reformation

a 16th-century European religious movement that began as an attempt to reform the Roman Catholic Church but ultimately resulted in the establishment of Protestant churches and a major shift in Western Christianity. Led by figures like Martin Luther and John Calvin, it challenged Catholic doctrine and practice, emphasizing personal faith over church works and leading to widespread political, economic, and social changes.

Counter-Reformation

a period of Catholic resurgence in response to the Protestant Reformation. It involved internal reforms within the Catholic Church, attempts to regain territories lost to Protestantism, and missionary efforts to spread Catholicism globally.

Iconoclasm

the destruction of religious images or monuments for religious or political reasons, a concept literally meaning "image-breaking".

Pronouncements on Art

art should be direct, dramatic, and emotionally compelling to inspire piety

Genre Painting

a style of painting depicting scenes from ordinary life, especially domestic situations. Genre painting is associated particularly with 17th-century Dutch and Flemish artists.

Tenebrism

an art technique that creates drama and a sense of mystery through a stark contrast between intensely illuminated subjects and a very dark or black background, often described as a "spotlight effect"

Alla prima

painting a piece in one sitting, directly onto the canvas while the paint is still wet, without waiting for layers to dry

Martin Luther

a German theologian and the central figure of the Protestant Reformation in the 16th century, which divided Western Christendom. He challenged the Catholic Church's practice of selling indulgences and promoted ideas like salvation through faith alone and the Bible as the supreme religious authority, resulting in the creation of Protestantism and a lasting impact on Christianity and Western culture.

Jean Calvin

known for his influential Institutes of the Christian Religion (1536), which was the first systematic theological treatise of the reform movement. He stressed the doctrine of predestination, and his interpretations of Christian teachings, known as Calvinism, are characteristic of Reformed churches.

Cavalier d’Arpino

Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII

Cardinal Francesco Maria del Monte

cardinal from 1588 and patron of the arts. He was born in Venice. A friend of Ferdinando de Medici, he was a diplomat, a lover of music, and one of Caravaggio's first patrons. He lived in the Palazzo Madama in Rome.

St. Philip Neri

humility, humour, piety, and ability to inspire deep devotion among both clergy and laypeople. His friendship with figures such as Ignatius of Loyola and influence over the Society of Jesus played a role in the broader movement of Church reform.

The Choice of Hercules, Annibale Carracci, Camerino, Palazzo Farnese, Rome (1600)

subject: Cardinal Odoardo Farnese is the patron of this piece, done in the form of quadro riportato - painting that has been done separately from the surface it is attached to, was attached to the ceiling and "framed", Hercules is at a crossroads in his missions where he has to choose the easy path of vice or the tough path of virtue

form: Hercules looks uncertain and young, rocky road for virtue, soft, floral road of vice, used personification (vice and virtue are women), mirroring poses, balanced composition, not chaotic, Hercules is a classical type, standard iconographic elements (club), vice: skimpy, not nude but suggestive, facing away from viewer, sensual expression, vice has beautiful tapestry garden, books, theater, music, games, all are temptation, mask is an image of deception, tambourine was also there - represents excessive partying and not knowing when to stop, virtue is barren, steep, blasted trees, Virtue looks to Hercules and points to the peak where Pegasus is up there (represents fame and people remembering him), figure on bottom left is wearing a crown of laurel - accomplishment, has a book, is a poet and ready to record good deeds of those who choose the path of virtue, ended up choosing virtue, in a complex pose, pointing in the direction of virtue and is closer to her, diagonal movement, very classical style, idealized body types, tight curled hair, Hellenistic, no one is popping out of the canvas, all across the front in a horizontal manner, frieze composition - ancient format

function: artist was part of a learning center called the Academy of the Initiated where they focused on classical images, purpose of room was to be a private study for the cardinal so he wanted to be surrounded with the theme of elevating virtue over vice

