Baroque Art

Fall 2025

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)

subject: Cardinal Scipione Borghese is the patron, larger than life, marble carving, held at his home, classical past story - Ovid’s Metamorphoses, Pluto abducts Persephone cause he loves her

form: very detailed, idealized figures, moment caught in action - very immediate and we know exactly when this is, Pluto has a crown, curly hair and beard, very muscular, somewhat clothed, has the strength to snatch her, Persephone is very panicked, Cerberus on the ground, crossing the threshold into the underworld, multiple planes, breaking out and engaging with the space, sculpts it all around, manipulates marble extremely well, hair is wavy, cloth is so active like actual drapery, muscular legs, every vein is popping and back muscles, wrinkles in forehead as she is struggling against him, she is crying out visibly and has teardrops running down her face - futility setting in, thinking greatly about dramatic lighting - deep shadows, bright lighted areas

function: classical storytelling, believable showing of abduction, point of view is very significant - idealized view for most emotional impact, brute force vs innocent youth

David, Gian Lorenzo Bernini, (1620)

subject: Scipione Borghese is the patron, smaller statue to human proportions, marble piece, David is ready and going to light up Goliath

form: not drawn as a child, instead a grown man, sling visible with a stone, pouch, drapery covering up lightly, armor he was given is laying underneath him, harp underneath - reminds us he is a musician and the writer of the Psalms, very careful about clarity, anyone who steps within the space is staring right at David - brings energy, intense gaze, complex pose, felt like he was gonna throw the stone at you, detail in scales of armor and soundboard of harp, braided rope for sling, rock has a hardness to it, very detailed, face is very accurate and hair is tasseled, like he is really about to throw the stone - very focused

function: showcases his ability to tell a story, faith was his armor!

Cardinal Scipione Borghese, Gian Lorenzo Bernini, (1630)

subject: bust portrait of patron Scipione Borghese

form: speaking portrait, not static - engaged with something because his mouth is open, curved the body to make it like the natural curve of the garment, not idealized with wrinkles and flaws, creases, fat neck, known for pursuit of please so that is visible here, twinkle in the eyes, deep carving within with light and dark, full figured guy so he is not thin, creases in outfit display this, looks tired/worn out, beard/mustache, cap is very high on his head, almost silly, collar is a bit off, crack in the head was from a fracture during the creation

function: desire to sculpt an informal portrait, conveys character, indulgences, casual moment where he is caught in daily life

Louis XIV, Gian Lorenzo Bernini, (1665)

subject: formal portraiture of King of France, likes classical style, King Louis XIV posing for a bust to be made of him

form: everything is flowy, looking upward, drapery is flowing, ethereal quality, like coming from a cloud, very dynamic, appears larger than life - Baroque, hints of armor - strong military leader, beautiful hair - looks like a lion, very idealized, not as much a moment but more of a timeless image, elaborate lace collar - Bernini showing off, pronounced forehead, makes him seem taller

function: propaganda, multiples made, assert the heroic, grandeur image of him, absolute ruler displayed, divinely ordained

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

subject: reliquary above to house St. Longinus’ staff, moment where he realizes that Jesus is the real deal, 14 ft tall, multiple blocks used, metal rods too

form: columns are a part of Old St. Peter’s grave, moment of conversion, very open and outstretched, treatment of hair and leather straps of garment, robes flowing, filled with the Spirit of God, lot of diagonals, helmet on the ground, pointing directly/gaze right at the center area too, discarded Roman ideals to transform into Christianity, upward movement, drapery is flowing and appears to be moving, monumental in scale, standing before massive peers in the church

function: shows the triumphant moment of conversion when a roman soldier realizes the power and might of Christ

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

subject: Pope Urban III (Barberini) is the patron, canopy over St. Peter’s grave/primary altar

form: large monumental, very dark with gilded bronze, dynamic creativity, lot of iconographic symbols, papal supremacy is enforced here (Christ appoints Peter as leader of Church on Earth), celebrating Barberini family too, frames the altar in the back too, in shape of showing the monstrance like image in the back, spiral columns make your eyes rise up, columns represent wisdom and knowledge, heavily carved at the top of a carving of a dove and the holy spirit, little angels carved in, laurel leaves all around, elaborate capitals, “cloth: canopy stretched over the top, little tapestries handing off in life like appearance, each of the four corners have decorative angels and swoops pulling us up to the top, has the image of a crown, orb represents world, a cross above to show triumph, keys and a papal crown held by angels to give to St. Peter - recognizes power, different kinds of angels represented here, also bees for Barberini family, also coat of arms is at the base of the canopy

function: celebration of the Eucharist is here, long tradition of marking important people with canopy, asserts victory, triumph of the church and authority

