Term
|
Definition
| The use of extreme contrasts of light and dark in figurative compositions to heighten their dramatic effect. (Dramatic Chiaroscuro) |
|
|
Term
|
Definition
(Italian: ‘carried—or transferred—picture’).
Term applied to a ceiling picture that is intended to look as if it is a framed easel picture placed overhead; there is no illusionistic foreshortening, figures appearing as if they were to be viewed at normal eye level. |
|
|
Term
|
Definition
| The principal European style in the visual arts in the 17th century and the first half of the 18th. Baroque artists include Caravaggio, Rubens, Rembrant, Tiepolo, and Bernini. |
|
|
Term
| Ideas that identify Baroque painting, sculpture, and architecture... |
|
Definition
- Theatricality
- Dramatic chiaroscuro (tenebrism), sometimes includes "spotlight" effect
- Strong sensory impact
- emotional intensity
- scriptural literacy/sensitivity to nuances and details of biblical narrative
- dissolution of pictorial/architectural/spacial boundaries
- suggestion that action cannot be contained, more that is "happening offstage" |
|
|
Term
| The Catholic Church's Effort with Baroque Art... |
|
Definition
- has been called "a style of persuasion"
- "Counter Reformation"
- The Catholic Church attempted to use art to speak to the faithful and express the spirit of the Counter-Reformation
- 16th Century: The Church tire to halt the spread of Protestantism in Europe
- 17th Century: The Church had declared their efforts a success, and was celebrating its triumph |
|
|
Term
|
Definition
Caravaggio
The Crucifixion of Saint Peter
Oil on canvas
1601
The drama and clarity in Caravaggio's work epitomizes the Baroque style. |
|
|
Term
|
Definition
Conversion of St. Paul
Caravaggio
(1601)
Oil on canvas |
|
|
Term
|
Definition
Saint Matthew and the Angel
Caravaggio
(1602-now destroyed)
The patron who commissioned this work (which was destroyed by bombing in World War II) rejected it on sight.
Why was the patron so unhappy about this work?
- According to Caravaggio's early biographer, the critic Giovanni Bellori (1672), "...the priest took it down, saying that the figure with its legs crossed and its feet rudely exposed to the public had neither the decorum nor the appearance of a saint." |
|
|
Term
|
Definition
Saint Matthew and the Angel
Caravaggio
(1602) Oil on Canvas |
|
|
Term
|
Definition
Loves of the Gods, Ceiling of Gallery, Palazzo Farnese, Rome.
Annibale Carracci
1597-1601 |
|
|
