24 POPES,PEASANTS,MONARCHSAND MERCHANTSBAROQUEARTTEXTPAGES688747 BAROQUEARTINTHE17THCENTURY 1.WithwhatreligiousmovementismuchoftheBaroqueartinCatholiccountries associated? TheCounterReformation. Listthreeadjectivesorphrasesthatdescribeitsstyle: a. Dramatictheatricality. b. Grandiosescale. c. Elaborateornateness. 2.WhatcitywasthefocusofartisticpatronageastheCatholicchurchtriedto reestablishitsprimacy? Rome. 3.ListthreewaysinwhichMadernsEarlyBaroquechurchofSantaSusanna(FIG. 241)resemblesthechurchofIlGesu(FIG.2249): a. Eachbuildinghasscrollbuttressesconnectingtheupperandlowerlevelsof thefaade. b. Eachbuildinghastwopediments,oneforeachstory. c. Sculpturesinnichesframethecentraldoorwayineachbuilding.

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Listthreewaysinwhichitdiffers: a. Thefaadehasagreaterverticality,concentratinganddramatizingthe majorfeaturesofitsmodel. b. Thefaadestallcentralsectionprojectsforwardfromthehorizontallower story. c. Strongshadowscastbythevigorouslyprojectingcolumnsandpilasters mountdramaticallytowardtheemphaticallystressedcentralaxis. 4.NamefourarchitectswhoworkedonSt.Peter'sandnotetheprimary contributionofeach. a. DonatodAngeloBramante:Theoriginalplanandtheconceptofa hemisphericaldome. b. Michelangelo:Thereducedplanandtheogivaldomewithdrum. c. CarloMaderno:thefaade. d. GianlorenzoBernini:thecolonnadedpiazza. 5.Whatisabaldacchino? Canopylikestructureoncolumns,frequentlybuiltoveranaltar. 6.ListfourmajorcharacteristicsofBernini'ssculpturethataretypicalofBaroque artingeneral. a. Expansiveandtheatrical.

b. Theelementoftimeusuallyplaysanimportantrole. c. Dynamicqualityconveyingaburstingforthofenergy. d. Refusaltolimititselftofirmlydefinedspatialsettings. 7.InwhatwaydidBerninidepictthevisionofSt.Theresa(FIG249)? 7676

Aslight(shiningfrombehindahiddenwindowofyellowglass)pouringdown onbronzerayssuggestingtheradianceofHeaven.

8.Whodevelopedthesculpturalarchitecturalstyletoitsextreme? FrancescoBorromoni. Nametwobuildingsdesignedbyhim. a. SanCarloalleQuattroFontane. BotharelocatedinthecityofRome. 9.WhilethecirclehadbeentheidealgeometricfiguretoRenaissancearchitects, Baroqueplannerspreferredtheoval. . Why? Theovalisamoredynamicformofthecircle,creatinganinteriorthatappears toflowfromentrancetoaltar,unimpededbythesegmentationcharacteristicof Renaissancebuildings. 10.Whatisthepurposeofthelateral,threepartdivisionofBaroquepalace facades? Atripartiteorganizationallowsartiststointroducevarietyintotheirdesigns withoutdestroyingstructuralunity,andallowsaddedemphasistothecentral axis. Uponwhathumanpsychologicaltendencydoesitseemtobebased? Itisprobablybasedontheobservationthattheaveragepersoninstinctivelycan recognizeuptothreeobjectsasaunit.Agreaternumberrequirestheviewerto counteachobjectindividually. 11.NametwocountrieswerethearchitecturalstylesofBorrominiandGuarini particularlyinfluential? a. Austria b.SouthernGermany 12.ThecommonpurposeofCaravaggio'sConversionofSt.Paul(FIG.2418)and Bernini'sTheEcstasyofSt.Theresa(FIG.249)was: Toproducetherepresentationofavision,usingactuallightfromeachchapels windows. 13.ListthreecharacteristicsofCaravaggio'sstyle. 7777

b.ChapelofSaintIvo.

