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Pontormo, Story of Joseph (1518) Mann.
-painted after Florence declined
-many different scenes of Joseph's life
-medieval concept of many stories on one panel
-distortion of bodies and line
-proportions wrong
-everything flying off the frame
-empty space in the middle, everything is crammed to the edges
-decade before Titian's Madonna and Pesaro Family |
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Parmigianino, Madonna of the Long Neck (1534-40) Mann.
-maybe the great Mannerist painting
-classical elements but also anti-classical
-corner fellow is tiny
-big pillar with no top, no architectural significance
-everything cluttered to left side with emptiness on the right
-theatrical curtain, is it set inside or outside?
-all angels are crammed
-Jesus is elongated, falling off the lap of Mary
-swan like, graceful neck
-really long fingers
-maybe for clientele thats just educated and strange |
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Tintoretto, Finding the body of st mark (1562)Mann.
-dark scene
-strange color pallet, distorted from the primary colors
-marks body on the floor with his spirit telling the men to stop looking, a man is having a demon come out of him bc of the power, demons present in the air
-tomb raiders
-myth about how Mark's body came back to Venice |
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Tintoretto, Last Supper (1592-1594) Mann.
-dark, illuminated strangely
-table diagonal to the background
-Jesus has the biggest halo
-lamp giving off light, becoming angelic forms |
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El Greco, Christ driving out the money changers (1570s) Mann.
-Tintoretto's weird colors, thats his master
-elongated figures
-left Venice for Spain, counter-Reformation painter
-Catholics cleansing their house |
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El Greco, Burial of Count Orgaz (1586) Mann.
-borrowing Titian's vertical orientation like in Assumption of Mary
-spirit is going up, ushered into Heaven
-moving your eye upward
-crucifix going up
-heaven is strange, distorted space
-line of faces below, stephen and augustine laying the body down
-self-portrait above the raised hand, looking at us
-his son in front, saying he's 8 years old |
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Velazquez, Water carrier of seville (1620) C-R Bar.
-realist
-earth tones
-like to paint naturalistic appearance
-mastery of still life elements
-one of the greatest painters of all time |
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Velazquez, Las Meninas (The Maids of Honor) (1656)C-R Bar.
-pyramid structure
-center of attention is the daughter of the king and the queen
-dwarf kept in the court
-layers in the background
-man in the doorway with receding light
-so many planes:5, all receding
-painter self portraits with red tie, wanting to be a royal knight
-mirror on back wall, showing painting with king and queen sitting in front of the painting
-who is the subject? maids? king and queen? us?
-painting about painting, self referencial
-two big rectangles on the walls are 2 of his other paintings
-red cross: order of St Antiago (James), pilgrimage, royal knighthood, begging king to make him a knight
-connect with Van Eyck Arnolfini wedding, light coming in the window |
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Caravaggio, Supper at Emmaus (1598) C-R Bar.
-naturalism, real humans
-moment disciples seeing Cross marks, realizing its Jesus
-foreshortening of the elbow
-true master, still life on the table
-elements of communion present
-pregnant moment, greatest dramatic moment, disciples realizing He's the Son of God, revealed in the breaking of the bread
-simple clothing
-halo is his shadow, naturalized symbol, negative halo
-shadows everywhere, light is coming from... Jesus?
-really weird thing: includes servant, not in Biblical scene, adds counter balance |
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Caravaggio, Calling of St Matthew (1598) C-R Bar.
-eath tones
-more brown than Bruggels who also had earth tones
-surrounding darkness then diagonal light
-Jesus' hand pointing at Matthew, "what, me?"
-moment of Matthew's conversion, leaving money
-diving spark of Jesus' hand
-reminds of hand from Michelangelo, hand of Adam not of God
-cross naturalized in the window, take up cross and follow me -Matthew could be young man instead of old, lots of debate |
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Caravaggio, Conversion of St Paul (1602)C-R Bar.
-weird perspective, almost worms eye
-radical linear perspective
-pregnant moment, half painting is horse's butt
-foreshortening very difficult in Paul's body
-expanding beyond the boundaries, like all baroque art
-horse looks like its stomping on Paul
-servant/horse trainer? his legs almost dont match his body
-elaborate rhythm of legs and arms
-quite dramatic
-light source somewhere (probs Jesus), pushing Paul off the painting |
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Riguad, Louis XIV (1701) Ar Bar.
