1. Warm-up 4-20-15 Ch 25 L1 North Baroque
Respond to the following:
What is tenebrism? What does it represent?
What is the narrative of this work?
How does Artemisia Gentileschi make her subject appear like a heroine?
Obj: SWBAT describe how Caravaggio and Gentileschi redefined representation in painting
Homework Due Today:
Ch 25 Cue Cards

2. Caravaggi-oh no you did’ nt!
Artemesia Gentileschi: Judith Slaying Holofernes
Caravaggi-oh no you did’ nt!
Tenebrism—sharply lit scenes with a single light source and dark background
Meaning?
Christ as the light of the world
Caravaggio: Judith Slaying Holofernes

3. FEMALE ARTIST:
Caravaggista
Raped at age 19
Became 1st female painter at Florence Academy of Design
Narrative: Judith, (old testament heroine ) helps free Israel by seducing an Assyrian general. When inside his tent, she cuts off his head with his sword
Judith gains physical/emotional strength to sever a head,
Blood spurts out b/c heartbeat
Renders HEROINE instead of the common heroes.
Triumph of women over men
Artemesia Gentileschi: Judith Slaying Holofernes
Figure ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.

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6. Chapter 25 -  The Baroque in Northern Europe
Explain why Baroque art in Flanders is more closely tied to the Baroque art of Italy than is the art of much of the rest of northern Europe.
Describe the role of Peter Paul Rubens in Flemish art and also in other sphere of life in Flanders.
Explain why painting in the Dutch Republic favored private commissions of portraits, genre scenes, landscapes, and still lifes rather than the more traditional religious works of the previous century.
Give reasons for the abundance of luxury items represented in Dutch painting, especially fine clothing and jewelry in portraits.
Describe the work and career of Rembrandt van Rijn and be certain to include reasons for his apparent failure as a business person at the end of his life.
Describe instances of pronounced kingly influence on art and architecture is some parts of Europe.
Explain how classical ideas and ideals survived in Northern Europe during the Baroque; in what country is the survival most notable.
Explain why architecture was the most important art form in England during the 17th century.

7. Start memorizing these dates!!

8. Homework Due Tues
1. What historical factors account for the large demand for secular artworks, including genre scenes, still lifes, portraits and landscapes in the Dutch Republic in the 17th century?
2. How does Gerrit van Honthorst’s “Supper Party” represent middle class patronage?
3. Describe Rembrandt’s innovation in rendering light, in both paintings and in prints.
4. Describe Jan Vermeer’s style and subject matter. What is camera obscura? How did Vermeer use camera obscura?

9. 17th Cen (1600s) Baroque in Europe

10. Baroque Essentials (South & North) Complex—narrative/artistic skill
Still Life—inanimate objects
Moral Symbolism—vanitas, portraits
Grand Scale—architecture, sculpture
Ornamentation
Light—dramatic lighting
Drama—climatic moments

11. Northern Bourgeois Baroque: “Golden Age” (merchant middle class butchers, bakers, & shoemakers)
Dutch Republic = Protestant nation without an absolute ruler
Lacking commissions from Catholic church, Dutch artists turn to merchant class for commissions
Specialized in PORTRAITURE and STILL-LIFE
Portraiture (especially of groups)  new ways of capturing a new class of patrons…Calvinists (who did NOT believe in religious imagery)
Still-Life way for middle class Dutch to show pride in their accomplishments AND transience (short, not lasting) of material things

12. Interest in scientific accuracy
Dutch Republic: Pieter Claez- Vanitas (Still Life) 1630s
Vanitas - still life reminds viewers of the transience (short, not lasting) of “vanity”. materialism, reminder that death is ever-present
Reveals Dutch pride in accomplishments  depiction of material goods (worldwide trade)
For Calvinist patrons, did not believe in overt religious imagery (protestant)
still life reminds viewers of the transience of “vanity,” materialism. Reminder that death is ever-present
Interest in scientific accuracy
Objects have meaning: time, human achievement
momento mori= reminder of mortality/death.
artist memorialized himself in the painting

14. RACHEL RUYSCH, Flower Still Life
CFU
1. How does this work represent Calvinist beliefs?
Vanitas - still life reminds viewers of the transience of “vanity”
Beauty is fleeting, should not be the focus of life
2. How does this work represent Dutch achievements?
Botany
Dutch were growers and exporters of flowers
Scientific accuracy

15. RACHEL RUYSCH, Flower Still Life
Figure RACHEL RUYSCH, Flower Still Life, after Oil on canvas, 2’ 6” x 2’. The Toledo Museum of Art, Toledo (purchased with funds from the Libbey Endowment, gift of Edward Drummond Libbey).

17. Peter Paul Rubens Elevation of the Cross –Flanders (Catholic)
Aristocrat w/ royal patrons, International star.
Themes: Religion and Passion
“Pan-European Style” --Combines Italian and Northern painting traditions
Narrative: Christ nailed to cross, muscular figures lifting cross
Strenuous exertion, physical and emotional tension and struggle

19. Peter Paul Rubens Elevation of the Cross –Flanders (Catholic)
3. In terms of style, What’s Italian Renaissance or Baroque?
Diagonals, dynamic comp., intense emotion, action and light of Caravaggio
Twisting poses, muscular bodies heroicism like…Michelangelo’s
Sistine Chapel, classical drapery
4. In terms of style, What’s Northern?
Rich colors, surface textures and details

21. Exit Slip:
Describe Peter Paul Ruben’s Pan-European style.

22. Narrative: her arrival in France Use of allegory (of France)
Peter Paul Rubens
Marie de’ Medici (widow of King Henry IV) commissioned Rubens to paint the story of her life
Narrative: her arrival in France
Use of allegory (of France)
“fleur-de-lis-man”,
winged “fame” above,
Sea and sky rejoice at her safe arrival from Italy
Soft, rich muted colors, varied textures and forms =richness of aristocratic taste
GLORIFIES the patron
Figure PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil on canvas, approx. 5’ 1” x 3’ 9 1/2”. Louvre, Paris.

24. Flemish Baroque : Peter Paul Rubens
Triumph of the RUBENESQUE Female!