1508-12 Michelangelo, Separation of Light from Dark

Sistine Chapel, Rome

-represents the beginning of time & creation of time

-contrasts Michelangelo, Last Judgement

-an example of contrapasso or turning of the body

Michelangelo, Last Judgement

1536-41, Sistine Chapel, Rome

-Gospel of Matthew, represents the end of time & evil

-Mary acts as an intermediary between the "separation of light from darkness" and the "last judgement"

Michelangelo, Original Sin and Expulsion From Paradise

1508-12, Sistine Chapel, Rome

-represents the role of Rome between the beginning and the end of time

-sexuality is born when adam and eve become mortal, they have to continue the race

1. Jesus tells Peter to found the church in Rome

2. Augustus creates the Pax Romana (peaceful moment) as Jesus is born in Bethlehem - peaceful conditions allow Jesus's birth

Michelangelo, Pieta

c. 1500, St. Peter's, Rome

Caravaggio, Boy with Basket of Fruits, 1594

-is Caravaggio homosexual?

-transfer of the 'beautiful woman' image to the 'beautiful boy' like Tietian's "Flora"

-this is Tetian's way of showing what his artwork can do and Caravaggio immitates this

-a rematerialization of Zeuxius' art through reading Pliny's "Natural History"

-artists like Caravaggio interpreted ancient art through ancient texts

Caravaggio, Bacchus, for Cardinal del Monte, 1595

-oil, boy makes an offering, sexual and food related

-the boy offers wine and is drunk, dressing or undressing?

-oil use creates reflection of a face in wine jug; sense of immediacy that includes the viewer

-fruit placed in bottom right, like a signature

Caravaggio, Self-Portrait as sick Bacchus, 1594

-ritratto di spalla: portrait seen from the shoulder, supposed to affect the viewer, turning away from darkness of background, painting aware of viewer through it's offering of fruit and the inviting ribbon

-similar to Tietan's "Il Bravo"

Caravaggio, Boy Bitten by a Lizard, for Cardinal del Monte, 1596

-bitten while offering fruit

-right hand seems to be holding the brush as if Caravaggio is painting himself

-vase reflects Caravaggio's studio

Caravaggio, Concert of Youths, for Cardinal del Monte, 1595

-left boy holds grapes & wears wings like Cupid or Bacchus? could also be spirit of love/music

-violin on table not being played, inviting another player; you would have to be the Cardinal (he loved music)

Caravaggio, Ecstasy of Saint Francis, for Cardinal del Monte, 1595-6

-exegesis: interpretation used to expand the meaning of a passage of the Bible; shows Caravag's authority to paint in this way

-Francis inflicted with the 5 stigmata, similar to Jesus; posture similar to Pieta

-light of God from the right, moon illuminates background water, dim light on shepherds (left)

Caravaggio, Betrayal, for Ciriaco Mattei, c. 1599

-emphasized darkness, you can't see soldiers' eyes

-Caravag. holds the lantern that provides light (rt.)

Caravaggio, Supper in Emmaus, for Ciriaco Mattei

c. 1600

-this shows the gap in time btwn. Jesus' resurrection & ascention; to Jerusalem he meets 2 apostles who thought he would be in a different form; by blessing the food, they knew

-background shadow of a man & about-to-fall fruit

-exegesis: Jesus compares to Michelangelo's God in Sistine Chapel

Caravaggio, Doubting Thomas, for Giustiniani, 1602-3

Caravaggio, Martyrdom of St. Peter, Cerasi Chapel, patron: Tierio Cerasi 1599-1602, Santa Maria del Popolo

-left side of altar; Peter faces the tabernacle

-stone in foreground: Peter said "on this stone you will build the Church"

-1 of 3 paintings that respond to the eucharist; first set of Caravag. narrative paintings

Caravaggio, Conversion of Paul, Cerasi Chapel, patron: Tiberio Cerasi, 1599-1602, Santa Maria del Popolo (rt. side of chapel)

-known for converting the Gentiles-why he appears as Roman soldier; fell from horse on his way to Jerusalem

-unaware servant in the dark; Paul embraces the light (closed eyes)

Carracci, Assumption of the Virgin, Cerasi Chapel, patron: Tiberio Cerasi, 1599-1602, Santa Maria del Popolo

-placed between Caravaggio's Martyrdom of St. Peter & Conversion of Paul

Habakuk (sculpture), Bernini, 1655-1661, patrons: Agostino Chigi (16th cen.) & Cardinal Fabio Chigi (pope alexander VII - mid/late 17th cen), Santa Maria del Popolo

-pops out of the corner compared to "Daniel"

-prefigures the eucharist

-Habakuk and Daniel symbolize the body & blood

Daniel (sculpture), Bernini, Chigi Chapel, Santa Maria del Popolo, 1655-61 for patrons: Agostino Chigi 16th cen/cardinal fabio chigi (pope alexander VII) mid/late 17th cen.

