Conversion of St.

Paul
c. 1600
P/S: Southern Baroque Art
A: Caravaggio
L: Rome, Italy
M/T: oil on canvas
C: for Cerasi Chapel in the Roman church of Santa
Maria del Popolo
DT: in background, old hostler preoccupied w/ caring
for horse; eloquence & humanity depiction; stable
accident, not miracle=departs from typical
religious scenes painted
Ideas: illustrates the conversion of the Parisee Saul to
Christianity, when he became the disciple Paul
 Death of the Virgin
c. 1600
P/S: Southern Baroque Art
A: Caravaggio
Pa: Laerzio Alberti
L: Louvre, Paris
M/T: oil on canvas
DT: figures near life-sized; Virgin surrounded by
overcome Mary Magdalen && apostles; dark
canvas, range of emotions
Ideas: rejected as unfit by the Parish; painting
recalls the Entombment in the Vatican in scope
 Calling of St. Matthew
c. 1600
P/S: Southern Baroque Art
A: Caravaggio
L: San Luigi dei Francesi, Rome
M/T: oil on canvas
DT: light comes from 2 sources on right, creates
tenebroso effect on figures; diagonal shaft of
light points directly to St. Matthew (who points
unsure if Christ would select him); narrow stage
for figures to sit/stand
Ideas: Christ’s hand gesture = similar to Adam’s on
Sistine chapel; foppishly dressed=cutting-edge
Baroque fashion; slight halo=sanctity of scene
 Entombment
c. 1600
P/S: Southern Baroque Art
A: Caravaggio
L: Vatican Museum, Rome
M/T: oil on canvas
F: visualization of transubstantiation (effect of turning
Eucharist meal into blood & body of Jesus)
DT: Christ’s body placed in grave, painting over an altar
so Christ is symbolically being placed on the altar;
figures pushed forward the picture plane, stone slab
come in forward toward the picture frame;
Nocodemus; figure looking at us = Caravaggio
himself; common figure drawn w/o aura of holiness
Ideas: transubstantiation rejected by Protestants
 Judith and Maidservant w/ the Head of
Holofernes
c. 1625
P/S: Southern Baroque Art
A: Gentileschi
L: Uffizi, Florence
M/T: oil on canvas
DT: dramatic lighting, emotional pathos
Ideas: face of Judith a self-portrait, as she identified
with Old Testament heroines; Gentileschi raped
by male patron—event that went to trial;
Gentileschi specialized in painted images of
women triumphing over men; influence of
Caravaggio in the tenebrism of gory details
 Judith Slaying Holofernes
c. 1625
P/S: Southern Baroque Art
A: Gentileschi
L: Uffizi, Florence
M/T: oil on canvas; tenebrism (“dark” subject matter)
DT: dramatic lighting, emotional pathos
Ideas: face of Judith a self-portrait, as she identified with
Old Testament heroines; Gentileschi raped by
male patron—event that went to trial; Gentileschi
specialized in painted images of women
triumphing over men; influence of Caravaggio in
the tenebrism of gory details; story from
Apocryphal work of Old Testament, the Book of
Judith—Judith charms Holofernes (enemy) w/
charm, when he’s asleep, she cuts off his head w/
maid’s help
 Loves of the Gods
c. 1600
P/S: Southern Baroque Art
A: Carracci
L: Rome
M/T: fresco
C: Palazzo Farnese (palace ceiling)
DT: barrel vaulted ceiling combines w/ quadro
riportato w/ di sotto in su painting, idealized
bodies in variety of poses, vigorous movements,
rich color, figures overlap the painted & stucco
frames (sitting, hands over)
Ideas: loves of the gods played out in bacchanalian
abandon on the ceiling, rich colors inspired by
the Venetians
 Triumph of the Barberini
c. 1633-1639
P/S: Southern Baroque Art
A: Pietro da Cortona
L: Palazzo Barberini, Rome
M/T: fresco
DT: easy movement of figures in open space
unified by extensive use of light & figure
Ideas: naturalist trend in painting; di sotto in
su; symbols of Barberini family include
bees & laurel wreaths
 Los Borrachos
c. 1650
P/S: Southern Baroque Art
A: Velazquez
Pa: Philip IV
L: Museo del Prado, Madrid
M/T: oil on canvas
DT: scene in which God Bacchus crowns w/ crown of
leaves one of seven men around him; semi-
mythological character observes the scene
Ideas: alcohol seen as escape from daily life
 Juan de Pareja
c. 1650
P/S: Southern Baroque Art
A: Velazquez
Pa: Juan de Pareja
L: Metropolitan Museum of Art, New York City
M/T: oil on canvas
F: portrait
DT: restricted palette of colors
Ideas: painted as a practice prior to portrait for
Pope Innocent X; to compensate for restricted
colors, loose, almost impressionistic style adopted
 Las Meninas
c. 1650
P/S: Southern Baroque Art
A: Velazquez
L: Prado, Madrid
M/T: oil on canvas
C: originally in Philip IV’s study
DT: Velazques/ chross of Royal Order of Santiago,
elevating him to knighthood; group portrait of artist in
his studio @ work; he steps back from canvas & looks
@ us; light & dark contrast; dappled effect of light on
shimmering surfaces
Ideas: central=Infanta Margharita of Spain w/ her
meninas/attendants, dog, dwarf, & midget; 2
chaperones in half-shadow; @ doorway = Jose Nieto
(head of queen’s Tapestry works); king & queen in
mirror
 Water Carrier of Seville
c. 1650

