APAH: Baroque Art – Velázquez & Spanish Painting Spain

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APAH: Baroque Art – Velázquez & Spanish Painting Spain – Hapsburg rule Rising power of Spain 15th & 16th centuries Overseas expansion Declining power 17th century Loss of armada 1588 Loss in Thirty-Years War Failure to capitalize on markets Catholic – Counter-Reformation Same appeal to devotion & piety as in Italy Use of martyrdom images Jose de Ribera Martyrdom of St. Bartholomew (1639) Diego Velázquez (1599-1660) Court artist for King Philip IV Prestige, patronage, position Chamberlain of the Palace Interior decorator and designer Unique style influences Western art Impressionist Cubists Water Carrier of Seville Control of ability at 20 Influenced by Caravaggio Ordinary people Tenebrism Genre scene Surrender of Breda Commemorating the Spanish victory over the Netherlands in 1625 Political propaganda Strength & benevolence God’s blessings on the victory Portrait of Philip IV in Armor Philip was ugly – Velazquez had to ‘ennoble’ him Las Meninas (1656) Called a “theology of painting” by Baroque artist Luca Giordano Moves beyond replication to recreating life Animating the scene and figures Capturing a moment not a static pose Color and energy over line Use of gradations of light – unlike Caravaggio Creates ‘areas’ in the painting – layers Set in the Alcázar (palace fortress in Madrid) Hung in the King’s private study Fulfills the premise of the painting – see’s his reflection Characters in the drama Infanta Margarita (princess) Focus of attention King & queen in mirror Giovanni Arnolfini & his Wife hung in Palace Unseen in the foreground Viewer’s position Over Infanta’s shoulder and behind her Velazquez as painter Prominent but in background With Order of Santiago painted on chest Required papal dispensation (x2) Painting beneath nobility Ladies-in-waiting Doting, fawning Dwarfs Maribarbola and Nicolas de Pertusato Kick at Mastiff adds spontaneity Governess, servant, and Queen’s chamberlain A mystery wrapped in an enigma What is Velazquez doing? Extended depth Open doorway & stairs pull the viewer out of the room Mirror extends the foreground Paintings on the wall – copies of Peter Paul Rubens’ work Stories of the immortal gods as source of art Pallas and Arachne and The Judgment of Midas Dualities Formal family pose and a genre painting Court office and profession of painter Painting of painting a portrait of the king and queen Contrast of real space, pictured space, space within space .

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669 Other Artists
669 Other Artists Fig. 132. Francesco Fracanzano (attrib.) Rosa and Friends (drawing, Christie’s Images) Fig. 131. Giovan Battista Bonacina, Portrait of Salvator Rosa (engraving, 1662) Fig. 133. Francesco Fracanzano (attrib.), Rosa and Friends (drawing, British Museum, London) Fig. 134. Lorenzo Lippi, Orpheus (c. 1648, private collection, Florence) 670 Fig. 135. Lorenzo Lippi (and Rosa?), The Flight Fig. 136. Lorenzo Lippi, Allegory of Simulation into Egypt (1642, Sant’Agostino, Massa Marittima) (early 1640’s, Musèe des Beaux-Arts, Angers) Fig. 137. Baldassare Franceschini (“Il Volterrano”), Fig. 138. Baldassare Franceschini (“Il Volterrano”), A Sibyl (c. 1671?, Collezione Conte Gaddo della A Sibyl (c. 1671?, Collezione Conte Gaddo della Gherardesca, Florence) Gherardesca, Florence) 671 Fig. 140. Jacques Callot, Coviello (etching, Fig. 139. Jacques Callot, Pasquariello Trunno from the Balli di Sfessania series, early 1620’s) (etching, from the Balli di Sfessania series, early 1620’s) Fig. 142. Emblem of the Ant and Elephant (image from Hall, Illustrated Dictionary of Symbols in Eastern and Western Art, p. 8) Fig. 141. Coviello, from Francesco Bertelli, Carnavale Italiane Mascherato (1642); image from Nicoll, Masks Mimes and Miracles, p. 261) 672 Fig. 143. Jan Miel, The Charlatan (c. 1645, Hermitage, St. Petersburg) Fig. 144. Karel Dujardin, A Party of Charlatans in an Italian Landscape (1657, Louvre, Paris) Fig. 145. Cristofano Allori, Christ Saving Peter from Fig. 146. Cristofano Allori (finished by Zanobi the Waves (c. 1608-10, Collezione Bigongiari, Pistoia) Rosi after 1621), Christ Saving Peter from the Waves (Cappella Usimbardi, S. Trinità, Florence) 673 Fig. 148. Albrecht Dürer, St. Jerome in his Study (engraving, 1514) Fig.
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Prints That Were Initially Produced and Printed There.[16]
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The University Art Collection: Paintings, Sculpture, Fine Prints, and Other Graphic Arts A
Madonna and Child with Saints Catherine and Barbara, ca. 1525. Oil on panel, 21.75 x 16 inches. By the Master of Hoogstraeten (Netherlands; active first third of sixteenth century). This panel, painted in the tradition of Rogier van der Wyden and Gerard David, is probably related to a commission for the church of Saint Catherine in the Flemish town of Hoogstraeten near Antwerp. 144 The University Art Collection: Paintings, Sculpture, Fine Prints, and other Graphic Arts a Paintings........................................................................................................................... 145 Fine.Prints........................................................................................................................ 151 Editorial.Cartoons............................................................................................................. 157 Other.Graphics.Collections................................................................................................. 158 Sculpture........................................................................................................................... 160 Miscellaneous..................................................................................................................... 162 Archival.Resources............................................................................................................. 163 he University Art Collection is built largely on gifts from alumni and friends, and traces some important chapters in Georgetown’s history. Since it
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Primary Teacher's Notes 2015-16
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