# data[].attributes.headline
Chapter 19: Baroque Art in Italy and Spain

# data[].attributes.subject
Chapter 19: Baroque Art in Italy and Spain

# data[].attributes.headline
Caravaggio introduces Tenebrism (influences baroque art for the rest of the century)

# data[].attributes.subject
Caravaggio introduces Tenebrism (influences baroque art for the rest of the century)

# data[].attributes.headline
Valesquez carries on Titian's technique of loose brushstrokes

# data[].attributes.subject
Valesquez carries on Titian's technique of loose brushstrokes

# data[].attributes.attachment_caption
Depicts the calling of St Matthew, the tax collectors were among the most hated of the jews. This is strikingly realistic, natural lighting and depicts Jesus in the dark while in the Renaissance he would be in the center and illuminated. His hand is a direct call back to the creation of Adam. This painting is one of the first major commission he did. 

# data[].attributes.headline
Caravaggio, The Calling of St. Matthew, 1599–1600

# data[].attributes.subject
Caravaggio, The Calling of St. Matthew, 1599–1600

# data[].attributes.attachment_caption
What does a spiritual moment look like? Only Saul sees this and has this experience. The horse attendance has no idea what is happening. Saul was a Jewish person who persecuted the church and had a conversion when a light shines down and God asks him why he persecutes him. He then changes his name to Paul 

# data[].attributes.headline
Caravaggio, The Conversion of St. Paul, Cerasi Chapel

# data[].attributes.subject
Caravaggio, The Conversion of St. Paul, Cerasi Chapel

# data[].attributes.headline
Gianlorenzo Bernini. Apollo and Daphne. 1622-25 

# data[].attributes.subject
Gianlorenzo Bernini. Apollo and Daphne. 1622-25 

# data[].attributes.attachment_caption
This story comes from the Apocrypha. It is about Judith, she saves Israel from this military by enticing their general and cuts his head off when he gets drunk and falls asleep. This is directly after and it seems that they hear something out of frame and she puts her hand over the candle. The extreme use of tenebrism and the situation brings a sense of high tension 

# data[].attributes.headline
Artemisia Gentileschi. Judith and Her Maidservant with the Head of Holofernes. ca. 1625

# data[].attributes.subject
Artemisia Gentileschi. Judith and Her Maidservant with the Head of Holofernes. ca. 1625

# data[].attributes.attachment_caption
Artemisia depicts herself here as a true artist, she was treated differently because she was a woman and women were not really excepted into any art studios at that time. She would say if she were a man she would not be treated this unfairly. 

# data[].attributes.headline
Artemisia Gentileschi, Self-Portrait as the Allegory of Painting (La Pittura). ca. 1638–39

# data[].attributes.subject
Artemisia Gentileschi, Self-Portrait as the Allegory of Painting (La Pittura). ca. 1638–39

# data[].attributes.attachment_caption
They had to expand the front of the church so it would cover the whole site. Carlo Maderno was the one to do this and complete the facade. 

# data[].attributes.headline
 Carlo Maderno. Façade of St. Peter’s, Rome. 1607-12 

# data[].attributes.subject
 Carlo Maderno. Façade of St. Peter’s, Rome. 1607-12 

# data[].attributes.headline
Gianlorenzo Bernini. Abduction of Persephone. 1621-22

# data[].attributes.subject
Gianlorenzo Bernini. Abduction of Persephone. 1621-22

# data[].attributes.attachment_caption
Along with the altar piece they tasked Bernini to add to the front, this courtyard area, reflecting the arms of the church welcoming people in. Uses the idea of the old Greco roman columns. However they are not supporting anything, they are being extra for the sake of being grandiose 

# data[].attributes.headline
Gian lorenzo Bernini, Colonnade for St. Peter’s Basilica, designed 1657

# data[].attributes.subject
Gian lorenzo Bernini, Colonnade for St. Peter’s Basilica, designed 1657

# data[].attributes.attachment_caption
When Carlo Maderno expanded the front of the basilica, the flow of the architecture was thrown off the focal point that Michelangelo designed was thrown off so he was commissioned to do this center/altar piece under the dome and over St Peter's crypt. This is the largest Copper structure in the world, it is said that they had to strip the pantheon of it's copper to complete it. The spiral/vine like columns could be a call back to the original St peter or the temple of Solomon. 