-power: scepter and sword
-pillar of France just like the pillar holding the building
-red heels to show off calves
-sign of France
-pompous |
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Rubens, Raising of the Cross (1610) Ar. Bar.
-fleshy bodies
-no other portrayal of Jesus as fleshy and muscular
-emphasis on color, "orgs of color", almost excessive
-diagonal pull, causing drama
-large and lush |
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Rubens, Arrival of Marie de Medici (1622-1625) Ar. Bar.
-Palace in french, hired to paint this and its HUGE
-glorifying French royalty
-angels trumpeting in the sky
-fleshy mythological on bottom, god of the sea and nymphs
-grand display of Pompous and power |
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Rubens Massacre of the Innocents (1636) Ar. Bar.
-there is line, but the color is what grabs your attention
-diagonal line sweeping through, making an "x" in the painting
-axis everywhere
-that "x" creates motion and chaos |
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Poussin, Rape of the Sabine Women (1637) Ar. Bar.
-emphasizes line below the chaos
-used statues when painting the human figures
-went to Rome to study architecture
-Romulus and Remis, Romulus decreeing whats happening below, giving men wives from the sabine women
-below the line is chaos, above is order, structured by the architecture
-all the color carefully placed in an outline
-appeals to reason
-colors are primary colors, making it more rational |
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Poussin, Et in Arcadia Ego (1638) Ar. Bar.
-around a tomb
-latin words "I too dwell in Arcadia"
-Arcadia is almost like a Garden of Eden
-classical humanism
-death is in Arcadia, even the perfect place
-whole thing is momento mori
-3 shepherds meditating on this, meditation on life and death, even in perfect order
-rule of 3rds
-womans body with trees create line dividing into 3rds
-shephards staff anchoring the painting
-right angles mirroring each other
-returning to Renaissance here with the geometry |
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Claude Lorrain, Marriage of Issac and Rebecca (1648)Ar. Bar.
-theyre there somewhere
-had to have historical Biblical meaning to the painting (standardization)
-cant just have a "landscape" painting in the rules
-big trees create bookends, atmospheric perspective in the middle, being hazy
-Claude Lorrain also painted around Rome |
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La Tour, Repentant Mary Magdalene (1635-40) Ar. Bar.
-royal power but different artists
-momento mori, one of the most famous ones
-staring into the light
-influence of caravaggio |
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Van Dyck, Charles I (1635)Ar. Bar.
-free brush stroke
-disciple of Rubens, English disciple
-hes the first monarch to be beheaded |
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Hals, the Jolly Drinker (1627) Bo. Bor
-master of capturing personality in spontaneous moment
-looseness of brush stroke: hand, face |
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Leyster, Self-Portrait (1635) Bo. Bor.
-good with color
-first woman painter really
-face has virtuosity
-portraying in act of painting (self reference) a violinist
-comparing herself as painter to violinist
-shes a virtuoso like the violinist
-violinist uses their bow, she uses her brush |
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Rembrandt, Raising of the Cross (1632) Bo. Bor.
-diagonal
-simplified in figures
-light only on Christ
-illumination: tenabrism
-turbaned figure, Nicodemus or Joesph of Aramthia
-Rembrant touching Jesus, himself at center sort of admitting himself as contributing to the Cross
-powerfully subjective |
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Rembrandt, Sacrifice of Isaac (1636) Bo. Bor
-originator of flannel graph concept of depicting Biblical stories
-pregnant moment
-flesh so sliceable
-foreshortening of angel
-surprise of Abraham
-learned from Caravaggio |
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Rembrandt, Night Watch (1642) Bo. Bor
-cooperation picture, portraying donors in action
-citizen militia needed when fighting Spanish
-spotlight effect, light rom top left
-puts angelic girl, balances officer
-diagonals balanced
-decline of Rembrandt after this painting |
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Rembrandt, Self-portrait with Saskia (1635) Bo. Bor
-courousing, portraying as Biblical iconography of prodigal son with women
-right after they were married |
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Rembrandt, Return of Prodigal Son (1665) Bo. Bor.
-human touch so warm, never before has a painter showed the power of touch
-father enveloping son
-eldest son looking down in condescention
-possibly greatest Rembrandt painting |
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Ruisdael, Jewish Cemetery (1655-60) Bo. Bor.