a. Injectednaturalismintobothreligiousandclassicalsubjectswithunidealized figures. b. Sharply,dramaticallylitfiguresemergingfromadarkbackground. c. Invitestheviewertoparticipateinthescene. 14.WhatwasCaravaggioattemptingtopresentinhisreligiouspictures? Tocompeltheviewersinterestandinvolvementinthescene. Whatpictorialdevicesdidheusetoachievehisgoal? Actiontakingplaceintheforeground;lowhorizonline;dramaticlight. 15.Whatistenebroso? Shadowymannerofdarksettingsenvelopingtheiroccupants. Listtwocountrieswhereitwasparticularlyinflential: a. Spain b.TheNetherlands

16.WhichartistsmostinfluencedthestyleofArtemesiaGentileschi? Caravaggioandherfather,OrazioGentileschi. WhowereJudithandHolophernes? CharactersfromtheApocryphalBookofJudith;HoloferneswasanAssyrian generalwhowasseducedbyJudithandthenbeheadedbyher. WhattechniquesdoesArtemesiausetoportraythedramaofthetheme? Tenebrism,spurtingblood,thephysicalstrainofthewomenstrugglingwiththe sword,andcontrolledhighlightsontheactionintheforeground. 17.ListthreeassumptionsthatwerebasictotheteachingofartattheBolognese academy. a. Artcanbetaught. b. TheteachingofartmustincludetheclassicalandRenaissancetraditions. c. Theteachingmustalsoincludethestudyofanatomyandlifedrawing. 18.Whoiscreditedwithdevelopingthe"classical"or"ideal"landscape? AnnibaleCarracci. 7878

Whatwereitsroots? ThelandscapebackgroundsofVenetianRenaissancepaintings. 19.WhatearlierworkstronglyinfluencedAnnibaleCarracci'sceilingfrescoesinthe galleryoftheFarnesePalaceinRome(FIG.2423)? MichelangelosSistineChapelceiling. HowdidCarraccimodifytheoriginaltoachieveheightenedillusionism? Thechiaroscuroisnotthesameforboththepaintingsandthefigures surroundingthem.Thepaintermodeledthefiguresinsidethequadriinaneven light.Theoutsidefiguresseemtobelitfrombeneath,asiftheywereactual threedimensionalbeingsorstatuesilluminatedfrombelow. 20.Whatisquadroriportatoandhowwasitused? Transferredframepainting,orsimulationofeaselpaintingforceiling decoration.Theframedpicturesareflankedbypolychromefigureswhoturn theirheadstogazeatthescenesaroundthem,andbyAtlasfigurespaintedto resemblemarblestatues. 21.NametwoinfluencesblendedbyReniinhisAurorafresco(FIG.2424): a. Romanreliefs. b. Coinsdepictingemperorsintriumphalchariotsaccompaniedbyflying Victoriesandotherpersonifications. 22.ListthreewaysinwhichPietrodaCortonasfrescoedceilinginthePalazzo Barberini(FIG.2425)praisedhispatron: a. DivineProvidenceholdsacrownofstarstobestoweternallifeonthe Barberinifamily. b. Thelaurelwreath,anothersymbolofimmortality. c. ThepapaltiaraandkeysannouncingthepersonaltriumphsofUrbanVIII. 23.WhateffectdidGaullicreatewiththefrescohepaintedontheceilingofIlGes inRome(FIG.2426): Adramatic,transcendentspiritualenvironmentaswellasthegloryandpower oftheCatholicChurch. Listthreedevicesheusedtoachievethateffect: a. Gildedarchitectureopensupinthecenteroftheceilingtoofferviewersa glimpseofHeaven. b. Jesusisrepresentedasabarelyvisiblemonograminablindingradiantlight thatfloatsheavenward. 7979