# data[].attributes.headline
Gian Lorenzo Bernini. Baldacchino. 1624–33. At crossing. St. Peter’s, Rome

# data[].attributes.subject
Gian Lorenzo Bernini. Baldacchino. 1624–33. At crossing. St. Peter’s, Rome

# data[].attributes.attachment_caption
Borromini was Bernini's biggest rival in architecture. In this facade he really messes with the idea of convex and concave shapes. His design is like nothing anyone ahs ever seen before. He mixes sculpture and architecture that is amazing to see. The plan is actually in the shape of a pinched oval, and he has a coffered ceiling inside that creates an illusion of a higher ceiling. He actually did this commission for free, giving him the freedom of doing what he wanted and also the glory. 

# data[].attributes.headline
Francesco Borromini. Façade of San Carlo alle Quattro Fontane, Rome ca. 1665–67

# data[].attributes.subject
Francesco Borromini. Façade of San Carlo alle Quattro Fontane, Rome ca. 1665–67

# data[].attributes.attachment_caption
This is David in motion. He has dropped his armor behind him and he is vulnerable. This is a very dynamic pose, especially comparatively to Donatello's David and Michelangelo's. Bernini uses his own face for David

# data[].attributes.attachment_caption
This depicts an intense experience that St Teresa describes feeling the holy ghost. An angel stabbing her and gives her this intense spiritual pain that affects her physically as well, but she also states that it was a good sort of pain she didn't want it to cease. The light comes from a hidden window. There are also figures on the side watching, representing an audience and the theatricality of the baroque.

# data[].attributes.headline
Gian Lorenzo Bernini. The Ecstasy of St. Teresa, 1645–52

# data[].attributes.subject
Gian Lorenzo Bernini. The Ecstasy of St. Teresa, 1645–52

# data[].attributes.attachment_caption
This painting depicts St Serapion martyrdom, he was brutally murdered by pirates. The dark background gives him a heightened presence and intimacy. The viewer connects with more of the strength of his faith instead of the intenseness of his suffering.

# data[].attributes.headline
Francisco de Zurbarán. St. Serapion. 1628

# data[].attributes.subject
Francisco de Zurbarán. St. Serapion. 1628

# data[].attributes.attachment_caption
Student of El Greco, he was mainly known for still lifes. We see here the simplicity of life. The focus of this was the intense naturalism, the goal was to make it look so realistic that a bird could mistake it and tri to land on the edge. He is influenced by Caravaggio, and did incorporate that tenebrism.

# data[].attributes.headline
Juan Sánchez Cotán, Quince, Cabbage, Melon, and Cucumber. c 1602

# data[].attributes.subject
Juan Sánchez Cotán, Quince, Cabbage, Melon, and Cucumber. c 1602

# data[].attributes.attachment_caption
Velazquez painted this while he was waiting to do an interview with the pope. The subject was a slave who traveled with him. Pareja was actually an artist himself and Velazquez actually frees him later in life. The way he captures a sense of realism but in such an expressive way with loose brushstrokes is just extraordinary.  

# data[].attributes.attachment_caption
This painting is almost a mix of a Genre painting and a portrait. Margarita is the focal point of the painting, she is the only living heir to the king and queen. We are placed where the mirror is reflecting the two figures of the king and queen. Presumably what Velazquez is painting, depicting him at work but he is looking at the viewer. We also have the intrigue of the man in the door way, not sure if he is coming in or leaving, if this is the king and its another moment in time.  He uses very loose brushstrokes in this painting.