-like Claude, captures poetry of landscape
-broken down Jewish synagogue
-searching for deeper symbolic values
-invents many imaginary picturesque details that contribute to somber feelings, loneliness and desolation of mortals when confronted with forces beyond their control
-sublimity of nature
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Vermeer, View of Delft (1658) Bo. Bor.
-brings dramatic light to the clouds
-closes off an opportunity for the eye to "go back" in the middle like Claude does
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Vermeer, The Milkmaid (1660) Bo. Bor.
-light is perfect
-nails in the wall
-perfect texture in the food
-highlights on the clothing |
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Vermeer, Woman in Blue Reading a Letter (1664) Bo. Bor.
-narrative going on
-looks pregnant
-map of Holland in background, nationalism
-anchors with horizontal and vertical line
-rect-a-linear, rectangles
-give peaceful composure |
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Vermeer, Art of Painting (1665-70) Bo. Bor.
-Vermeer himself
-floral wreath on woman, historical fame
-chandelier like Arnolfini wedding
-Clio, muse of history, book of history, trumpet, mask, etc, all arts represented
-many planes, like La Maninas |
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Watteau, Voyage to Cythera (1717) 18th
-lovers on the ground
-backgrounds look like theatrical sets
-hazy atmospheric perspective
-gentle line
-Mozart music
-eat drink and be merry |
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Watteau, The Music Party (1719) 18th
-maybe music teacher
-African boy serving champagne
-people lounging in background
-misty, vaporous landscapes important in conveying his subtle moods |
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Fragonard, The Swing (1769) 18th
-quinicentral rococo
-lavish vegetation, cornocopia
-diagonal pull of swing and light
-men in shrubbery
-maybe learned from Rubens
-statue of boy angle, Cupid
-servant manipulating the swing and man looking up her dress
-erotic, soft porn, peeping from shadows
-French Revolution reacts to this, virtual reality of pleasure |
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Chardin, Grace at Table (1740) 18th
-moments of great tenderness
-at a meal
-quiet glimpse of life of ordinary people
-feels and preserves the poetry of a domestic scene without looking for striking effects of pointed allusions
-still-life greatness |
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Gainsborough, Robert Andrews and His Wife (1748-50) 18th
-greatest 18th century English painting
-looks like Revolutionary War times
-upper middle class, lots of property
-newly weds, marriage portrait but figures on left with landscape
-what he has to offer the marriage, the land
-wheat: fertility, (sheep enclosure movement with the hedges), political significance
-hunting dog and rifle to show masculinity, dog to show faithfulness
-blank space in her lap
-tree trunk to show lineage and family tree
-naturalized symbols |
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Reynolds, Miss bowles with her dog (1775) 18th
-sensibility: evokes feeling, sentamentality
-so sweet
-texture and color
-brings out character of sweet child |
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Fuseli, The Nightmare (1781) 18th
-only swiss artist
-Fuseli had two great gods: Shakespeare and MIlton
-sublime, mind blowing
-supernatural sublime here
-storm and stress
-around the time of Frankenstein
-reason breaking down, going to Romanticism |
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Bernini, David (1623) C-R Bar.
-big difference between Michelangelo's
-B's is older and in action, theatrical with dynamism, so baroque
-breaking out, open posture
-MA's is younger, closed stance, state of rest |
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Bernini, St. Theresa in Ecstasy (1642-1652) C-R Bar.
-made about an experience St Theresa wrote about, saying that she was pierced with arrows from the angel, with the arrow took her entrails, and after she was consumed with pain but with love of God, never wanted it to end
-paradox of pain and sweetness
-O'Connor's violent grace
-face is ambiguous, ecstatic pleasure (orgasmic) or pain/suffering
-spiritual mysticism allows for both
-way Bernini captured flowing garment
-rods of gold coming from the top
-Corinthian columns
-people's heads, sculpted onlookers
-total effect, all the arts int he building to woo to worship |
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Pozzo, Triumph of St Ignatius (1691) C-R Bar.
-ceiling of church in Rome
-foreshortening, linear perspective
-all going up, swirling effect brought to head of St Ig
-light comes together is his head
-cross and trinity
-Ig going to eternity
-wow factor, theatrical
-omega point, everyone going to Heaven |
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