Caravaggio and the Head of Goliath Veronica Polinedrio
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Chiaroscuro in the Series of Books Titled the Art of Drawing Published by Search Press, Giovanni Civardi's Drawing Light &
Chiaroscuro In the series of books titled The Art of Drawing published by Search Press, Giovanni Civardi’s Drawing Light & Shade: Understanding Chiaroscuro discusses the application of this technique. Civardi says that “[c]hiaroscuro generally refers to the graduating tones, from light to dark, in a work of art, and the artist’s skill in using this technique to represent volume and mood” (Civardi, p. 3). Essentially, artists use chiaroscuro to show the contrast between light and dark areas in a composition “to suggest form in relation to a light source” (p. 3). The term chiaroscuro originated during the European Renaissance and artists developed the technique in various ways such as through composition, mood, and to show volume (p. 3; Harvard Art Museum glossary). For instance, chiaroscuro can be found in different kinds of art forms that include drawing, woodcuts, painting, photography, and in cinema (Hall; Landau and Parshall; Civardi). Within a compositional sense, Geertgen tot Sint Jans’s Nativity at Night (1490) is an example of establishing light sources within a painting (Earls; Hall). Ugo da Carpi, Giovanni Baglione, and Caravaggio developed the use of an unseen light source as part of the composition in their work (Earls; Hall). Caravaggio is accredited with developing the style which became known as tenebrism. This particular style stresses the intense contrast between light and dark where darkness is in prominence (Fichner-Rathus; Buser). In drawing and sketching, artists use pencil, charcoal, paint, ink, or a computer to create the effect of volume by establishing one or more light sources. In Drawing Light & Shade: Understanding Chiaroscuro, Civardi effectively explains form and cast shadow with a light source, the penumbra line “around the outer edge of the cast shadow [where] the darkness is less intense,” the shadow line, form shadow, the penumbra, cast shadow, and shadow line from the shadow cast by the object onto a surrounding surface (Civardi, pp. -
Light and Sight in Ter Brugghen's Man Writing by Candlelight
Volume 9, Issue 1 (Winter 2017) Light and Sight in ter Brugghen’s Man Writing by Candlelight Susan Donahue Kuretsky [email protected] Recommended Citation: Susan Donahue Kuretsky, “Light and Sight in ter Brugghen’s Man Writing by Candlelight,” JHNA 9:1 (Winter 2017) DOI: 10.5092/jhna.2017.9.1.4 Available at https://jhna.org/articles/light-sight-ter-brugghens-man-writing-by-candlelight/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 LIGHT AND SIGHT IN TER BRUGGHEN’S MAN WRITING BY CANDLELIGHT Susan Donahue Kuretsky Ter Brugghen’s Man Writing by Candlelight is commonly seen as a vanitas tronie of an old man with a flickering candle. Reconsideration of the figure’s age and activity raises another possibility, for the image’s pointed connection between light and sight and the fact that the figure has just signed the artist’s signature and is now completing the date suggests that ter Brugghen—like others who elevated the role of the artist in his period—was more interested in conveying the enduring aliveness of the artistic process and its outcome than in reminding the viewer about the transience of life. DOI:10.5092/jhna.2017.9.1.4 Fig. 1 Hendrick ter Brugghen, Man Writing by Candlelight, ca. -
ARTS 5306 Crosslisted with 4306 Baroque Art History Fall 2020
ARTS 5306 crosslisted with 4306 Baroque Art HIstory fall 2020 Instructor: Jill Carrington [email protected] tel. 468-4351; Office 117 Office hours: MWF 11:00 - 11:30, MW 4:00 – 5:00; TR 11:00 – 12:00, 4:00 – 5:00 other times by appt. Class meets TR 2:00 – 3:15 in the Art History Room 106 in the Art Annex and remotely. Course description: European art from 1600 to 1750. Prerequisites: 6 hours in art including ART 1303 and 1304 (Art History I and II) or the equivalent in history. Text: Not required. The artists and most artworks come from Ann Sutherland Harris, Seventeenth Century Art and Architecture. Upper Saddle River, NJ: Pearson, Prentice Hall, 2e, 2008 or 1e, 2005. One copy of the 1e is on four-hour reserve in Steen Library. Used copies of the both 1e and 2e are available online; for I don’t require you to buy the book; however, you may want your own copy or share one. Objectives: .1a Broaden your interest in Baroque art in Europe by examining artworks by artists we studied in Art History II and artists perhaps new to you. .1b Understand the social, political and religious context of the art. .2 Identify major and typical works by leading artists, title and country of artist’s origin and terms (id quizzes). .3 Short essays on artists & works of art (midterm and end-term essay exams) .4 Evidence, analysis and argument: read an article and discuss the author’s thesis, main points and evidence with a small group of classmates. -