# data[].attributes.headline
Diego Velázquez, The Maids of Honor. 1656

# data[].attributes.subject
Diego Velázquez, The Maids of Honor. 1656

# data[].attributes.headline
Chapter 20: Baroque Art in the Netherlands

# data[].attributes.subject
Chapter 20: Baroque Art in the Netherlands

# data[].attributes.headline
Patronage more and more from rising middle-class merchants, bankers and other private collectors 

# data[].attributes.subject
Patronage more and more from rising middle-class merchants, bankers and other private collectors 

# data[].attributes.headline
New subject matter: portraits, views of home interiors, still-lifes, genre scenes (depiction of everyday life) and landscapes

# data[].attributes.subject
New subject matter: portraits, views of home interiors, still-lifes, genre scenes (depiction of everyday life) and landscapes

# data[].attributes.headline
Non-religious art with moral messages: vanitas symbols and memento mori themes

# data[].attributes.subject
Non-religious art with moral messages: vanitas symbols and memento mori themes

# data[].attributes.attachment_caption
The Raising of the Cross is the first major piece when he got back to Antwerp from his visit to Italy. He brings a new Italian influenced style merging it with the art of the North. This Triptych is unique from others because it depicts one continuous scene across all three as opposed to 3 separate scenes with a similar theme. 

# data[].attributes.headline
Peter Paul Rubens, The Raising of the Cross. 1610–11

# data[].attributes.subject
Peter Paul Rubens, The Raising of the Cross. 1610–11

# data[].attributes.attachment_caption
Anthony Van Dyke was Ruben's top student. Here Van Dyke deviates from the norm of depicting a king. This is a pastime, it's not something grandiose. It's much more subdue than other portraits. (Hans Holbein, Henry the 8th) 

# data[].attributes.headline
Anthony van Dyck, Portrait of Charles I Hunting. ca. 1635

# data[].attributes.subject
Anthony van Dyck, Portrait of Charles I Hunting. ca. 1635

# data[].attributes.headline
Jan Steen, The Feast of St. Nicholas. ca. 1660–65

# data[].attributes.subject
Jan Steen, The Feast of St. Nicholas. ca. 1660–65

# data[].attributes.attachment_caption
These types of still life's were most likely for private patrons for their homes. Clara Peeters as many signed paintings as she has (indicating she was a professional artist) is not an any archival records. Little is known about her. Though she creates some of the first still life paintings. 

# data[].attributes.headline
Clara Peeters, Still Life with Nuts, Candy and Flowers, 1611

# data[].attributes.subject
Clara Peeters, Still Life with Nuts, Candy and Flowers, 1611

# data[].attributes.headline
Willem Claesz. Heda, Still Life with Oysters, a Roemer, a Lemon, and a Silver Bowl. 1634

# data[].attributes.subject
Willem Claesz. Heda, Still Life with Oysters, a Roemer, a Lemon, and a Silver Bowl. 1634

# data[].attributes.headline
Rachel Ruysch, Flower Still Life. After 1700

# data[].attributes.subject
Rachel Ruysch, Flower Still Life. After 1700

# data[].attributes.headline
Jacob van Ruisdael, Bleaching Grounds Near Haarlem. ca. 1670

# data[].attributes.subject
Jacob van Ruisdael, Bleaching Grounds Near Haarlem. ca. 1670

# data[].attributes.attachment_caption
The Civic Guard were local voluntary militia. They were crucial in defending their cities from the Spanish, however when this was painted they became more like civic fraternities. There was no more threat from Spain, this militia  wouldn't do much and the group was made up of wealthy citizens, they wouldn't get their hands dirty. 

# data[].attributes.headline
Frans Hals, Banquet of the Officers of the St. George Civic Guard. 1616

# data[].attributes.subject
Frans Hals, Banquet of the Officers of the St. George Civic Guard. 1616

# data[].attributes.attachment_caption
The Jolly Topper is an average man offering us a drink, it allows us a chance to choose are we going to give in to temptation and sin or turn away. Frans Hals uses very loose brush strokes, as if he had done this is a rush. This painting could be an allegory for taste as well. 