c. Gaullipaintedmanyofthesinnersonthreedimensionalstuccoextensions thatprojectoutsidethepaintingsdome. 24.ThepanterbesideGaulliwhoworkedfortheJesuitsinRomewas FraAndreaPozzo.Hepaintedtheceilingofthechurchof SantIgnazioinRomeforthem. Whatdevicedidheusetomergeheavenandearth? Heillusionisticallycontinuedthechurchsownarchitectureintothevaultso thattheroofseemstobeliftedoff. 25.NametwoSpanishrulersfromtheHapsburgdynastywhowerepatronsofthe arts: a. PhillipIII b. PhillipIV 26.WhatwasthegoalofmanySpanishBaroquereligiousartists? Tomoveviewersandtoencouragegreaterdevotionandpiety. Nameathemethatwasparticularlypopularamongthem: Deathandmartyrdomscenes. 27.Ribera'sstylewasinfluencedbythe"darkmanner"of:Caravaggio. 28.WhattypeoflightingdidZurbaranuseinhispatingofSaintSerapion(FIG.24 29)? Brightlightshiningonthefigurewithadarkbackground,tocallattentionto thesaintsdeathandtoincreasethedramaticimpactoftheimage. 29.VelazquezwascourtpaintertoKingPhillipIV. 30.WhatdoesVelasquezsSurrenderofBreda(FIG.2431)commemorate? TheSpanishvictoryovertheDutchin1625. 31.WhatisthesubjectofLasMeninas(FIG.2433)? TheInfantaMargaritawithhertwomaidsinwaiting,herfavoritedwarfs,anda largedog,aswellasamanandawomaninthebackground. Howmanylevelsofrealitycanyoufindinthepicture? Four. Brieflydescribethem. Canvas,mirrorimage,opticalimage,andofthetwopaintedimages.

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WhatpaintingtechniquedidVelazquezuseinLasMeninas? Thecompositionextendsindepthbothinfrontof(throughthemirrorandthegazesof thefigures)andbehindthepainting(throughtheopendoor).Formandshadoware representedrealistically.Agreatnumberofintermediatevaluesofgraycomebetween lightsanddarks,insteadofputtingthemsidebysideasCaravaggiodid. 32.ThenorthernprovincesconstitutethemoderncountryofTheNetherlands, whilethoseinthesouthconstitutethecountryofBelgium. Duringtheseventeenthcentury,thissouthernregionwasknownasFlanders.

. 33.InhisElevationoftheCross(FIG.2434)Rubenssynthesizedhisstudyofclassicalantiquity withtheworkoftheItalianmastersMichelangelo,TintorettoandCaravaggio,while addinghisowndynamism. Listthreefeaturesthatcontributetothedramaofthescene: a. Foreshortenedanatomyandtwistedfigures. b. Christisplacedonthecrossdiagonallywhichcutsdynamicallyacrossthe picturewhileincliningbackintoit.c.

Strongmodelinginlightanddark.

34.WhatmemberofthefamousFlorentineHouseofMedicicommissionedRubens topaintacyclememorializingandglorifyinghercareerandthatofherlate husband? MariedeMidici. 35.NamethepaintingthatembodiesRubensattitudetowardwar: AllegoryoftheOutbreakofWar. Whatdidthefollowngallegoricalfiguressymbolize? Monsters: Plagueandfamine. Womanwithabrokenlute: Harmonycannotcoexistbesidethediscordofwar. Architectfallenbackwards: 8181

Whatisbuiltinpeaceforthebenefitandornamentofcitiesislaidinruinand razedbytheforcesofarms. BookandpaperatthefeetofMars: Wartramplesonliteratureandotherrefinements. Sorrowingwomaninblack: UnhappyEurope. 36.InwhattypeofpaintingsdidVanDyckspecialize? Courtportraiture. Howcouldhisstylebestbecharacterized? Courtlymannerofgreatelegance,anddramaticcompositionsofgreatquality. 37.InwhattypeofsubjectmatterdidClaraPeetersspecialize?Stilllifes. 38.HowdidthereligiousandeconomicconditionsinseventeenthcenturyHolland effectartisticpatronageandproduction? a. AmsterdamhadthehighestpercapitaincomeinEuropeandenjoyed widespreadprosperityacrossalargeproportionofsociety,expandingthe rangeofartpatronage. b. Politicalpowerincreasinglypassedintothehandsofanurbanpatrician classofmerchants.Artpatronagecateredtothetastesofamiddleclass audience. c. Calvinismdemandedapuritanicalrejectionofartinchurches,andthus artistsproducedrelativelylittlereligiousartintheDutchRepublic,although itwastoleratedwhenartistscreatedit. 39.InwhatwaywastheworkofGerritvanHonthorstinfluencedbyCaravaggio? Themundanetavernsettingandthenocturnallighting. 40.FransHalswastheleadingpainteroftheHaarlemschool,andspecializedin groupportraits. . Whatarethemainelementsofhisstylethatdistinguishhisworksfromthoseof hiscontemporaries? Hewaslessorderedandregimentedinhisdepictionofthesittersthanhis contemporaries.Eachmanisbothatroopmemberandanindividual.The figureslookinmultipledirections.Heusestheuniformityofattiretocreatea livelyrhythm. Writedowntwoadjectivesthatdescribehisstyle: 8282