Triumph of Bacchus, Annibale Carracci, Ceiling, Palazzo Farnese, Rome (1600)

subject: sourcebook: Ovid, Metamorphoses, central ceiling piece, Bacchus and Ariadne being carried by a chariot drawn by goats, everyone around is celebrating

form: all painted, illusionistic, looks like framed pictures, quadro riportato, fresco, Michelangelo inspired, ordered figures trying to break out of frame, half-human half-animals everywhere, tambourines and lots of drunk figures, frieze like composition, traveling along composition to the side, diagonals everywhere - movement, very light image, but no tenebrism, bathing nice warm light - enhancing celebratory image, clarity and symmetry

function: celebration of true love winning, intended to make viewer happy, but slightly puzzled about illusions

Assumption of the Virgin, Annibale Carracci, Cerasi Chapel, Santa Maria del Popolo, Rome (1600)

subject: 8 ft by 5 ft, oil on panel, altarpiece, same patron as Caravaggio for Chapel (Cerasi), Mary is ascending to heaven while everyone looks on

form: super Renaissance style color, incredibly bright clothes, complex figures, poses are dramatic, faces are directed to her, besides some children underneath her, divine light above Mary, warm light, complimentary colors, facial expressions, very dramatic, animated - energy, more immediacy and closer to the picture plane, no presence of God - lot of angels lifting her up, have to leave picture to see God by using the space outside of the frame, lot of diagonals, idealized figures, body and soul have weight - not light and airy

function: addresses major concern of the church - her significance needs to be enforced,

Aurora, Guido Reni, Casino dell’ Aurora, Rome (1610)

subject: commissioned by Cardinal Scipione Borghese, ceiling art in summer home, fresco, plaster for 3D frame, personification of dawn - mythological subject

form: quadro riportato, filled with beautiful colors and beautiful figures, recognizable classical figures, Aurora leading Apollo in his chariot among other figures, flowing drapery, garlands of flowers, goes into the darkness, beautiful countryside, Apollo is spreading sunlight across the land with lots of attendants, gorgeous glow all around, idealized greatly, woman dancing around is the personification of hours - showing the passing of time, winged child is the personification of the morning star, breezes on the outside propelling the movement on, has dynamism and dramatics, not static, sweeping lines in the clouds and the drapery, grace and elegance everywhere, oval-slender figures, took inspiration from a Roman relief of Roman dancers

function: meant to spread light, hopeful, positivity

Massacre of the Innocents, Guido Reni, (1610)

subject: family chapel in Bologna, book of Matthew at Christ’s birth, King Herod heard that a baby would grow up to be the new king, didn’t like that so he ordered the deaths of every male baby, horrific and dramatic subject

form: idealized, easy to look at, beautiful color, graceful movements, not physical or gruffy, zero expression of men, great continuous lines, very calculated movements and expressions, same surprised face for women - eyes and mouths wide open, screaming in horror, but slightly unrealistic, pile of dead babies, woman clasps her hands and looks up to heaven with a calm appeal in her eyes, baby angels somewhat smiling giving Martyr’s palms to the victims, balancing movements, setting evokes classical past, columns and arches, can see Herod looking at the chaos in the distance, evokes Ancient Rome feeling, idealized features cause the horror to be lost a bit

function: show the horrible story of King Herod’s command in a lighter and more elegant way than before, meant to be pretty for the eyes and lighter on the brain

The Abduction of Helen, Guido Reni, (1630)

subject: 8 ft by 8, oil on canvas, classical story, commissioned by Spanish ambassador to the Vatican for Phillip 4th of Spain, Helen of Troy was very beautiful, prince Paris wanted her, Aphrodite said that if he called her the most beautiful goddess, she would grant Helen to him, he then went to Greece and abducted Helen to go back with him to Troy

form: ships in background, bright blue sky, not a happy story but is way more idealized here, not chaotic and very orderly, seems calm, lost a lot of negatives in the story, chatting to each other while she is being abducted, speaks more to status and exotic things, Paris looks upstanding, Helen looks content, men look like they are discussing things about how to sail back, playful elements all over with exotic pets, cupid with his bow is there, looking directly at viewer with hand pointing up, women are bringing Helen’s things

function: meant to show Helen’s story in a lighter and more elegant way than before, meant to be pretty for the eyes and lighter on the brain