# data[].attributes.headline
Frans Hals, The Jolly Toper. ca. 1628–30

# data[].attributes.subject
Frans Hals, The Jolly Toper. ca. 1628–30

# data[].attributes.attachment_caption
Judith Lester was greatly influenced by Frans Hals. She painted portraits and still life's but mostly genre paintings. Her self portrait demonstrates her abilities as a portraitist and a genre painter. As with Artemisia Gentileschi she depicts herself doing her craft, exemplifying her talents 

# data[].attributes.attachment_caption
The proposition is an intimate scene, exemplified by the dramatic lighting and the touch on her shoulder. The woman is busily engaged in her embroidery and is being imposed upon. Again this is a question for the viewer, what will you choose? This is also a contrast to Honthorst's painting where the woman is shown as the temptress, but it shares the same theme, but from the female point of view. 

# data[].attributes.attachment_caption
This was a painting Rembrandt did for the City Guard to celebrate their heroism. Of course, at this time they were just wealthy citizens that didn't do much for the city but they liked to play dress up and act like they did. This is not a typical portrait, there is a lot of movement and dynamism.   

# data[].attributes.headline
Rembrandt van Rijn, The Night Watch,1642

# data[].attributes.subject
Rembrandt van Rijn, The Night Watch,1642

# data[].attributes.attachment_caption
This print is a depiction of Matthew 19. It shows Christ healing the multitudes in ragged clothes and bare feet, the painting is filled with pathos. The lighting in this print gives it the spiritual significance. The painting name derived from a story that 100 guilders was the great price paid for this piece.

# data[].attributes.headline
Rembrandt van Rijn, The Hundred Guilder Print. ca. 1647

# data[].attributes.subject
Rembrandt van Rijn, The Hundred Guilder Print. ca. 1647

# data[].attributes.headline
Jan Vermeer, Woman Holding a Balance. ca. 1664

# data[].attributes.subject
Jan Vermeer, Woman Holding a Balance. ca. 1664

# data[].attributes.headline
Jan Vermeer, Girl with the Pearl Earring, 1665

# data[].attributes.subject
Jan Vermeer, Girl with the Pearl Earring, 1665

# data[].attributes.headline
Georges de La Tour, Joseph the Carpenter. ca. 1642

# data[].attributes.subject
Georges de La Tour, Joseph the Carpenter. ca. 1642

# data[].attributes.headline
Nicolas Poussin, Et in Arcadia Ego, 1637-38

# data[].attributes.subject
Nicolas Poussin, Et in Arcadia Ego, 1637-38

# data[].attributes.headline
Nicolas Poussin, Landscape with St. John on Patmos. 1640

# data[].attributes.subject
Nicolas Poussin, Landscape with St. John on Patmos. 1640

# data[].attributes.headline
Claude Lorrain, A Pastoral Landscape. ca. 1648

# data[].attributes.subject
Claude Lorrain, A Pastoral Landscape. ca. 1648

# data[].attributes.headline
Le Nain Brothers, Peasant Family in an Interior, c. 1640

# data[].attributes.subject
Le Nain Brothers, Peasant Family in an Interior, c. 1640

# data[].attributes.headline
Hyacinthe Rigaud, Portrait of Louis XIV. 1701

# data[].attributes.subject
Hyacinthe Rigaud, Portrait of Louis XIV. 1701

# data[].attributes.headline
Jules Hardouin-Monsart, Luis le Vou and Charles Le Brun, Galerie des Glaces (Hall of Mirrors), Palace of Versailles. Begun 1678

# data[].attributes.subject
Jules Hardouin-Monsart, Luis le Vou and Charles Le Brun, Galerie des Glaces (Hall of Mirrors), Palace of Versailles. Begun 1678

# data[].attributes.headline
Escape Room Quiz: Baroque Art in the Netherlands

# data[].attributes.subject
Escape Room Quiz: Baroque Art in the Netherlands

# data[].attributes.attachment_link.readable_text
If you're seeing this message, it means we're having trouble loading external resources on our website.

If you're behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked.

# data[].attributes.attachment_link.title
Baroque art in France (practice) | France | Khan Academy

# data[].attributes.attachment_link.description
Learn for free about math, art, computer programming, economics, physics, chemistry, biology, medicine, finance, history, and more. Khan Academy is a nonprofit with the mission of providing a free, world-class education for anyone, anywhere.