ArtHist252 Midterm Review

Self-Portrait with other figures - 1593

Annibale Carracci

Milan, Pinacoteca di Brera

Boy Drinking - 1582-83

Annibale Carracci

Cleveland, Museum of Art

Bean Eater - 1584-85

Annibale Carracci

Rome, Galleria Colonna

Butcher’s Shop - 1580-82

Annibale Caracci

Oxford, Christ Church

Butcher’s Shop - early 1580s

Annibale Carracci

Fort Worth, Kimbell Art Museum

Crucifixion with Saints - 1583

Annibale Caracci

Bologna, Santa Maria della Carita

Assumption of the Virgin - 1587

Annibale Carracci

Madrid, Prado

The San Ludovico Altar (Madonna and Child in Glory) - 1590-92

Annibale Caracci

Bologna, Pinacoteca Nazionale

Pieta with Saints - 1585

Annibale Caracci

Parma, Pinacoteca

Venus Adorned by Graces - 1590-95

Annibale Carracci

Washington, National Gallery

Conversion of St. Paul - 1587-89

Ludovico Carracci

Bologna, Pinacoteca Nazionale

The Flagellation - 1589

Ludovico Carracci

Douai, Musee de la Chartreuse

leccata

(literally meaning licked in Italian) refers to a painting style or technique characterized by an ultra-smooth, meticulous, and highly polished surface finish where all individual brushstrokes are completely erased.

Palazzo Fava

In Bologna. The birthplace of the Carracci family’s revolutionary naturalism and their first major public-facing commission.

Palazzo Magnani

Most famous for housing the groundbreaking fresco cycle of the Histories of the Foundation of Rome (1588–1590) painted by Annibale, Agostino, and Ludovico Carracci.

Gabriele Paleotii

Bishop of Bologna, wrote Discorso intorno alle imagini sacre e profane, 1582.

Ulisse Aldrovandi

Naturalist at the University of Bologna

Pastosita

(often anglicized as pastosita, meaning "pastiness" or "doughiness" in Italian) refers to a thick, rich, and, viscous application of paint.

Viva carne

(Italian for "living flesh" or "red meat") represents a major conceptual and stylistic shift during the Late Renaissance and Early Baroque periods. It denotes the conscious rejection of stylized, artificial forms in favor of raw, vivid realism observed directly from life.

Galleria Farnese, ceiling, 1597-1600

Annibale Carracci

Palazzo Farnese, Rome

Triumph of Bacchus and Ariadne

Annibale Carracci

Farnese Gallery ceiling

Pan and Diana

Annibale Carracci

Farnese Gallery ceiling

Mercury and Paris

Annibale Carracci

Farnese Gallery ceiling

Polyphemus Wooing Galatea

Annibale Carracci

Farnese Gallery ceiling

Polyphemus Slaying Acis

Annibale Carracci

Farnese Gallery ceiling

Cephalus and Aurora

Annibale Carracci

Farnese Gallery ceiling

Venus and Triton

Annibale Carracci

Farnese Gallery ceiling

Juno and Jupiter

Annibale Carracci

Farnese Gallery ceiling

Hercules and Iole

Annibale Carracci

Farnese Gallery ceiling

Diana and Endymion

Annibale Carracci

Farnese Gallery ceiling

Venus and Anchises

Annibale Carracci

Farnese Gallery ceiling

The Dead Christ Mourned - 1603-04

Annibale Carracci

London, National Gallery

Pieta - 1599-1601

Annibale Carracci
Naples, Museo di Capodimonte

Illusionism

Represents the tradition of creating a convincing impression of three-dimensional reality on a two-dimensional surface, or making art appear to share the physical space of the viewer.

Quadro riportato

A ceiling painting designed to look like a normal, framed easel painting that has been lifted and attached to an overhead surface.

Di sotto in su

An extreme illusionistic painting technique in art history where figures and architecture are painted with steep foreshortening so they appear to float, stand, or recede directly above the viewer.

Paragone

(Italian for "comparison" or "touchstone") was a central debate in Renaissance art history, where different art forms—most notably painting and sculpture—competed for intellectual supremacy and higher status.

Self-Portrait as Bacchus - 1593-94

Caravaggio

Rome, Galleria Borghese

Boy with a Basket of Fruit - 1593-94

Caravaggio

Rome, Galleria Borghese

Still Life with Basket of Fruit - 1601

Caravaggio

Milan, Pinacoteca Ambrosiana

The Musicians - 1595

Caravaggio

New York, Metropolitan Museum of Art

The Lute Player - 1595-96

Caravaggio

St. Petersburg, The Hermitage

Saint Francis of Assisi in Ecstasy - 1595-96

Caravaggio

Hartford, The Wadsworth Antheneum

Crucifixion of St. Peter - 1600-01

Caravaggio

Rome, Cerasi Chapel, S. Maria del Popolo

Conversion of St. Paul - 1600-01

Caravaggio

Rome, Cerasi Chapel, S. Maria del Popolo

Supper at Emmaus - 1601

Caravaggio

London, National Gallery

Supper at Emmaus - 1606

Caravaggio

Milan, Brera

Seven Works of Mercy - 1606-07

Caravaggio

Naples, Pio Monte della Misericordia

Flagellation - 1607

Caravaggio

Naples, Capodimonte

The Beheading of St. John the Baptist - 1608

Caravaggio

Valetta, Co-Cathedral of St. John

The Burial of Saint Lucy - 1608

Caravaggio

Syracuse, Museo di Palazzo Bellomo

David with the Head of Goliath - 1606-10

Caravaggio

Rome, Galleria Borghese

Tenebrism

A dramatic painting technique from the 17th-century Baroque period that uses extreme, violent contrasts between light and dark to make select subjects pop out from a pitch-black background.