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

subject: pictorial nature, uses Baldacchino to frame it so it shows you the ultimate end to your journey through church, second alter within the church, shows St. Peter’s chair and how the holy spirit/God’s light can engulf the place

form: explosion of light, burst into space completely, overtakes the space with rays of light (bronze gilded), and going onto the sides, bringing together a variety of materials (gilded bronze, gilded molded plaster, stained glass window, very powerful effect, St. Peter’s chair being held up, elaborate reliquary, real chair is encased within the model, heavens is upper level and angels are tumbling around, rays of light emanating from stained glass, overlapping of body parts peaking out in awe of the light of the Holy Spirit, rays continue into the space and lead eyes to other statues, chair has images all over, objects of Peter, angels present too, St. Peter kneeling in front of Christ - “feed my sheep”, figures appear to hold up chair, but not actually holding it, father of the church with hats - Western fathers, no hats - Eastern fathers 

function: shows ultimate power, asserts the Pope always being present, following tradition of encasing relic inside elaborate case

Ecstasy of St. Theresa, Gian Lorenzo Bernini, Cornaro Chapel, Santa Maria della Vittoria, Rome (1650)
subject: patron is Federico Cornaro, marries sculpture, architecture, and painting, have to stand on central axis to take it all in, framing devices, scene is an angel piercing St. Theresa’s heart with God’s love and she is filled with His spirit

form: painted top to make it seem like there is no ceiling, uses pre-existing architecture to make an illusion, used plaster in irregular shapes to look like real clouds and people, wants it to look real, plaster, paint, colored marble, glass, bronze, center of image is the dove of the Holy Spirit, light is illuminating the sculpture below it, bronze rays, covered in gold is divine light with a concealed window, has intensity to it, creates beautiful frame around it, dark green marble makes the white statues pop, classical parts, but very Baroque, has dynamism and energy while containing action, St. Theresa is a counter reformation saint, spear in hand of angel represents her story, cloud, angels, midway between heaven and earth, distinct difference between angel and human, angel: thin, dynamic, enveloping, sweet face, wings, ethereal presence, lightly holds up garment, Theresa: heavy drapery but starting to take life, face is very emotional, heavy towards the earth, head is back, limbs are loose, eyes closed, moth open, being pierced by arrow, observers on the side, figures allowed to witness this personal experience (Cornaro family) lot of classical designs behind them, colorful theater boxes, intellectual discussion, reading, mesmerized, created illusion that you could get up there

function: heavens have found a way to open up to us, shows the beauty and overwhelming nature of St. Theresa’s story, also how a piece can become so much better by using other mediums besides just sculpture and not using the architecture too

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.

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)

subject: patron is Archduke Albert and Archduchess Isabella, large altarpiece, monumental piece above the high alter, triptych altarpiece - 3 panels, housed inelaborate frame 30 ft tall, image above is God flanked by angels, story of Christ being put on the cross and raised up

form: probably required by Church, old fashioned - replace destroyed images, oil sketched first, central panel has a great diagonal from the bottom right to top left to top right - engages with God outside of the frame, uses large tree to create immediacy - focus of scene, does not adopt traditional format and is an unusual subject - more baroque and dynamic composition, Christ attached to the cross interestingly, Christ and cross are threatening to pop out of the picture plane along with the figures, 9 men are all struggling to lift Christ and the cross, distinct sides form a semi circle and a sharp wedge, weeping women, Mary, and John the Baptist on right (acceptance yet grief), soldiers on other side are armed, aggressive, diagonal movement against Christ, two thieves also present, Christ is idealized/very classical, St. Longinus is helping put Christ up on the cross and is wearing armor while not looking aggressive, uses dramatic effects of lighting, Christ is pale, areas are dark, solar eclipse happening, contemporarily dressed

function: Christ is carrying all of our sins on Him so the men who are super strong struggle to lift Him, theme of Christ in the center with His followers to the right of Him and His aggressors to the left, elevation of the body of Christ helps fuel transubstantiation ideas against Reformation

