Orazio Gentileschi

David contemplating the head of Goliath

1610

Galleria Spada, Rome

       Cf. Caravaggio- Tenebrism, illuminates horror.

       Cf. Michelangelo- Rebellious Slave- same pose of legs, Florentine

Philosophical, contemplative

David has aged since the event

Incredible detail in sheepskin

Made on copper and lapis as well- better diffusion of light

*The “moment after”

*Not a youthful depiction of David like in his previous painting

*Compared to caravaggios version: No dramatic tenebrism. No drama of him slaying Goliath.

Artemesia Gentileschi

Susanna and the Elders

1610

       Cf. Orazio, David Slaying Goliath- same pose

       Cf. Michelangelo, Sistine Chapel Adam and Eve- Serpentine pose of Eve

       Cf. Carracci, Susanna and the Elders, similar compositional arrangement

*Beautiful woman bathing, elders come and ask her to sleep with them and threaten to ruin her reputation

*Controlling male gaze- May reflect reality of a woman living in Rome at this time

*Artemesia was raped by her father’s colleague Agostino Tassi

*Signed and dated- meant to be sold and admired

*Trained at home by father, tries to compare/out-do father

*Doesn’t get to study the male nude

*Explicit erotic charge

*Popular painting by men at time

Judith and Holifernes

Artemesia Gentileschi

1611-12

Capodimonte, Naples

       Cf. Caravaggio- Judith and Holifernes

       Cf. Donatello- Judith and Holifernes

She painted this subject four times

Re-Virgined widow- virtuous in her deed

Probably never saw Caravaggio’s BUT knew about it

Her father probably described it to her

Expressing her status as being like Caravaggio

-3rd wave Carravagist

Blood oozing believably

Very aggressive and muscular arms, more so that Car’s version

Abra- young and helping

Tenebrism missing, but still intended

Interest in cloth like father and Florentines

Self portrait as Judith?

Artemesia Gentileschi

Judith and Holifernes

1620

       Cf. Same as other

One for the Duke of Florence- (EGO ARTEMITO LOMI FEC) Artemesia Lomi- her Florentine name---LINING HERSELF UP AT A FLORENTINE AND A FOLLOWER OF CARAVAGGIO

He commissioned it to look like her others

Gladly accepted by the Medici

She is older in this one- wearing gold

Vertically centered with blood line

Blood spurting out at viewer

Florentine jewelry (bracelet) and fabric-Florence was a major producer of fabric and jewelry at this time-Identifying herself as a Florentine

Re-painting as a sign of her talent

Self Portrait as the Allegory of Painting

Artemesia Gentileschi

1638-40

Royal Collection, London

       Cf. Titian, self portrait- established looking

       Cf. Pisano, painter- painting of someone painting

       Cf. Vasari, La Pittura- painting of someone painting.

IN the inventory of Charles 1, 2 paintings in his collection were done by Artemisia

Signed Artemesia Gentileschi Fecket (AGF)

Disheveled black hair

Thick eyebrows to represent thought

Bright clothes with a metallic sheen

Gold chain with mask pendant

No nature- adventure in her head

Modeling herself on paintings of La Pittura, painting itself

Just beginning to paint a blank canvas

Allegory of painting always a woman, men can’t paint themselves this way

Show her skill and power as a woman

Virgin with a Unicorn

Domenichino

1602

Farnese Gallery

Cf. Annibale, Flight to Egypt- weaving background

Cf. Annibale, Pentient Magdalen- figure in front of landscape

**Trained by Ludovico, in 1602 he comes to Rome to be a part of Annibale’s workshop to finish the Galleria Farnese; his style originates with Ludovico and is then adjusted to Annibale’s

Most important of his works; Seen on your way out

Unicorns only go to virgins because of their purity, Reminds you of the virtue of virginity

Symbolizes- baptism, Christian virtue, and salvation

In front of a landscape

[image]

Last Communion of Saint Jerome

Domenichino

1611-14

for: S. Girolamo Della Carita

Pinacoteca Vaticana, Rome

       Cf. Agostino Carracci- Last communion of Saint Jerome

Cf. Titian- colors and elongated angels

Made him famous - this is his first public commission.

It is part of a re-modification of the site

First Altarpiece by him

Went home to Bologna to study before painting

He studied Agostino’s “Last Communion”

• Accused of plagiarism by Lanfranco

• Countered by argument that it is a more vertical (heavenly) and angels descending. He clarifies expressions and responses and simplifies the subject.

