Baroque midterm

Question 1

Answer 1

Peter Paul Rubens (1577–1640), Raising of the Cross with Saints Amand, Walpurgis, Eligius and Catherine, 1610. Oil on panel

• Process of being raised
• Triptych is a northern quality
• Study on classical works in Rome can be seen in the body

Question 2

Answer 2

Peter Paul Rubens (1577–1640), The Artist and His First Wife, Isabella Brant, in a Honeysuckle Bower, 1609–1610. Oil on canvas

• Leading citizen of Antwerp; very wealthy
• Marriage portrait
• Usually portraits are done separately
• Intimate yet relaxed and playful
• Holding a sward
• Honeysuckle bower—place of love, perfect garden setting

Question 3

Answer 3

Peter Paul Rubens (1577–1640), Prometheus Bound, 1610–1611. Oil on canvas

• An eagle would eat his liver and then it would grow back and be eaten again
• Eagle by Frans Snyders
• People who defied their rulers are punished – Aristocracy would want these in their homes

Question 4

Answer 4

Peter Paul Rubens (1577–1640), The Médici Series: The Landing of Marie de Médicis at Marseilles, 1622–1625. Oil on canvas

• She had a series of paintings done for her palace
• Allegory:
• Medici coat of arms on the ship
• Allegorical figures welcoming
• Man in blue is France
• Neptune is guiding the barge
• Three naked women are daughters of the old man of the sea

Question 5

Answer 5

Peter Paul Rubens (1577–1640), The Rape of the Daughters of Leucippus, ca. 1618, oil on canvas

• The two daughters of King Leucippus were betrothed to a set of twins, cousins of Castor and Pollux. But the latter pair carried the maidens off and had sons by them. Armed warriors are seen in the act of seizing the naked maidens and bearing them away on horseback.
• The two divergent diagonals rise from the base of the painting, where the feet of captive and aggressor are placed side by side.
• The luminous white forms of the nude victims contrast with the tanned

Question 6

Answer 6

Peter Paul Rubens (1577–1640), The Garden of Love, ca. 1633. Oil on canvas

• Woman being initiated into three stages of love?

Question 7

Answer 7

Peter Paul Rubens (1577–1640), An Autumn Landscape with a View of Het Steen, ca. 1636

• Channeling Bruegal
• Rubens and his wife and their estate
• Diagonals shoot eye back to horizon line

Question 8

Answer 8

Anthony van Dyck (1599–1641), Marchesa Elena Grimaldi, ca. 1623. Oil on canvas

• Black was very fashionable
• Her size dominates nature
• Holding orange blossoms shows a woman who is about to get married
• Corinthian columns create strong verticals; help elongate her figure

Question 9

Answer 9

Anthony van Dyck (1599–1641), Rinaldo and Armida, 1629. Oil on canvas

• Artists begins to sends paintings to England for the king Charles I
• The subject—Group of Christian knights and travel to Jerusalem to try and liberate it from the Muslims; they run into two women and they convert to Christianity; Armida is sent out to try and seduce Rinaldo and they eventually fall in love
• Aeros god of love at top
• Ability to give different textures

Question 10

Answer 10

Anthony van Dyck (1599–1641), Queen Henrietta Maria, with Jeffrey Hudson, 1633. Oil on canvas

• United France and England
• People did not like her because she was Catholic
• Orange tree- marriage
• With her dwarf

Question 11

Answer 11

Anthony van Dyck (1599–1641), Charles I King of England at the Hunt, ca. 1635. Oil on canvas

• Not dressed in armor or on horse
• He wants to assert his right to rule
• Looks more like an aristocrat rather than a king
• Dominates the landscape and his right to hunt
• Horse is bowing his neck at the king
• The king was short yet he is dominating the horizon making him look taller
• At the height of King Charles his political power
• Sprezzatura- looks at ease, etc.

Question 12

Answer 12

Frans Snyders (1579–1657), Still-Life with Fowl and Game, 1614. Oil on canvas

• People in the back—women are birds and need to be cared for
• Clues to human behavior in courtship
• Peacock—pride

Question 13

Answer 13

Adriaen Brouwer (1605‒1638), The Bitter Drink, ca. 1630. Oil on oak panel

• Rough ground—first layer of paint that acts like a support for the paint
• Glue, chalk, and pigment
• Taking medicine?
• Thinly painted
• Sense of amusement for upper class
• Lower class person acts in a lower class manner

Question 14

Answer 14

Willem van Haecht (1593–1637), The Gallery of Cornelis van der Geest, 1628. Oil on panel

• Patron of Rubens
• Classical sculpture
• How paintings were displayed
• Displays real paintings and sculptures

Question 15

Answer 15

Jacob Jordaens (1593–1678), The King Drinks or, The Bean King, ca. 1655. Oil on canvas

• Family celebration
• Someone is king for the day
• If you get a bean in your cake slice you are the king for the day
• Transitioning from a nice family gathering into something boisterous
• Reflection of the girl—is supposed to be the viewer and brings viewer into painting
• Compare to Jan Steen In Luxury, Look Out

Question 16

Answer 16

Hendrik ter Brugghen (1588–1629), St. Sebastian Tended by St. Irene, 1625. Oil on canva

• Channeling Caravaggio
• Dramatic spotlight effect that models the figure
• Focus on textures
• St. Irene with her assistant taking him down
• St. Sebastian was tied to a tree because he would not renounce his faith
• Channeling the descent of Christ from the cross—reflecting Christ’s sacrifice

Question 17

Answer 17

Frans Hals (1580–1666), Pieter Cornelisz. Van der Morsch, 1616. Oil on panel transferred to canvas

• Holding straw and a dried herring
• Text says who wants one—to the viewer
• He is a performer
• People bought paintings that looked “unfinished” because it was Avant-garde and modern; the patron appreciates artists

Question 18

Answer 18

Frans Hals (1580–1666), Regents of the Old Men’s Almshouse, 1664. Oil on canvas

• Lose style with rough brushstrokes
• Male set of regents
• Most people were more interested in classical painting or neat painting, blended brush stroke, and brighter colors
• Regents’ control of the finances of the civic
• Use of dynamic brushstroke

Question 19

Answer 19

Judith Leyster (1609–1660), Boy Playing Flute, ca. 1635. Oil on canvas

• Open jacket in the viewers space
• Broken chair
• Brushstrokes in the collar show movement
• Moving on from a flute, and moving on to the more complicated instruments—moving onto a harder life

Question 20

Answer 20

Judith Leyster (1609–1660), The Proposition, 1629. Oil on canvas

• Genre painting
• Woman is sewing and man is offering her coins; she is ignoring him and continues to sew
• The man wears dark clothing, and the dark tones as well as his shadow cast behind him and across his face from the angle of the candlelight give him a looming appearance. In contrast, the woman is lit fully in the face by the candlelight, and wears a white blouse.
• A man holding money usually represents prostitution
• Man looks like a trader from the east that is active in Amsterdam