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

subject: largest commission, helped him internationally, monumental in scale, depicts her political career

form: displayed as a beautiful young woman when he reality she was a bad person and not beautiful, uses personification to elevate her, Marie is small, being taught by Athena how to write and has her shield/helmet there (wisdom), Apollo is teaching how to play stringed instruments, art, sculpture (arts), Hermes extends his staff which personified reason and eloquence (swinging in by red drapery), 3 graces bestow graceful behavior on to her delicately, set at Mt. Parnassus, huge water fall, beautiful cave, sets her apart from other mortals

function: adorn her palace in Paris to show her importance, life is being overseen by classical gods

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

subject: arranged wedding to Henry 4th who is presented with her portrait (politically wealthy marriage)

form: traditional to send a portrait, he looks lovingly at her while he is in the middle of a war on a battlefield, group of gods bring portrait, overseen by leaders of Roman gods (Jupiter and Juno), different from actual myth since they are displayed as the epitome of marriage and shown in love, Jupiter: lightning and eagle, Juno: peacock, marriage, chariot, big clouds coming in, additional figures involved: little baby as cupid, Hymen the god of marriage, below are more putti figures to show love, personification of France: female, portrayed with colors and symbols of France, boots, helmet, don’t look cold, full of life actually

function: France is telling him to take her as his wife, very dramatic, shows how Henry received the portrait of Marie de Medici

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

subject: arrival in the port city made to be a spectacle, Marie is stepping off of a very beautiful and wealthy looking gold/red draped boat

form: coat of arms above, Marie stands out, being escorted by friends, also extravagant, brought out the red carpet for her so she didn’t have to walk across the wooden plank (importance), France is seen again, cloak on display, golden symbol, holding scepter to show royalty, needs a canopy, figure above is personification: fame, flying woman blowing trumpets (classical image), smoke in background as cannons (celebration), figures on ship and in water are making music, people in water are classical figures, Neptune plus entourage and sea horses are helping pull in ship, Neptune is directing this and shows dynamism and diagonals, Ruben’s female type is very evident here: full figured, healthy, warm, lively, Christian reference: figure in front of boat in direction of Marie is wearing black armor with a silver cross - member of the Knights of Malta, religious order

function: celebration of the Medici wealth, can’t let people forget she’s important, show of strength and approval of her, knight shows her connection to the church and against the Reformation, very ostentatious display

Garden of Love, Peter Paul Rubens, (1630)

subject: inspiration of setting is his personal country estate with columns, arches, and statues, Rubens and Helena are somewhat portrayed in an image of courtly love, young men and women enjoy each others company, music, talking, etc.

form: very unusual and inventive, enclosed garden - chastity and virtuous love, dresses are current of time, things are green, flowers, blue sky, newcomers to the party, he is guiding her, little cupid encouraging them, lots of little putti, white doves are a pair - Venus iconography, dog is there to represent loyalty and fidelity, music makers, string instruments, harmony, Venus statue, lactating into fountain - fertility, bless the relationship, standard feature, peacock is present and dolphin, 3 graces in the background, beautiful figures, little cherubs are active and bring people together

function: theme of love and marriage, enjoying the best parts of life

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

subject: patron is Ferdinand II of Spain, Venus is trying to stop Mars from going off to war with chaos happening all around

form: protagonists: figure in armor, shield, bloody sword, female nude: holds him desperately to keep him from leaving to go to war, Mars is going to war, but Venus is trying to stop him, entourage are trying to help, but other figures are pulling him to war, figure pulling is Fury (personification, Electo - perpetually angry, vengeance, torch), in front are monsters, intertwined, cloudy - represent pestilence and famine, all things are destroyed by war, books are torn up and stamped on, broken flute, disharmony and chaos, figures trying to get out of way, figures about to fall out of picture plane, architecture represented by compass - stopped b/c of war, mother and child: grief, innocence, threatened, female throws head and hands high, desperate, crying - personification of Europe, putti behind is holding a globe (earth) with a cross on top, two faced goddess Janis sculpture on top of opened temple, classical image of peacetimes and wartimes, diagonals and heaviness, style is very dramatic

function: representation of Europe’s pain and struggle, consequences of war addressed here with sufferings of 30 Years War, very Baroque but still composed through diagonal movements pulling to the right and looser brush work, more frieze composition