a. Spontaneous.

b.

Vivacious.

41.WhocommissionedRembrandttopaintTheAnatomyofDr.Tulp(FIG.2444)? Thesurgeonsguild. WhatdoesthistellusaboutparonageinHollandduringthe17thcentury? Thatguildscontinuedtobeactivepatronsoftheartsinadditiontotheupper middle,middle,andlowermiddleclasseswhodrovemostofthemarket. 42.WhatfeatureofTheCompanyofCaptainFransFanningCoq(FIG.2445)ledtoits beingmisnamedTheNightWatch? ThevarnishRembrandtused,whichhasdarkenedconsiderablyovertime. WhatdevicesdidRembrantusetoenliventhegroupportrait? Thecompanyispresentedscurryingaboutindramaticlighting. 43.ListthreeadjectivesorphrasesthatwouldcontrastRembrandtsreligious workstoCounterReformationartworks: a. Spiritualstillness. b. HumanityandhumilityofJesus. c. Psychologicalinsightandsympathy. 44.WhatwasRembrandttryingtoexpressinhisportraitsandselfportraits? Themostsubtlenuancesofcharacterandmood. 45.BrieflydescribeRembrandt'suseoflightandshade. Herefinedlightandshadeintofinerandfinernuancesuntiltheyblendedwith oneanother,adevelopmentfromearlierpaintersuseofabruptlightsand darks.Agreaterfidelitytoactualappearancesiscreatedbecausetheeyes perceivelightanddarknotasstaticbutasalwayssubtlychanging. Howdoeshisuseoflightandshadeeffectthemoodofhislaterportraits? Variationoflightandshade,subtlymodulated,couldbereadasemotional differences:thepsychologyoflight.Theprevailingmoodsarethatof quietness,tranquilmeditation,philosophicalresignation,andmusing recollection. 46.Brieflydescribethetechniqueofetching. Acopperplateiscoveredinalayerofwaxorvarnish.Theartistincisesthe designintothissurfacewithanetchingneedleorpointedtool,exposingthe metalbelow.Theplateisthenimmersedinacid,whicheatsawaytheexposed partsofthemetal,actingthesameastheburininengraving. 8383

Whatareitsadvantagesoverengraving? Itismoremanageablethanengravingandallowsgreaterfreedomindrawing thedesign.Themediumssoftnessgivesetchersgreatercarvingfreedomand offeringthegreatestsubtletyoflineandtone. 47.ForwhatgenrewastheDutchpainterJudithLeystermostfamous?Portraiture. WhatcharacteristicdidshesharewithHals?Spontaneity. 48.WhatreasoncouldbegivenfortheDutchinterestinlandscapepainting? TheDutchhadaverydirectrelationshiptotheland,havingundertakenan extensivelandreclamationprojectthatlastedalmostacenturythatimpacted socialandeconomiclife. Nametwoartistswhospecializedinit: a. AelbertCuyp b.JacobvanRuisdael 49.WhatwasVermeer'sfavoritetypeofsubjectmatter? Interiorscenes. 50.InwhatwaydoesVermeer'suseoflightdifferfromRembrandt's? Herenderedspacesoconvincinglythroughhisdepictionoflightthatinhis works,thepicturesurfacesfunctionsasaninvisibleglasspanethroughwhich theviewerlooksintotheconstructedillusion. 51.Onwhatprincipledoesacameraobscurawork? Lightispassedthroughatinypinholeorlenstoprojectanimageonascreenor thewallofaroom. 52.Listthreeimportantfactsabouttheopticsofcolorthatareillustratedin Vermeerspaintings: a. Shadowsarenotcolorlessanddark. b. Adjoiningcolorsaffecteachother. c. Lightiscomposedofcolors. 53.HowdoesthemoodcreatedbySteensinteriorsdifferfromthatcreatedby Vermeer's? Steenpaintedscenesofchaosanddisruptionwithafestiveatmosphere.