ALSO - eyes all are on Jerome, not bouncing around like Agostino’s.

Domenichino often revamped old famous works

Jerome converted saint Paula

More emphasis on heavenly space- Higher arch, angels descending

Act of communion is in center of painting instead of Priest, everyone looks at Jerome

Less clutter of people, more focus on event

Affetti- gestures emphasizing emotion

St. Jerome is fully supported by people around him IN 2 DISTINCT GROUPS: Jerome’s companions and the Priest’s assistants

Hunt of Diana

Domenichino

1616-17

Borghese Gallery, Rome

Commissioned for: Cardinal Pietro Aldobrandini

Owned by Cardinal Scipione Borghese

           Cf. Titian, Bacchanal of the Adrians (Domenichino copied this painting three

times before making his)

Cf. Annibale- Diana, Farnese Ceiling

Intended to represent Diana Goddess of the Moon and Goddess of the Hunt

Pagan Subject

Borghese coveted it and eventually owned it

Archery contest of Diana’s nymphs as she is judging them

Inventing a classical story (something Titian did) and attempt to create an ideal  landscape

Diana is modeled off of sculptures of Diana, he also uses hi wife as a model

Peeping Toms in the right.

**2 metaphorical statements/purposes: Painting is about getting it “right” as the archers hit the mark with their arrow in the bird, meaning the Perfection of Ancient Art. Other purpose is to recreate ancient art

*You are a voyeur looking at this painting

Landscape with a fortified town

Domenichino

1634/5

National Gallery, London

       Cf. Titian, Bacchanal of Adrian

       Cf. Flight to Egypt

*Pure landscape, no storyline or narrative

Figures in the painting are odd, peeing child, cross legged man (meaning unsophisticated)-There’s just no point. POSSIBLY the Holy Family in the background but that’s not the point

Made up place

Brown foreground, green mid-ground, blue background

**Compare to Annibale’s Flight into Egypt, he quotes it acknowledging his source-Zig zag path dragging eyes from foreground to background

Nature made by God, Modified by man

Europa

Guido Reni

1637-39

National Gallery, London

       Cf. Reni, Salome with the head of St. John the Baptist  

       Cf. Artemesia Gentileschi, Self portrait as the Allegory of painting

       Cf. Reni, Aurora

*Nicknames: ”The Divine Guido” and described as the new Raphael. He’s also REALLY good at copying other artist’s styles

*Reni recognized as best painter ever at applying color-Famous for interest in Ancient Art

Charged a lot for his work, difficult to work with

Fluidity of light and dark tones

Guido Reni

Crucifixion of St. Peter

1604/05

Pinacoteca Vaticana

For Cardinal Pietro Aldobrandini

       Cf. Study for Crucifixion of St. Peter

       Cf. Caravaggio, Crucifixion of St. Peter

Caravaggio manner painting, Skillful attempt to mediate between these two moments^

Encouraged to come to Rome to compete with Caravaggio

Painted right after Caravaggio made his

Focus more on Drama and Suffering, less on composition

Tenebrism

Manipulation of color – make each other pop red, black, and white.

Triangular composition, stable and controlled, Composition pulls your eye down to Peter’s face to emphasize the drama of the moment

Open landscape in back- Caravaggio wouldn’t have done

Caravaggio called Reni a cheater and trashed his work -COMPETITION FOR SINGULARITY IN ROME

Massacre of the Innocents

Guido Reni

1611

Pinacoteca Nazionale, Bologna

For Bero Chapel in San Domenico

       Cf. Giotto, massacre of the innocents

       Cf. Rafael Entombment, and Saint Cecilia- balance of color, figures, space, and

landscape

       Cf. Reni- Saint Cecilia  (Copy of Rafael to learn his technique)

       Cf. Caravaggio- mouth gaping open in horror

**The Innocents were the first Christian Martyrs, killed so the King of the Jews would not gain popularity

Sold it to him cheap so people would stop saying he was over priced

*Exceptionally famous

*Affeti-emotions expressed in pose and gesture

Can be split in two down the middle horizontally and vertically

Perfect compositional balance- harmonious

Contrasting brutal subject matter

Theatrical and Dramatic

Aurora

Guido Reni

1614

Casino

Owned by Cardinal Borghese

       Cf. Annibale, Triumph of Bacchus, Farnese Ceiling- compete with

       Cf. Sol, Arch of Constantine

       Cf. Botticelli Primavera Mystic Nativit

*Most perfect painting of that time-color, grace, and composition are extraordinary