Pluto and Persephone, Gian Lorenzo Bernini (1620)

David, Gian Lorenzo Bernini, (1620)

Cardinal Scipione Borghese, Gian Lorenzo Bernini, (1630)

Louis XIV, Gian Lorenzo Bernini, (1665)

St. Longinus, Gian Lorenzo Bernini, St. Peter’s, Vatican City, (1630)

Baldacchino, Gian Lorenzo Bernini, St. Peter’s, Vatican City, (1625)

Cathedra Petri, Gian Lorenzo Bernini, St. Peter’s, Vatican City, (1660)

Ecstasy of St. Theresa, Gian Lorenzo Bernini, Cornaro Chapel, Santa Maria della Vittoria, Rome (1650)

Quadro riportato

an Italian art term meaning "carried picture" or "transported painting," describing a fresco technique that creates the illusion of framed easel paintings on a ceiling or wall

Personification

the attribution of a personal nature or human characteristics to something nonhuman, or the representation of an abstract quality in human form.

Fresco

a technique of mural painting executed upon freshly laid ("wet") lime plaster.

Di sotto in su

from below, upward," referring to a foreshortening technique that creates the illusion of depth and space on a flat surface, especially ceilings, by making objects appear to be viewed from a low vantage point.

Reliquary

a container for holy relics

Accademia degli Incamminati (Academy of the Initiated)

an art school that became the most progressive and influential institution of its kind in Italy founded by Lodovico Carracci

Cardinal Odoardo Farnese

an Italian nobleman, the second son of Alessandro Farnese, Duke of Parma and Maria of Portugal, known for his patronage of the arts.

Pope Urban VIII (Barberini)

he expanded the papal territory by force of arms and advantageous politicking, and was also a prominent patron of the arts, commissioning works from artists like Gian Lorenzo Bernini and a reformer of Church missions. His papacy also covered 21 years of the Thirty Years' War.

Ovid, Metamorphoses (1st c. BC)

collection of stories within a poem about transformations and nature, gods, people, nymphs, animals, plants, etc.

Jacobus de Voragine, Golden Legend (1265)

collection of stories that was widely read in Europe during the late middle ages, very religious, inspired painting and sculpture.

The Elevation of the Cross Altarpiece, Peter Paul Rubens, St. Walburga, Antwerp (1610)

Education of Marie, Peter Paul Rubens, Marie de Medici Cycle (1620)

Presentation of the Portrait, Peter Paul Rubens, Marie de Medici Cycle (1620)

Debarkation at Marseilles, Peter Paul Rubens, Marie de Medici Cycle (1620)

Garden of Love, Peter Paul Rubens, (1630)

Allegory of the Outbreak of War, Peter Paul Rubens, (1640)

Andromeda, Peter Paul Rubens, (1640)

Elena Grimaldi, Anthony van Dyck, (1625)

Queen Henrietta Maria with Sir Jeffrey Hudson, Anthony van Dyck (1630)

James Stuart, Duke of Richmond and Lennox, Anthony van Dyck, (1635)

Equestrian Portrait of Charles I, Anthony van Dyck, (1638)

Triptych

an artwork, literary work, or presentation composed of three distinct but related panels or sections that work together to form a cohesive whole

Archduke Albert and Archduchess Isabella

joint sovereigns of the Spanish Netherlands from 1598 to 1621

Archduke Ferdinand

transformed Schloss Ambras into a museum for his vast collection of art, antiquities, and natural wonders, establishing it as the world's first museum dedicated to displaying collections in their original destination.

Thirty Years War

a devastating conflict fought primarily in central Europe, starting as a religious struggle between Protestant and Catholic states within the Holy Roman Empire and evolving into a major political war involving rival powers like France, Sweden, and Spain