italian baroque part 2
TRANSCRIPT
Annibale Carracci
Palazzo Farnese ceiling
c. 1600
An example of the
continuing influence of
Classicism, but with a bit
more naturalism, clarity,
and emotion than in the
Renaissance
Giovanni Battista Gaulli
Triumph of the Name of
Jesus
1676-1679
Di sotto in su (as seen
from below)
A more dramatic approach in which
the ceiling of the church appears to
open up to the heavens and the
condemned are falling down into the
viewer’s space
Caravaggio
Bacchus
1595-1596
Caravaggio’s work represents a breakthrough. It is more emotional and clear than that of his contemporaries and perhaps more naturalistic than the Council of Trent ever intended.
Caravaggio, Calling of St. Matthew, Contarelli Chapel, c. 1600
Tenebrism: brightly lit figures against a black background, a dramatic technique apparently invented by Caravaggio
Caravaggio, Martyrdom of St. Matthew (Contarelli Chapel), 1599-
1600
Caravaggio
Inspiration of St. Matthew
(Contarelli Chapel)
c. 1602-1603
Contarelli Chapel
Rome
Caravaggio
Death of the Virgin
c. 1601-1606
Caravaggio
Entombment
1605
…versus Pontormo, Entombment, 1525-1528
Artemisia Gentileschi
Judith and Maidservant
with the Head of
Holofernes
1625
Caravaggisto (plural:
Caravaggisti)=follower of
Caravaggio
His teneberism and simple,
dramatic compositions inspire a
whole new generation of artists
throughout Europe.
Gentileschi
Judith and Holofernes
1612-1613
Gentileschi
La Pittura
(Allegory of Painting)
1630