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Journal of Arts & Humanities Volume 09, Issue 06, 2020: 01-11 Article Received: 26-04-2020 Accepted: 05-06-2020 Available Online: 13-06-2020 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: http://dx.doi.org/10.18533/journal.v9i6.1920 Caravaggio and Tenebrism—Beauty of light and shadow in baroque paintings Andy Xu1 ABSTRACT The following paper examines the reasons behind the use of tenebrism by Caravaggio under the special context of Counter-Reformation and its influence on later artists during the Baroque in Northern Europe. As Protestantism expanded throughout the entire Europe, the Catholic Church was seeking artistic methods to reattract believers. Being the precursor of Counter-Reformation art, Caravaggio incorporated tenebrism in his paintings. Art historians mostly correlate the use of tenebrism with religion, but there have also been scholars proposing how tenebrism reflects a unique naturalism that only belongs to Caravaggio. The paper will thus start with the introduction of tenebrism, discuss the two major uses of this artistic technique and will finally discuss Caravaggio’s legacy until today. Keywords: Caravaggio, Tenebrism, Counter-Reformation, Baroque, Painting, Religion. This is an open access article under Creative Commons Attribution 4.0 License. 1. Introduction Most scholars agree that the Baroque range approximately from 1600 to 1750. There are mainly four aspects that led to the Baroque: scientific experimentation, free-market economies in Northern Europe, new philosophical and political ideas, and the division in the Catholic Church due to criticism of its corruption. Despite the fact that Galileo's discovery in astronomy, the Tulip bulb craze in Amsterdam, the diplomatic artworks by Peter Paul Rubens, the music by Johann Sebastian Bach, the Mercantilist economic theories of Colbert, the Absolutism in France are all fascinating, this paper will focus on the sophisticated and dramatic production of Catholic art during the Counter-Reformation ("Baroque Art and Architecture," n.d.). -
The Encounter of the Emblematic Tradition with Optics the Anamorphic Elephant of Simon Vouet
Nuncius 31 (2016) 288–331 brill.com/nun The Encounter of the Emblematic Tradition with Optics The Anamorphic Elephant of Simon Vouet Susana Gómez López* Faculty of Philosophy, Complutense University, Madrid, Spain [email protected] Abstract In his excellent work Anamorphoses ou perspectives curieuses (1955), Baltrusaitis con- cluded the chapter on catoptric anamorphosis with an allusion to the small engraving by Hans Tröschel (1585–1628) after Simon Vouet’s drawing Eight satyrs observing an ele- phantreflectedonacylinder, the first known representation of a cylindrical anamorpho- sis made in Europe. This paper explores the Baroque intellectual and artistic context in which Vouet made his drawing, attempting to answer two central sets of questions. Firstly, why did Vouet make this image? For what purpose did he ideate such a curi- ous image? Was it commissioned or did Vouet intend to offer it to someone? And if so, to whom? A reconstruction of this story leads me to conclude that the cylindrical anamorphosis was conceived as an emblem for Prince Maurice of Savoy. Secondly, how did what was originally the project for a sophisticated emblem give rise in Paris, after the return of Vouet from Italy in 1627, to the geometrical study of catoptrical anamor- phosis? Through the study of this case, I hope to show that in early modern science the emblematic tradition was not only linked to natural history, but that insofar as it was a central feature of Baroque culture, it seeped into other branches of scientific inquiry, in this case the development of catoptrical anamorphosis. Vouet’s image is also a good example of how the visual and artistic poetics of the baroque were closely linked – to the point of being inseparable – with the scientific developments of the period. -
Artemisia Gentileschi : the Heart of a Woman and the Soul of a Caesar