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54.WhatmightthechildrensbehaviorsymbolizeinSteensFeastofSt.Nicholas (FIG.2454)? Theirbehaviormightbeasatiricalcommentaryonadultbehavior,inthiscase selfishness,pettiness,andjealousy. 55.WhatisaVanitasstilllife? Stilllifesthatcontainobjectsthatfunctionasremindersofdeath,ormemento mori. 56.ThepaintingsofRachaelRuyschreflectaparticularinterestin: Flowers. 57.WhichFrenchartistiscreditedwithhavingestablishedseventeenthcentury Classicalpainting? NicolasPoussin.

Wheredidhespendmostofhislife? Rome. WhattwoItalianartistsdidhemostadmire? TitianandRaphael. 58.WhatfourcharacteristicsofEtinArcadiaEgo(FIG.2458)aretypicalofPoussin's fullydevelopedClassicalstyle? a. b. c. d. Figuresbasedonclassicalstatuary. Thecompact,balancedgroupingofthefigures. Theevenlight. Thethoughtful,reserved,andmournfulmood.

59.WhattypeofsubjectsdidPoussinconsidertobeappropriateforpaintingsdone inthe"grandmanner"? Battles,heroicactions,andreligiousthemes. Whatdidhethinkshouldbeavoided? Minutedetails,aswellasalllowsubjectssuchasgenre. 60.PoussinandRubenswereconsideredasthetwopolesintheBaroquedebate betweentheforcesofpassionandreason.Whichpoledoyouthinkeachartist 8585

represented?Whatcharacteristicsintheworkofeachartistdoyouthinnk wouldreflectthoseattitudes? Rubens: Passion.Rubenswasknownforchaoticaction,decorativesplendor,andvigorous figures. Poussin: Reason.Hepreferredtousetheclassical,rationalmodeofpainting,withits correctnessandpropriety,andtoemployacertainevennessandmoderationin allthings.Forinstance,hepaintednatureassubordinatetoarationalplanin BurialofPhocion. 61.InwhatmajorwaydoesthelandscapeinPoussin'sBurialofPhocion(FIG.2459) differfromVanRuisdael'sViewofHaarlem(FIG.2451)? Itdoesnotdepictaparticularplaceandtime,butinsteadservesthenarrative andissubordinatetoarationalplan. 62.WhatwasClaudeLorrain'sprimaryinterestinlandscapepainting? Todepictthebeautyofnatureintheformofanidealclassicalworld.He balancedgroupsofarchitecturalmasses,screensoftrees,andsheetsofwater. Inwhatcountrydidhedomostofhispainting? Italy. 63.Describethefeaturesthatcreatetheimpressionofdignityandsobriety apparentinMansart'sworkatBlois(FIG.2461). a. Strongrectilinearorganization. b. Atendencytodesigninrepeatedunits. WhatfeatureofthebuildingistypicallyBaroque? Theemphasisonfocalpoints(curvingcolonnades,changingplanesofthewalls, andtheconcentrationofornamentaroundtheportal). 64.ThelifeofFrenchpeasantswasthefavoritesubjectofLouisLeNain. . HowdohisdepictionsdifferfromthoseoftheDutchpainterJanSteen? Insteadofboisterousgoodhumor,LeNaindepictedsomberstillness,grave dignity,andsubservience. 65.TheFrenchartistCallotisbestknownforhisworksdoneinthemediumof etchings. 8686