-compare to Habakuk; in it's separate space, prefigures Christ

-with Habakuk, symbolizes the body & blood

Piazza del Popolo, Rainaldi, Bernini & Fontana

(Churches of Santa Maria in Montesanto & Santa Maria dei Miracoli)

1661

-patron: Alexander VII Chigi

-late 16th cen: Sixtus V transported obelisk to piazza

Caravaggio, Calling of St. Matthew, Contarelli Chapel, San Luigi dei Francesi, patron: French Cardinal Matteo Contarelli, c. 1600

-left side of chapel

-large, straight-forward narrative; linear viewing from rt. to left

-Christ, Peter and light appear in tax house of Jerusalem to call Matthew

-Leonardesque: light/dark ripple effect

-Michelangelesque: similar hands

-Peter's contortion shows his mission

Caravaggio, St. Matthew with the Angel, Contarelli Chapel, San Luigi dei Francesi, patron: French Cardinal Matteo Contarelli, c. 1600

-rt. side of chapel

-originally rejected; 1st burned in WWII Germany

-angel guides Matthew's hand; during counter-reformation church wouldn't want to show him unable to write (reason for rejection)

-acts to bring humans back to the eucharist

Caravaggio, Martyrdom of St. Matthew, Contarelli Chapel, San Luigi dei Francesi, patron: French Cardinal Matteo Contarelli, c. 1600

(middle of chapel)

-energeia: rhetorical strategy of painting

-Titian work: model for Caravag.

-vortex, wheel shape of st. matthew; viewer involved as matthew falls towards the chapel, muscular emphasis vs. de-emphasis

-Caravag. in background

Caravaggio, Madonna of Loreto, Cavalletti Chapel, Sant' Agostino, 1604, patron: Orazio Cavalletti & Orinzia de Rossi

Bernini, Martyrdom of St. Lawrence, 1617, for Cardinal Maffeo Barberini then Leone Strozzi, now in Collezione Contini-Bonacossi, Florence

-martyr, killed in Circus Maximus, burned alive

-had a vision of God who said Rome would be capital of Church

-Barberini: Pope Urban VIII, saw young Bernini's talent

-Poem: passion of st. lawrence; spiritual communication with God

Bernini, St. Sebastian, for Cardinal Maffeo Barberini, 1617, now in Thyssen-Bornemisza Collection, Madrid

-tortured, survived, then killed by emperor and thrown in main sewage line

-called the 'alter christus'; other christ, the passion

-church propaganda of martyrs fighting other religions

-similar to Michelangelo bodies, but not supporting itself

-shows the idea of 'life and death' started by Michelangelo

Bernini, Damned Soul, patron: Cardinal Montoya, now in Embassy of Spain, 1619

-comes from the page of the book read during last rites

-probably carved for tomb of Cardinal Montoya

Caravaggio, Medusa, Cardinal del Monte for Duke of Tuscany, c. 1597

-appropriate gift for Medici family, Medusa turns things to stone: she is a sculptor - this matches statues of Perseus in Florence

-the reflection of Medusa is shown like a mirror image, placed high so you look up at it

Bernini, facade of Santa Bibiana, patron: Urban VIII Barberini, 1624-26, Rome

-Bernini's first architecture, looks like a palace; church itself become a relic because the old church was revived (Baroque structure); windows where you can see the medieval mosaic inside

Bernini, sculpture of Santa Bibiana, patron: Urban VIII Barberini, 1624-26, Santa Bibiana, Rome

-contrapasso, legs in tension and rest; in communication with the light

-God on the ceiling; they salute each other

-Bernini is learning and transforming what he sees in Rome

-he brings together the unity in sculpture & painting by showing her ascention

-"the unity of the visual arts"