Andromeda, Peter Paul Rubens, (1640)

subject: Andromeda is a young woman who is sacrificed by the country so that they will be saved from a sea monster, but Perseus saved her, focus is on Andromeda

form: female form, warm, alive, lot of dimples, sea serpent is close to her but is blended in well with the sea in the background, Perseus and Pegasus are in the background with the Gorgon’s head, soft atmospheric quality, hair becomes intertwined with the air, tears falling from her face, very realistic, red eyes, glistening, shackled at top but a Putti flies in diagonally to tell/show her with a torch that help is on the way, inspired by classical models and remains modest even though she has little clothes

function: political allegory with Antwerp as Andromeda during the 30 Years War when they were being targeted and ravaged for years, Archduke Ferdinand came from Spain finally to rescue Antwerp from their issues so he is Perseus in the painting

Elena Grimaldi, Anthony van Dyck, (1625)

subject: portrait painting, noble Genoa woman who wanted a portrait

form: elegant, courtly, international presence, idealized long fingers, directly inspired by Rubens portrait, emphasis of face, looks snobby, light illuminates and her umbrella frames her face, gives her a canopy and a servant who follows her, everything especially her clothing has elegant curves to it, standing on porch of her estate home, huge and complex columns, Genoese would trade slaves so this represents her wealth and control, architecture and expansive landscape shows she has a lot of money and is surveying her land, has a sense of self-awareness, plant in her hand is an orange blossom - chastity, Corinthian columns are seen as noble and show the most elegance for women, symbol of strength and fortitude with strong character, has a regal and upright stance
function: shows her status and wealth, wants control and others to see just how noble and elegant she is, powerful presence of elegance and nobility

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

subject: queen of England, formal portrait, dressed in hunting outfit with Sir Jeffrey Hudson to her side

form: blue and gold dress that is highly complimented with the gold decorative drapery, places her on a platform outside of a grand structure, more slender and elegant column types, crown in the folds, currently wearing hunting hat, Sir Jeffrey Hudson is a 14 year old dwarf, gift to queen from king after marriage, regarded as a trapping of the nobility, exotic animals and people to acquire, had a great love for exotic things, Jeffrey was witty, good appearance, and became great companions with her, acknowledged him as more than a gift and instead as a trusted confidant, Jeffrey is next to her on the platform instead of behind or underneath to show equal status, dressed fancifully, holds a monkey that is leashed with blue ribbon attached, bond between all three, connected through touch and gazes, monkey is symbolic for base nature of humans and shows she has control over her passion and is very virtuous, elongated fingers, very pale, foliage and large landscape in background, potted tree behind them, bit of an arch, framing device, transformed garden with exotic new plants, orange tree because oranges were seen as exotic and special since they only came from Asia and only the wealthy have them

function: shows with images to boost status like the dwarf, monkey, orange tree, large landscape, and crown, not wearing crown because she was never actually crowned queen since her marriage was disapproved b/c she was catholic and he was protestant

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

subject: English painting, cousin to King Charles I, well educated counselor and member of the court

form: velvet drapery, subtle color, square solid column, simple and quiet but very firm looking, dog: loyalty, image with nobility, grace and elegance, elongated limbs, creates a bond between them, shows a loving gaze at Stuart, greyhound - slender, lively, agile, quick hunting!, underscores noble status with hunting being associated with land owning, privileged, devices on garment show distinguished honor - green stockings, black pants, necklace, high collar, helps his hair to be a focus, pose draws emphasis to emblem on garment with a silver star and a gold necklace item, made a member of the Royal Garter, also a garter on his leg, 3 references total, associated with St. George, patron of England - high honor

function: seeks to convey aristocratic formal manner but also wants to show the reserved, quiet, confident, and assertive character of Stuart, shows his devotion to the court of King Charles I

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

subject: 12 ft tall, monumental in scale, formal portrait

form: in reality he was short so he wanted to be displayed as larger than life in painting, equestrian portrait is part of a long tradition going back to Rome to show strength, leadership, control over a strong powerful beast, horse: small head, very broad chest and body, slender legs, grace and elegant, beautiful mane, Charles sits tall and proud, ready to go stance, hand holding the reigns, other holding staff, dressed in battle armor, looks slightly tired, sword at side, wears royal order of the garter - chivalrous knight, beautiful foliage, large old tree makes a natural canopy, has an attendant behind him, cut off, carrying his helmet, plaque on the tree reads Charles I King of Great Britain - bold declaration in history, same claim made by Father about being first king of Great Britain

function: intended to show him in a powerful and positive light, assert his noble image

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