Art exam 2 Part A

• *Roughly from 1520- 1585
• *Often looks artificial, staged.
• *Imbalancedcompositions
• *Unusual complexities (visual, conceptual)
• *Distortions, exaggerations
• *Elegance, grace and sophistication
• *Targeting elite, intelligent viewer

• Jacopo da Pontormo,Entombment,
• oil on panel. (Mannerism 1525-1585)

panel. (Mannerism 1525-1585)

• Council
• of Trent (1545-1563)

• *Art
• should promote the power, glory and grandeur of church

• 1.
• Easily readable/understandable

• 2.
• Doctrinally correct

• 3.
• Spiritually inspiring/Faith promoting

4. Appeal to emotion rather than reason

• Paolo Veronese, Last Supper/Christ in
• the House of Levi, oil of canvas. (Mannerism 1525-1585)

changes name of painting to make it fit churches guidelines

• Albrecht Durer, Melencolia I,
• engraving. (Northern Europe, 16th
• century

• . Mattias Grunewald, Isenheim Altarpiece
• (closed). (Northern
• Europe, 16th century)

lower section that corresponds to the image above

• Hieronymus Bosch, Garden of Earthly Delights,
• . (Northern Europe, 16th
• century)

• Hans Holbein the Younger, The Ambassadors
• (Northern Europe, 16th
• century)

Anamorphic image-image that is distorted that will only resolve itself at a certain angle

• . Pieter Bruegel, Netherlandish Proverbs,, oil on panel. (Northern Europe,
• 16th century)

• Gianlorenzo Bernini, aerial view and piazza of
• St. Peter's,. (Italian
• Baroque, 17th century)

Piazza-public plazza

Colonnade-248 columns in rows of 4

• . Gianlorenzo Bernini, David,
• height 5’7”. (Italian Baroque, 17th
• century)

§Roughly 17th century (1600s)



§Characteristics of visual arts:

• 1.
• Sense of movement, energy, and tension

• 2.
• Strong contrasts of light and shadow

• 3.
• Dramatic, often theatrical

• 4.
• Intense spirituality

5. Impressive grandeur



6. Viewer involving

• Bernini, Ecstasy of Saint Teresa, Cornaro
• Chapel, Santa Maria della Victoria, Rome,

(Italian Baroque, 17th century )

• Francesco Borromini, San Carlo alle Quattro
• Fontane, Rome, . (Italian Baroque, 17th c.)

• Caravaggio (Michelangelo Merisi), Calling of
• St. Matthew, . (Italian
• Baroque, 17th c)

Tenebrisim-dark or shadowy manner , dramatic use of light and dark

Baroque Naturalism/Realism- use of dirty people/ wrinkles etc. not models

• Caravaggio, Conversion of St. Paul.
• (Italian Baroque, 17th
• century)

• Artemesia Gentileschi, Judith Slaying
• Holofernes, c. (Italian
• Baroque, 17th c.)

Carvaggisti-follows caravaggios light and dark style

• Francisco de Zurbarán, Saint Serapion,
• . (Spanish Baroque, 17th
• century

• Diego Velázquez, Las Meninas,
• . (Spanish Baroque, 17th century)