Deep rich colors, venetian- like

**Quadro Riporato, painted onto the ceiling so it could not be moved or sold

Moving from darkness to light- a new dawn coming to Rome (Politically)

****Less about Apollo and more about Cardinal- POLITICAL STATEMENT- Borghese is responsible for bringing more light into Rome, and Apollo’s effortless grasp on the reigns suggest Borghese’ greatness in power

Horade- Represent hours of the day- looking forward to time in the sun

Cupid w/ torch- morning star

Dead Christ Mourned by Two Angels

Guercino

1617-18

National Gallery, London

       Cf.  Caravaggio- Entombment- drama/intensity, clear subject-parallel moment

       Cf. Annibale, Pieta (never saw Carracci’s work, only Ludovico’s)- emphasizes

humanity, outside of tomb, dawn is coming

       Cf.  Veronese- Dead Christ

       Cf. Guercino- drawing of a young man

*Creates a parallel to Caravaggio

***Ludovico’s Holy Family with St. Francis and Patrons was his biggest inspiration- he grew up on it- “like his mother’s milk” to his career

*Self taught, learned from studying Titian in Venice

Painted on copper- colors glow

**Intended to be inspiration for prayer- internal thinking, no drama, NOT meant for a church but private

-Christ head turned away, think of suffering, don’t actually see it.

**Subject in relation to Annibale’s Pieta-Both are set outside of the tomb with the richness of the night sky in the background, signifies the humanity of Christ emphasized by being outside and sprawled out in our world

Guercino (w/Agostino Tassi)

Sala Dell’ Aurora

Casino Dell’ Aurora, Villa Boncompagni Ludovisi, Rome

1621

       Cf. Andrea Pozzo, Triumph of Saint Ignitus- di sotto in su, quadraripotato

       Cf. Reni, Aurora

***PARALLEL IMAGE WITH GUIDO RENI’S AURORA

**Quadratura Fresco

*Assistance from Tassi who painted the fictive architecture

Di Sotto in Su”- “Seeing for the ground up” Figures looking down from oculus painted as the sky

*Subject: Aurora leaving her lover and bringing on the day

Painted the garden and casino on bottom, they are passing over it

Sky has opened up

*2 Lunettes: Personification of Day and Night : Night (owl and snake, evil and uncertainties, child sleeps) and Day (holding light, wisdom and divinity)

Guercino wanted to be very different from Reni’s Aurora ceiling- Guericino made the illusion that the sky was opening up, not just a framed painting like Reni’s

***Different ways of applying paint: Reni’s is more tight, precise, and controlled, while Guericino paints loosely and rapidly

-       both have Aurora looking back

-       Reni- Allegory, Guercino- Real life

-       Time of Galileo- world believed to not be round

-       Guercino more color and more lively

Guercino

Saint Petronilla

1622-23

For Chapel of Saint Petronilla, St. Peters

       Cf. Domenichino- Last Communion of St. Jerome. 2 spaces, heaven and earth

       Not connected on purpose

       Cf. Titian, Barocci Vision of Saint Francis-

*Subject: Burial/Reception of Saint Petronilla into Heaven

Legendary Saint, Sister or daughter of Saint Peter, associated with Flowers

Pagan wanted to marry her, she refused, he killed her, she was made a saint.

***2 distinct scenes crashed together; no attempt to link them as one spiritual moment. No one is looking at eachother from different scenes, no connection except the classical architecture

Everyone in contemporary garb

Lowered in or raised out?

Hands possibly pushing her out of grave

Painted directly above altar- Looks like she is being buried into actual altar

HUGE

Saint Luke

Lanfranco

1611

For Chapel of Saint Luke in Santa Maria Della Grazie

Patron: Pope Gregory XV

       Cf. Caravaggio- Inspiration of St. Matthew-crossed legs from first version,

angels circling from second version

Cf. Saint Luke, Virgin and Child

***Lanfranco was an apprentice to Augostino. He was sent to Rome to work with Annibale after Augostino dies... once Annibale dies he heads to Piacenza and gets lots of commissions$$$

***What painting in Rome did Lanfranco see might you ask!?: Caravaggio’s Inspiration of St.Matthew!

*The little painting on shelf: St. Luke receives a vision of the virgin and child and paints their portrait, and this is it.