Chiaroscuro

combining the Italian words chiaro ("light") and scuro ("dark")—is a foundational technique in art history that uses strong tonal contrasts to create the illusion of three-dimensional volume, depth, and dramatic focus on a flat surface.

Boy Bitten by a Lizard - 1595-96

Caravaggio

London, National Gallery

Head of Medusa - 1598

Caravaggio

Florence, Uffizi

Bacchus - 1597

Caravaggio

Florence, Uffizi

The Card Sharps - 1594-95

Caravaggio

Fort Worth, Kimbell Art Museum

The Fortune Teller - 1598-99

Caravaggio

Paris, Louve

Judith and Holoferenes - 1599

Caravaggio

Rome, Galleria Nazionale d’Arte Antica

St. John with a Ram - 1602

Caravaggio

Rome, Capitoline Museum

Entombment - 1602-04

Caravaggio

Rome, Pinacoteca Vaticana

Madonna di Loreto - 1603-06

Caravaggio

Rome, S. Agostino

The Calling of St. Matthew - 1599-1600

Caravaggio

Contarelli Chapel, 1599-1602, S. Luigi dei Francesi, Rome

The Martyrdom of St. Matthew - 1599-1600

Caravaggio

Contarelli Chapel, 1599-1602, S. Luigi dei Francesi, Rome

The Inspiration of St. Matthew - 1602-03

Caravaggio

Contarelli Chapel, 1599-1602, S. Luigi dei Francesi, Rome

The Inspiration of St. Matthew (1st version) destroyed 1602

Caravaggio

Contarelli Chapel, 1599-1602, S. Luigi dei Francesi, Rome

Assumption of the Virgin - 1600

Annibale Caracci

Cerasi Chapel, 1600-01, S. Maria del Popolo, Rome

Death of the Virgin - 1601-03

Caravaggio

Paris, Louve

Cardinal Francesco Maria del Monte

The first major Roman patron of Caravaggio and an influential cultural agent for the Medici family.

Decorum

The principle that all elements of a work of art must be fitting, appropriate, and harmonious with its subject matter, social rank, setting, and moral purpose.

Mathieu Cointrel

Much better known by his Italianized name Matteo Contarelli, holds massive significance in art history as the patron behind one of the most transformative commissions in Western painting: the Contarelli Chapel.

Tiberio Cerasi

Commissioned the Cerasi Chapel inside Rome's Santa Maria del Popolo, setting up a direct, monumental clash between the two dominant artistic geniuses of the early Baroque era: Caravaggio and Annibale Carracci.

The Liberation of Peter - 1615

Giovanni Battista Caracciolo

Pio Monte della Misericordia, Naples

The Fortuneteller - 1616-17

Bartolomeo Manfredi

Michigan, Detroit Institute of Arts

The Fortuneteller - 1620

Simone Vouet

Ottawa, National Gallery

The Fortuneteller - 1630s

Georges de la Tour

New York, Metropoitan Museum of Art

The Cardsharps - 1615-18

Valentin de Boulogne

Dresden

Judith and Holofernes - 1626

Valentin de Boulogne

Valetta, National Museum

The Lute Player - 1612

Orazio Gentileschi

Washington DC, The National Gallery

Danae - 1623

Orazio Gentileschi

Cleveland Museum

Lot and his Daughters - 1622

Orazio Gentileschi

Los Angeles, The J. Paul Getty Museum

Self-Portrait as “La Pittura” - 1638

Artemisia Gentileschi

London, St. James Palace

Susanna and the Elders - 1610

Artemisia Gentileschi

Pommersfelden

Judith and Holofernes - 1612-13

Artemisia Gentileschi

Naples, Capodimonte

Judith and her Maid - 1623-25

Artemisia Gentileschi

Detroit, Institute of Arts

Pope Paul V - 1618

Gianlorenzo Bernini

Rome, Galleria Borghese

Cardinal Scipione Borghese

Gianlorenzo Bernini

Rome, Galleria Borghese

St. Peter’s Basilica

Carlo Maderno

Facade and nave - 1608-12

Crucifixion of St. Peter - 1604-05

Guido Reni

Rome, Pinacoteca Vaticana

David with the head of Goliath - 1605-06

Guido Reni

Paris, Louve

St. Andrew Adoring his Cross - 1609

Guido Reni

Oratory of St. Andrew, S. Gregorio Magno, Rome

Flagellation of St. Andrew - 1609

Domenichino

Oratory of St. Andrew, S. Gregorio Magno, Rome

Ceiling fresco of Aurora - 1613

Guido Reni

Casino of Aurora, Palazzo Rospigliosi-Pallavicini, Rome

S. Cecilia - 1600

Stefano Maderno

Rome, S. Cecilia

S. Cecilia distributing her clothes to the poor

Domenichino

Cappella Polet, S. Luigi dei Francesi, Rome

The Condemnation of S. Cecilia

Domenichino

Cappella Polet, S. Luigi dei Francesi, Rome

The Martyrdom of S. Cecilia

Domenichino

Cappella Polet, S. Luigi dei Francesi, Rome

S. Cecilia in Glory

Domenichino

Cappella Polet, S. Luigi dei Francesi, Rome

Affetti

(Italian for "movements of the soul") is an art-historical and rhetorical concept describing human passions, emotions, and psychological states conveyed through physical gestures, facial expressions, and bodily movements.