HisMiseriesseriesrealisticallydepictsscenesofsharpdetailsoflifeanddeath seeninthewarsofLorraine. .66.WhichFrenchartistwasmostinfluencedbythenorthern"Caravaggisti"? GeorgesdeLaTour. Inwhatwaysdoeshisstyledifferfromtheirs? Hedepictedreligiousscenes,notgenre,andpreferredsupernaturalcalmtothe motionanddramaticgesturesofthenorthernCaravaggisti. 67.TheFrenchRoyalAcademyofPaintingandSculpturewasestablishedinthe year1648. . Whatwasitsprimarypurpose? Toregularizetaste.ItestablishedtheFrenchclassicalstyle. 68.WhatwasthepoliticalmeaningofLouisXIVsappelationleRoiSoleil(the SunKing)? Hewasthecenteroftheuniverse,ruledbydivineright,andensuredhimself incontestableauthority.

Whatwashissignificanceasapatronofthearts? Hewasdeterminedtoorganizeartandarchitectureintheserviceofthestate. Hesparednothingtoraisegreatsymbolsandmonumentstohisownabsolute power. 69.ListthreefeaturesofRigaudsPortraitofLouisXIV(FIG.2465)that contributedtoLouispersonificationofanabsolutemonarch: a. Helooksoutattheviewerwithdirectness. b. Theposeimplieshaughtinesswithhishandonhishipandhiserminerobe thrownoverhisshoulder. c. Thekingisthefocalpointoftheimageandisplacedsothatheseemsto lookdownontheviewer. 70.WhatthreearchitectscollaboratedtodesigntheeastfacadeoftheLouvre? a. ClaudePerrault b.LouisLeVau c.CharlesLeBrun Whatformwasusedforthecentralpavilionofthefacade? Aclassicaltemplefront. 8787

71.WhowastheprincipaldirectorforthebuildinganddecorationofthePalaceof Versailles? CharlesLeBrun. WhodesignedtheparkofVersailles? Andr Le Ntre. WhatwassymbolizedbythevastcomplexofVersailles? LouisXIVspowerandambition. 72.ListtwosourcesforGirardonsportrayalofApolloAttendedbytheNymphs carvedfortheParkofVersailles(FIG.2470): a. GrecoRomansculpture b.Poussinsfigurecompositions.

. 73.WhichfeatureofJulesHardouinMansart'sChurchoftheInvalides(FIG.2472) ismostBaroque? Theillusionisticceilingdecorations. Whichismostclassical? TheCorinthiancolumnlinedarcade. 74.Whichofthevisualorplasticartswasmostimportantinseventeenthcentury England? Architecture. 75.NametheItalianarchitectwhohadthestrongestinfluenceonthebuildingsof InigoJones? Palladio. 76.WhodesignedSt.Paul'sCathedralinLondon? ChristopherWren. WhatfeatureofthebuildingshowstheinfluenceofBorromini? Theupperlevelsandlanternsofthetowers. WhatfeatureistakenoverfromtheeastfacadeoftheLouvre? Thesuperimposedpairedcolumnarporticos. LATEBAROQUEARTOFTHEEARLYEIGHTEENTHCENTURY BlenheimPalaceinEngland(FIG.2475)wasdesignedby1.

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JohnVanbrughforJohnChurchill,dukeofMarlborough. However,beforeitwascompleteditwascriticizedasbeingponderousand bizarre.

. 2. WhodesignedthechurchofVierzehnheiligen(FIG.2476,2477)? BalthasarNeumann.

3. TheatricalilluisionismisanimportantcharacteristicoftheworkoftheGerman Baroquesculptor:EgidQuirinAsam. . 4. WhicheighteenthcenturyItalianpainterisbestknownforhiselegant illusionisticceilingpaintings? GiambattistaTiepolo.