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 7-13-2010 Artemisia Gentileschi : The eH art of a Woman and the Soul of a Caesar Deborah Anderson Silvers University of South Florida Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Silvers, Deborah Anderson, "Artemisia Gentileschi : The eH art of a Woman and the Soul of a Caesar" (2010). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/3588 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Artemisia Gentileschi : The Heart of a Woman and the Soul of a Caesar by Deborah Anderson Silvers A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Naomi Yavneh, Ph.D. Annette Cozzi, Ph.D. Giovanna Benadusi, Ph.D. Date of Approval: July 13, 2010 Keywords: Baroque, Susanna and the Elders, self referential Copyright © 2010, Deborah Anderson Silvers DEDICATION I would like to dedicate this thesis to my husband, Fon Silvers. Nearly seven years ago, on my birthday, he told me to fulfill my long held dream of going back to school to complete a graduate degree. He promised to support me in every way that he possibly could, and to be my biggest cheerleader along the way. -
Chapter 25 Baroque
CHAPTER 25 BAROQUE Flanders, Dutch Republic, France,,g & England Flanders After Marti n Luth er’ s Re forma tion the region of Flanders was divided. The Northern half became the Dutch Republic, present day Holland The southern half became Flanders, Belgium The Dutch Republic became Protestant and Flanders became Catholic The Dutch painted genre scenes and Flanders artists painted religious and mythol ogi ca l scenes Europe in the 17th Century 30 Years War (1618 – 1648) began as Catholics fighting Protestants, but shifted to secular, dynastic, and nationalistic concerns. Idea of united Christian Empire was abandoned for secu lar nation-states. Philip II’s (r. 1556 – 1598) repressive measures against Protestants led northern provinces to break from Spain and set up Dutch Republic. Southern Provinces remained under Spanish control and retained Catholicism as offiilfficial re liiligion. PlitildititiPolitical distinction btbetween HlldHolland an dBlid Belgium re fltthiflect this or iiigina l separation – religious and artistic differences. 25-2: Peter Paul Rubens, Elevation of the Cross, 1610-1611, oil on Cue Card canvas, 15 X 11. each wing 15 X 5 • Most sought a fter arti st of hi s time - Ambassador, diplomat, and court painter. •Paintinggy style •Sculptural qualities in figures •Dramatic chiaroscuro •Color and texture like the Venetians • Theatrical presentation like the Italian Baroque •Dynamic energy and unleashed passion of the Baroque •Triptych acts as one continuous space across the three panels. •Rubens studied Renaissance and Baroque works; made charcoal drawings of Michelangelo’s Sistine Chapel and the Laocoon and his 2 sons. •Shortly after returning home , commissioned by Saint Walburga in Antwerp to paint altarpiece – Flemish churches affirmed their allegiance to Catholicism and Spanish Hapsburg role after Protestant iconoclasm in region. -
Baroque Paintings Tend to Privilege Emotional Intensity Over Rationality and Frequently Use Rich Colours and Intense Contrasts of Light and Dark (Tenebrism)
SESSION 5 (Tuesday 5th February 2019) 17th Century Baroque 1. Michelangelo da Caravaggio [MA] 1.1. The Calling of St Matthew 1598-1601 1.2. The Madonna of Lereto 1604 2. Peter Paul RuBens [FB] 2.1. Sampson & Delilah 2.2. The Rape of the Daughters of Leucippus 1618 Oil on canvas (224 x 209cm) 3. Van Dyck [FB] 3.1. Charles I of England 1636 4. Artemesia Gentileschi 4.1. Judith Slaying Holofernes 1612 5. Diego de Velazquez [BA]. 5.1. Las Meninas 1656 canvas (323 x 276cm) Prado, Madrid 6. Nicolas Poussin [BA] 6.1. Landscape with Orpheus and Euridice 1650 Louvre, Oil on canvas (124 x 200cm) 6.2. Et in Arcadia Ego 1638 Oil on canvas (87 x 120cm) Louvre. Also see Arcadian Shepherds 1627 Chatsworth House 7. Claude Lorrain 7.1. The Judgement of Paris 7.2. Seaport at Sunset , 1648, Louvre Also see Turner’s The Fighting Temeraire 1839 National Gallery Title page: Artemisia Gentileschi ‘Self Portrait as the Allegory of Painting’ 1638 Royal Collection Baroque paintings tend to privilege emotional intensity over rationality and frequently use rich colours and intense contrasts of light and dark (teneBrism). Often the paintings catch a moment in the action, and the oBserver’s perspective is so close to the events they might almost feel a participant. The Council of Trent (1545-63) was set up By Pope Paul III to counter the influence of the Protestant churches. The Council called for Church commissioned paintings to have emotional appeal and a clear religious narrative and message, rejecting the more stylistic affectations of Mannerism, so Baroque paintings fitted that brief well. -
Rembrandt's 1654 Life of Christ Prints
REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St. -
1 Caravaggio and a Neuroarthistory Of