*Painting sitting in front of him looks like the one St. Luke painted himself- Byzantine. In all version before this, the image is MODERN. But this is an old looking image, Byzantine-esque, representing his historical style

*By the 1620’s, he is one of the most important painters in Rome

Assumption of the Virgin and Four Evangelists

Lanfranco

1625-8

San’t Andrea Delle Valle (which is the 3rd largest dome in Rome), Rome

       Cf. Correggio Assumption of the Virgin- also a dome (frog legs)

       Cf. Guercino,, Aurora- PARALLEL

       Cf. Annibale,  Assumption of the Virgin

*Clouds lead your eye up in the transition of earth into heaven

*Corregio’s version was described as looking like “frogs legs” lolz

*Fresco Dome

Domenichino did the four evangelists

Architectural features not painted on

Di Sotto en Su

Painted figure of Christ at highest point, above windows

Illusionistic but also physical

Dome appears to be held by angels

Affecti- Mary, hands up looking up

Saint Ursula and the Virgins

1622-23

Lanfranco

Palazzo Barberini Rome

Cf. Bernini- Santa Bibiana – space created by pushing out drapery, hand up

looking up

Ursula- A Roman British Princess

-       Sent with virgin hand maids to be married, instead went to Rome to be Christian, killed by potential husband and made a saint

*Sign of focus on female martyrdom

**Image of devotion. Extraordinary drapery creates 3D space around her

High Baroque

Rape of the Sabine Women

Pietro Da Cortona

1629

For Cardinal Marcello Sacchetti

       Cf. Giambologna – sculpture of rape of sabine women

       Cf. Bernini- Pluto and Proserpine Sculpture

*Pietro da Cortona’s first major paintings in Rome were for the Sacchetti family

Beginning of the origins of military camp

*Recognizable features in Rome that you would not normally see together, creating a “perfect historical Rome” Such as: Pyramid of Romulus and Temple of Antonius and Faustina

Romulous soldires- tribe who lived by Rome said they were coming to surrender and instead took a bunch of women

*Theatrical structure, choreographed feel: foreground= 3 sets of figures, middle=historical moment, background=”stage set”

In middle, Romulus telling them all to grab them and run

Triumph of Diana Providentia

Pietro Da Cortona

1632-39

Palazzo Barberini, Rome

Commissioned for Urban VIII Barberini

       Cf. Annibale, Farnese Ceiling

       Cf.

Barrel Vaulted

Middle of the Palazzo facing the city of Rome

HUGE

**Quadraturra- Illusion of architecture opening up

5 parts- 4 sides and center (all have a blue sky)

Center, Allegories:

1)Divine providence- women in yellow, points to where time is moving-Immortality

2)Saturn- - Father- Past, present, future below her

3)Woman- Immortality, holding star crown, headed towards coat of arms (Barberini’s)

4)Rome, faith, charity, hope and religion creating the coat of arms w/ three bees in center

Four corners, bronze medallions representing ancient roman history and Virtues

5)Fortitude and Lion- Medallion represents with Mucios Scavala- to prove loyalty to Roman King, stuck hand in fire- Fortitude.

6)Prudence and Justice- assisting Hercules from expelling evil.

Two long walls- one divine assistance with moral knowledge and piety- over sex and alcohol (venus and silenus)

Arcadian view of ancient Rome

Other prudence, dignity, power, fame with forge of Vulcan temple on Janus

-       closed doors

-       peace

-       urban wants peace

two short walls

one- wisdom, Athena, Minerva expelling giants

Bacchanal: A Faun Teased by Children

Gianlorenzo Bernini

1616-17

Cf. Pietro Bernini sculptures

*Bernini was identified as a Florentine by family lineage. Inventor of caricature and wrote and directed plays

**Known best for ILBEL COMPOSTO, “A Beautiful Whole,” and combined all of the arts in order to create theatrical narrative. WAS MORE WELL-ROUNDED THAN MICHELANGELO

*Carved marble “as if it were wax”

*extraordinary demonstration of skill

*Carved completely in the round

Bacchanal- follower of Bacchus

*Meant to be viewed at all angles

Panther there- associated with Bacchus

Kids about to fall, one already fell

No piece unsupported

Anima Beata and Anima Damnata

Bernini

1619

Made for Pedro de Foix Montoya

       Cf. Theatre masks

       Cf. Michelangelo, Sistine Chapel blessed and damned souls in the Last Judgment

Cf. Michelangelo, Furia (Drawing)

