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BAROQUE MASTERS Name: ________________________________ FAST FACTS FAMOUS Born: September 29, WORKS Died: July 18, Country: Art Movement: Michelangelo Merisi da Caravaggio was born in 1571 in a small town called Caravaggio, Italy. The artist is known as “the father of Baroque painting” because of his innovative artistic approach. Trained in Milan, Caravaggio quickly developed his own dramatic lighting techniques: chiaroscuro and tenebrism. He was known for his radical realism as he often used real models for his paintings. Caravaggio became the most famous artist in Rome with his religious paintings of The Calling of Saint Matthew and the Conversion of Saint Paul. Caravaggio died suddenly in 1610, however his work influenced many great Baroque painters including Rembrandt and Peter Paul Rubens. Circle the words that best What is chiaroscuro? describe the Baroque period! DRAMA PEACEFUL ACTION EMOTION SIMPLE Caravaggio, Young Sick Bacchus, 1593, Borghese Gallery and Museum. BAROQUE MASTERS Name: ________________________________ FAST FACTS FAMOUS Born: July 15, WORKS Died: October 4, Country: Art Movement: Rembrandt van Rijn was born on July 15, 1606 in Leiden, Netherlands. After attending the University of Leiden, Rembrandt pursued painting and opened his own studio at only 20 years old. In 1631, he moved to Amsterdam and began painting his infamous portraits. Rembrandt had a talent for capturing a person’s emotions and personality on canvas. Almost all of his paintings were portraits or portrayals of historical or mythological characters. He even painted over 90 portraits of himself! Rembrandt is known for his use of light and shadow, but also for his ability to give a true feeling of who a person was. In his self-portraits, it is easy to see how he saw himself at the time. Rembrandt died in 1669 and is regarded as the most important artist in Dutch art history. MATCHING! 1. ____ Amsterdam A. City where Rembrandt was born and attended school 2. ____ self-portraits B. Rembrandt’s most famous painting 3. ____ Night Watch C. Rembrandt moved to this city in 1631 4. ____ Leiden D. Rembrandt created over 90 of these in his lifetime Name: ________________________________ MY SELF-PORTAIT .

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Reading 1.2 Caravaggio: the Construction of an Artistic Personality
READING 1.2 CARAVAGGIO: THE CONSTRUCTION OF AN ARTISTIC PERSONALITY David Carrier Source: Carrier, D., 1991. Principles of Art History Writing, University Park, Pennsylvania: Pennsylvania State University Press, pp.49–79. Copyright ª 1991 by The Pennsylvania State University. Reproduced by permission of the publisher. Compare two accounts of Caravaggio’s personality: Giovanni Bellori’s brief 1672 text and Howard Hibbard’s Caravaggio, published in 1983. Bellori says that Caravaggio, like the ancient sculptor Demetrius, cared more for naturalism than for beauty. Choosing models, not from antique sculpture, but from the passing crowds, he aspired ‘only to the glory of colour.’1 Caravaggio abandoned his early Venetian manner in favor of ‘bold shadows and a great deal of black’ because of ‘his turbulent and contentious nature.’ The artist expressed himself in his work: ‘Caravaggio’s way of working corresponded to his physiognomy and appearance. He had a dark complexion and dark eyes, black hair and eyebrows and this, of course, was reﬂected in his painting ‘The curse of his too naturalistic style was that ‘soon the value of the beautiful was discounted.’ Some of these claims are hard to take at face value. Surely when Caravaggio composed an altarpiece he did not just look until ‘it happened that he came upon someone in the town who pleased him,’ making ‘no effort to exercise his brain further.’ While we might think that swarthy people look brooding more easily than blonds, we are unlikely to link an artist’s complexion to his style. But if portions of Bellori’s text are alien to us, its structure is understandable.
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THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay
The iconography of Mexican folk retablos Item Type text; Thesis-Reproduction (electronic) Authors Giffords, Gloria Fraser, 1938- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 20:27:37 Link to Item http://hdl.handle.net/10150/552047 THE ICONOGRAPHY OF MEXICAN FOLK RETABLOS by Gloria Kay Fraser Giffords A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Robert M.
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The Exploration of Light As a Means of Expression in the Intaglio Print Medium Mary Vasko
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 8-7-1972 The Exploration of Light as a Means of Expression in the Intaglio Print Medium Mary Vasko Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Vasko, Mary, "The Exploration of Light as a Means of Expression in the Intaglio Print Medium" (1972). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. THE EXPLORATION OF LIGHT AS A MEANS OF EXPRESSION IN THE INTAGLIO PRINT MED I UH by Sister Mary Lucia Vasko, O.S.U. Candidate for the Master of Fine Arts in the College of Fine and Applied Arts of the Rochester Institute of Technology Submitted: August 7, 1372 Chief Advisor: Mr. Lawrence Williams TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . i i i INTRODUCTION v Thesis Proposal V Introduction to Research vi PART I THESIS RESEARCH Chapter 1. HISTORICAL BEGINNINGS AND BACKGROUND OF LIGHT AS AN ARTISTIC ELEMENT THE USE OF CHIAROSCURO BY EARLY ITALIAN AND GERMAN PRINTMAKERS INFLUENCE OF CARAVAGGIO ON DRAMATIC LIGHTING TECHNIQUE 12 REMBRANDT: MASTER OF LIGHT AND SHADOW 15 Light and Shadow in Landscape , 17 Psychological Illumination of Portraiture . , The Inner Light of Spirituality in Rembrandt's Works , 20 Light: Expressed Through Intaglio . Ik GOYA 27 DAUMIER . 35 0R0ZC0 33 PICASSO kl SUMMARY AND CONCLUSION OF RESEARCH hi PART I I THESIS PROJECT Chapter Page 1.
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Light and Sight in Ter Brugghen's Man Writing by Candlelight
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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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Honthorst, Gerrit Van Also Known As Honthorst, Gerard Van Gherardo Della Notte Dutch, 1592 - 1656
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Ecce Homo Svetlana Gasanova* , Nikolas Bakirtzis and Sorin Hermon
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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.).
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Presents the Chiaroscuro Woodcut in Renaissance Italy, the First Major Exhibition on the Subject in the United States
(Image captions on page 8) (Los Angeles—April 26, 2018) The Los Angeles County Museum of Art (LACMA) presents The Chiaroscuro Woodcut in Renaissance Italy, the first major exhibition on the subject in the United States. Organized by LACMA in association with the National Gallery of Art, Washington, this groundbreaking show brings together some 100 rare and seldom-exhibited chiaroscuro woodcuts alongside related drawings, engravings, and sculpture, selected from 19 museum collections. With its accompanying scholarly catalogue, the exhibition explores the creative and technical history of this innovative, early color printmaking technique, offering the most comprehensive study on the remarkable art of the chiaroscuro woodcut. “LACMA has demonstrated a continued commitment to promoting and honoring the art of the print,” said LACMA CEO and Wallis Annenberg Director Michael Govan. “Los Angeles is renowned as a city that fosters technically innovative printmaking and dynamic collaborations between artists, printmakers, and master printers. This exhibition celebrates this spirit of invention and collaboration that the Renaissance chiaroscuro woodcut embodies, and aims to cast new light on and bring new appreciation to the remarkable achievements of their makers.” “Although highly prized by artists, collectors, and scholars since the Renaissance, the Italian chiaroscuro woodcut has remained one of the least understood techniques of early printmaking,” said Naoko Takahatake, curator of Prints and Drawings at LACMA and organizer of the exhibition.
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Chapter 25 Baroque
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