CARAVAGGIO AND A NEUROARTHISTORY OF ENGAGEMENT Kajsa Berg A thesis submitted in fulfilment of the requirements For the degree of Doctor of Philosophy University of East Anglia September 2009 © This copy of the thesis has been supplied on the condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author’s prior written consent. 1 Abstract ABSTRACT John Onians, David Freedberg and Norman Bryson have all suggested that neuroscience may be particularly useful in examining emotional responses to art. This thesis presents a neuroarthistorical approach to viewer engagement in order to examine Caravaggio’s paintings and the responses of early-seventeenth-century viewers in Rome. Data concerning mirror neurons suggests that people engaged empathetically with Caravaggio’s paintings because of his innovative use of movement. While spiritual exercises have been connected to Caravaggio’s interpretation of subject matter, knowledge about neural plasticity (how the brain changes as a result of experience and training), indicates that people who continually practiced these exercises would be more susceptible to emotionally engaging imagery. The thesis develops Baxandall’s concept of the ‘period eye’ in order to demonstrate that neuroscience is useful in context specific art-historical queries. Applying data concerning the ‘contextual brain’ facilitates the examination of both the cognitive skills and the emotional factors involved in viewer engagement. The skilful rendering of gestures and expressions was a part of the artist’s repertoire and Artemisia Gentileschi’s adaptation of the violent action emphasised in Caravaggio’s Judith Beheading Holofernes testifies to her engagement with his painting. -
From Mannerism to Baroque: Caravaggio and Donne
(RJELAL) Research Journal of English Language and Literature Vol.4.Issue 3. 2016 A Peer Reviewed (Refereed) International (July-Sept.) Journalhttp://www.rjelal.com; Email:[email protected] RESEARCH ARTICLE FROM MANNERISM TO BAROQUE: CARAVAGGIO AND DONNE SRISHTI SHARMA 122 UGF Raja Garden, New Delhi. ABSTRACT This endeavor is to present a unique combination of visual art with literature. Visual art in literature is commonly referred to as “Ekphraisis”, or as Horace coined his famous dictum “Ut picture poesis”. Several other writers have rejected the idea of Ekphraisis, based on the fact that language is linear while visual art is spatial. I suggest that our ancients were correct in instituting a relation between the words and art. I feel that one can accomplish a greater understanding of the two if they are either compared or understood in companionship reading, running parallel to each other. In this paper I am trying to elucidate upon one such case in point which would add reasonable strength to Ekphrasis using the examples from Caravaggio’s artwork and John Donne’s Poetry. The painter Caravaggio and the poet John Donne were contemporaries. In their work one can find the manifestation from Mannerist to Baroque. ©KY PUBLICATIONS It is perfectly legitimate and historically looking for a substitute to Mannerism1. Caravaggio’s grounded to identify the dark bedrock of painting with innovation and novelty was Naturalism2 that united matter. It is for centuries that the Catholic Church had close physical observation with a dramatic. This unison viewed darkness as an inert matter or nothingness and was actually the*theatrical use of ‘Chiaroscuro’ which light as the representative and the intervention of the came to be known as ‘Tenebrism’3. -
The Twentieth-Century Fabrication of “Artemisia” Britiany Daugherty University of Nebraska-Lincoln, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Theses, Dissertations, and Student Creative Activity, Art, Art History and Design, School of School of Art, Art History and Design Spring 4-20-2015 Between Historical Truth and Story-Telling: The Twentieth-Century Fabrication of “Artemisia” Britiany Daugherty University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/artstudents Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Art and Design Commons, Feminist, Gender, and Sexuality Studies Commons, Fine Arts Commons, and the Theory and Criticism Commons Daugherty, Britiany, "Between Historical Truth and Story-Telling: The wT entieth-Century Fabrication of “Artemisia”" (2015). Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design. 55. http://digitalcommons.unl.edu/artstudents/55 This Article is brought to you for free and open access by the Art, Art History and Design, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. BETWEEN HISTORICAL TRUTH AND STORY-TELLING: THE TWENTIETH-CENTURY FABRICATION OF “ARTEMISIA” by Britiany Lynn Daugherty A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: Art History Under the Supervision of Professor Marissa Vigneault Lincoln, Nebraska May, 2015 BETWEEN HISTORICAL TRUTH AND STORY-TELLING: THE TWENTIETH-CENTURY FABRICATION OF “ARTEMISIA” Britiany Lynn Daugherty, M.A.