*Uses surface and texture as well as emotion

Beata- Soft, chin up, sweet curls of hair, viewing heaven

Damnata –Spiky, rough hair and rough skin, viewing hell- horror, based off of himself. Inspired by Michelangelo’s drawing, Furia/The Damned Soul

Pope Paul V Borghese

Gianlorenzo Bernini

Villa Borghese, Rome

1616-17

       Cf. Caravaggio, Paolo Borghese

Small, not life-sized

Early work showing off his young talent

Jovial

Not wearing popes Tiara

Gianlorenzo Bernini

Apollo and Daphne

1622-23

Galleria Borghese, Rome

       Cf. Ovid Metamorphosis text

       Cf. Pieta, Michelangelo- both very polished to demonstrate skill

           Cf. Appollo Belvedere- Michelangelo-Not life-like like Bernini’s

Daphne is human daughter of River Demi God

Apollo runs to catch up to the beautiful maiden as she calls for her father to help

Father turns her into a LAUREL crown

Apollo took it and made it his emblem (He is the God of Poetry) Ironic: Appollo’s knotted hair symbolizes his control

*Metamorphosis- twigs sticking out of fingers, held up by her hair, CHANGES FROM DAPHNE TO LAUREL TREE

Cleverly holds things up, all is connected

*Tells story with texture- she is very soft and he is rough

**Bernini makes stone not like stone, movement, expression, sound

Affecti- emotions with gestures

Very polished, highest level of finish- show off his skill

Already had workers doing the busy work for him, FINNELLI

Bernini takes full credit for all of it

Intended to be placed with ancient sculptures and blend in

Today in the center of the room- used to be against a wall

*You had to walk along it to understand what is happening- viewer must participate. Walk around and go from Unknowing to Clarity

Running towards the exit to the gardens

David

Bernini

1623

Villa Borghese, Rome

       Cf. Myron Discobolos

       Cf. Michelangelo, David

       Cf. Caravaggio, David        

       Cf. The Borghese Gladiator

       Cf. Annibale Carracci, Polyphemus and Acis

       Cf. Orazio Gentileschi, David Slaying Goliath

**Commissioned by Cardinal Moltalto (dies before it is complete) so Scipione, being the art vulture that he is, rushes in to buy it less than 5 weeks after his death

*Originally planned to be an outdoor sculpture

*By doing a David in Rome, he is associating himself with Florentine culture

*Quoting Hellenistic style

Center of room below Apollo and Daphne room

*Like Apollo and Daphne, you have to participate and walk around to understand it

You are Goliath- when you get to front he is aimed right at you. Stop-action pose

Scipione decides to put it inside

Lifelike, drapery emphasizes movement

Gianlorenzo Bernini

Scipione Borghese

1632

Villa Borghese, Rome

       Cf. Caravaggio, Paolo Borghese

       Cf. Portrait of Pope Paul II

*Sense of movement in the turn of the head, buttons coming undone makes it more real and relatable, open lips about to speak making the marble look alive

Importance of Cardinal and the Individual who is Cardinal

“moment before”

-       casual but in traditional cardinal clothing

eyes are carved in deep

ancient roman sculpture technique

had to make a second one, in 14 days- first one had a crack/vein on the forehead

tricked cardinal into thinking he didn’t make a second one

Costanza Bonarelli Piccolomini

Gianlorenzo Bernini

1636-38

       Cf. Kaufman Head

       Cf. Rossellino Portrait of a woman

Widow of a sculptor who worked for Bernini

High social status with family name

*NOT a commission, carved it for himself for his own erotic pleasure, she was his mistress

*Characteristics: Erotic feeling, private event, pinned up, but falling hair, undershirt falling open,mouth open with erotic excitement, carved breasts underneath, shadowing light with hair

*She also had affair with Bernini's brother, Bernini was PISSED YALL and broke 2 of his ribs and sent someone over to her house to slice her face, ruining her beauty. Pope forced him to stop.

Baldachin (Baldacchino)

Bernini

1624-1633

St. Peters, Rome, For Urban VIII Barberini

*St. Peter’s in Centrally planned, with dome over crossing

*Strigulated columns- Constantinian

*Decorated with leaves, BEES, hugh bronze angels “holding” up the columns effortlessly, bronze tassels moving with spiritual energy. The TOP of the Baldacchino has an image of the resurrected Christ

***4 Piers: 4 saints with their 4 relics: Helena, Longinus, Andrew, Veronica, all responding to the spiritually energized space