DISCUSSIONQUESTIONS

1.StudytheelevationsandplansofBramantisPazziChapel(FIGS.2117to2119) 19)andBorromini'sSanCarloalleQuattroFontane(FIGS.2410and2411). Contrastthebasicshapesusedintheplans,anddescribehowtheseformsrelate totheelevationsofthebuildings. 2.Bernini'sarthasbeendescribedas"theatrical."Giveexamplesofitstheatricality anddiscussthetechnicaldevicesheusedtocreatethem. 3.CompareRibera'sMartyrdomofSt.Bartholomew(FIG.2428)withMantegnasSt. JamesLedtoMartyrdom(FIG.2147).Discusscomposition,paintingtechnique,and emotionalimpact.WhatmajorconcernsoftheItalianRenaissanceandthe CounterReformationinSpainaredemonstratedbytheseworks?

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4.DiscusstheinfluenceofCaravaggioonGerritvanHonthorst(FIG.2441),George delaTour(FIG.2464),andLouisleNain(FIG.2462).Whichaspectsof Caravaggiosstyledideachadopt,andhowdotheirworksdifferfromhimand fromeachother? 5.InwhatwaysdotheworksandlivesofRubensandRembrandtreflectthe differentsocialandreligiousorientationsofseventeenthcenturyFlandersand Holland? 6.CompareRembrandt'sSelfPortrait(FIG.2447)withtheselfportraitsby JudithLeyster(FIG.2449)andCaterinavanHemessen(FIG.2319),andVan EycksManinaRedTurban(FIG2010)Howhavetheartistsdepictedthe differentpsychologicalstatesastheylookatthemselves?Doyouthinkthese worksillustratemajordifferencesinthephilosophiesofthetimesand/or placeswherepaintedorthattheinterpretationsweresolelyindivisual?Why? 7.Whatwastheeffectoftheeconomicandreligiousclimateofseventeenthcentury Hollandonitsartists? 8.DiscusstherelativebalancebetweenBaroqueandRenaissancefeaturesinthe followingbuildings:theeastfacadeoftheLouvre(FIG.2466),theChurchof theInvalidesinParis(FIG.2472),theBanquetingHouseatWhitehall(FIG. 2473),andSt.Paul'sCathedralinLondon(FIG.2474). 9.InwhatwaysdidLouisXIVinfluenceFrenchartoftheseventeenthcentury? HowdidhisutilizationofartdifferfromthatofPhilipIVinSpain? 10.CouldVelasquezsSurrenderatBreda(FIG.2431)andSteensFeastofSt. Nicholas(FIG.2454)serveasillustrationsofPoussin's"grandmanner"?If not,whynot? 11.Whowaschieflyresponsibleforthedevelopmentof"classical"landscape paintinginItaly?HowdidhisapproachdifferfromthoseofPoussin(FIG. 2458),ClaudeLorrain(FIG.2460),andVanRuisdael(FIG.2451)? 12.ComparetheceilingpaintingsofTiepolo(FIG.2479)withthoseof Mantegna(FIG,2246),Veronese(FIG,2154),Correggio(FIG,2241), Caracci(FIG,2423),PietrodaCortona(FIG,2425),andPozzo(FIG,2427). Whichisclosesttohiswork,andwhatfeaturesdotheyshare?

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13.Fromtheotherworksyouhavestudied,whichdoyoufeelareclosestin spirittoNeumannspilgrimagechurchofVierzehnheiligen(FIGS,2476and 2477)andAsamsAssumptionoftheVirgin(FIG.2478)?

LOOKINGCAREFULLY,DESCRIBINGANDANALYZING InLasMeninasVelasquezdemonstratedhismasteryofthedepictionofcomplex levelsofvisualreality(p.688andFIG.2433).Studythepaintingverycarefullyand writeanessayofatleastonepagedescribingit.Herearesomequestionsthatmight helpyouwithyouranalysis,butdonotbelimitedbythem.Firstdescribetheroom inwhichhehasplacedthemajorityofthefiguresanddescribeeachofthefiguresin thatspace.Thenlookforotherfiguresandescribethespaceinwhichtheywouldbe standing.Describetheartistsbrushworkandhisuseoflightanddarkandnotehe usestheseelementstoincreasethesenseofrealityofthescene.

MAP Circlethefollowingonthemapbelow. Haarlem Utrecht AmsterdamVersailles London

MAP 24-1 Europe at the onset of the Thirty Years War

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