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Baroque: Spain and Italy

nichsara
February 16, 2012

Baroque: Spain and Italy

Lecture given February 16, 2012

nichsara

February 16, 2012
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  1. Baroque:   Spain  and  Italy   Reading   Stokstad,  711-­‐735

        Range   1600-­‐1700   Baroque     Terms/Concepts   barroco,  Counter-­‐ReformaAon,   Council  of  Trent,  conceCo,     tenebrism,  Academy,  allegory,     Monument  List     Gianlorenzo  Bernini,  St.  Teresa   of  Avila  in  Ecstasy,  1645-­‐1652.     Gianlorenzo  Bernini,  David,   1623.     Caravaggio,  Bacchus,   1595-­‐1596.     Artemisia  GenAleschi,  Self-­‐ Portrait  as  the  Allegory  of   PainEng,  1630.     Diego  Velazquez,  Las  Meninas,   1656.  
  2. “Great  profit  is  derived  from   all  holy  images,  not

     only   because  the  people  are   thereby    reminded  of  the   benefits  and  giWs  bestowed   on  them  Christ,  but  also   because  through  the  saints   the  miracles  of  God  and  the   salutary  examples  are  set   before  the  eyes  of  the   faithful,  sot  that  they  may   give  God  thanks  for  those   things,  may  fashion  their   own  life  and  conduct  in   imitaAon  of  the  saints  and   be  moved  to  adore  and  love   God  and  culAvate  piety”    –Council  of  Trent,  1563  
  3. Caravaggio,  The   Conversion  of  St.  Paul,   Cerasi  Chapel,

     Santa   Maria  del  Popolo,  Rome,   c.  1601  
  4. Artemisia  GenAleschi,  Self-­‐Portrait  as  the  Allegory  PainAng,   1630  

    “the  conAnuity  and  the  interlocking  nature  of   painAng,  each  man  learning  from  his  master   and  conAnuing  his  master’s  achievements  in   the  next  generaAon.”  (Cesare  Ripa,  Iconologia)    
  5. Artemisia  GenAleschi,  Self-­‐ Portrait  as  the  Allegory  PainEng,   1630

      Ambroise  Dubois,  The  Allegory   PainEng,  1600.  
  6. Jan  van  Eyck,  Double  Portrait  of   a  Giovanni  Arnolfini

     and  his   Wife,  1434.   Diego  Velazquez,  Las   Meninas,  1656.  
  7. CriAcal  Thinking  QuesAons   1.  What  does  the  word  “Baroque”

     mean?    When  did  it   come  into  use?    What  are  some  of  the  conceptual   problems  with  the  term?   2.  How  did  the  works  of  Baroque  Italy  and  Spain  further   the  causes  of  the  CounterreformaAon?   3.  How  did  Velasquez’s  Las  Meninas  reflect  his  posiAon   as  a  court  arAst?    How  does  it  exemplify  the  changing   status  of  arAsts  within  royal  courts  and  society  in   general?   4.  Describe  how  Baroque  arAsts  imbued  their  subjects   with  “emoAonality”  and  “drama”?    What  were  some   of  the  moAvaAons  behind  those  qualiAes?