P/S: Southern Baroque Art

A: Velazquez
L: Wellington Museum, London
M/T: oil on canvas
DT: rounded volumes of the foreground figures, the
H2O jug; H2O sweetened by a fresh fig placed
for flavor
Ideas: intense Caravaggio tenebrism; deceptively
simple genre scene has a sacred quality
(handling over of the glass, clarity of H2O
 Burial of Count Orgaz
c. 1585
P/S: Southern Baroque Art/Later Northern
Renaissance
A: El Greco
L: Santo Tome, Toledo, Spain
M/T: oil on canvas
DT: combination of Venetian color, Spanish
mysticism, Mannerist elongation
Ideas: great philanthropist; saints descend from heaven to bury
him, tomb directly below painting, being placed directly
into tomb; Count Orgz died 3 centuries before painting
commissioned
 Martydom of St. Maurice
c. 1585

P/S: Southern Baroque Art/Later Northern

Renaissance
A: El Greco
L: Chapter House, Monasterio de San Lorenzo, El
Escorial
M/T: oil on canvas
DT: no emphasis on spatial depth, weight, or
volume; heroic figure style of Rome
Ideas: signature appears on the paper held in the
mouth of a serpent (the spirit of evil, or of the
Earth); expresses conviction of faith as a
result of crusades
 David
c. 1650
P/S: Southern Baroque Art
A: Bernini
L: Borghese Gallery, Rome
M/T: marble
F: statue
C: Bernini’s idealized self-portrait in the face of
David
DT: intensive gaze, negative space animates area
around figure, meant to be seen from multiple
views, in mid-action, swinging the slingshot, as
shepherd’s weapon, at Goliath
Ideas: harp at David’s feet symbolized role as a
psalmist
Cornaro Chapel
 c. 1650
P/S: Southern Baroque Art
A: Bernini
L: Santa Maria della Vittoria, Rome, Italy
M/T: marble
C: dedicated to St. Paul, later rededicated to Virgin
Mary
DT: nterior has a single wide nave under a low segmental vault,
with three interconnecting side chapels behind arches
separated by colossal Corinthian pilasters with gilded capitals
that support an enriched entablature
Ideas: interior suffered from fire in 1833; façade,
however, was erected by Soria during
Maderno's lifetime, 1624–1626
 Aurora
c. 1613
P/S: Southern Baroque Art
A: Guido Reni
L: Casino Rospigliosi; Rome
M/T: fresco
DT: Aurora leads Apollo’s chariot, Cupid & the
Seasons dance about the heavenly car; soft
modeling, sweet airy vision
Ideas: influenced by Raphael; Classicist trend
in painting; quadro riportato
 Raising of the Cross
c. 1610
P/S: Flemish Baroque Art
A: Peter Paul Rubens
L: Cathedral, Antwerp
M/T: oil on canvas
DT: triptych acts as 1 continuous space across
3 panels, strong diagonals direct viewer’s
attention to Christ, spontaineity of
expression, heroic musculature of figures
Ideas: intensely religious, yet possessing
exuberance & passion
 The Surrender of Breda
c. 1634-1635
P/S: Flemish Baroque Art
A: Velazquez
L: Prado, Madrid
M/T: oil on canvas
DT: stresses graciousness of Spanish victors,
militarily dignified, uniform fighting force,
magnanimous in victory; Dutch=L, scattered, less
organized, youthful; imaginary landscape of Breda
tenderly rendered in background; cross in distant
lake=Catholic>Protestants;
Ideas: depicts 1625 episode in which Dutch
surrenders Breda town to Spanish; Spanish
weapons arrayed=symbol of military might of
victors
 Glorification of St. Ignatius
c. 1691-1694
P/S: Southern Baroque Art
A: Fra Andrea Pozzo
L: Rome, Italy
M/T: fresco
C: ceiling fresco in the nave of Sant’Ignazio
DT: illusion that heaven is opening up above the
congregation; Heaven & Earth commingle; St.
Ignatius carried to waiting Christ in presence of
figures personifying the 4 corners of the world
Ideas: dedicated to St. Ignatius, founder of the
Jesuit Order
 Flight into Egypt
c. 1603-1604
P/S: Southern Baroque Art
A: Annibale Carracci
L: Galleria Doria Pamphili, Rome
M/T: oil on canvas
DT: “ideal” or “classical” landscape; represented
nature ordered by divine law & human reason;
tranquil hills & fields, quietly gliding skies,
unruffled foliage, shepherds w/ their flocks =
props of pastoral scene & mood; trees=dark
against sky’s even light
Ideas: biblical narrative from Matthew 2:13-14;
landscape background of Venetian
Renaissance paintings