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Peepster, oil on canvas panel, 9x12 inches by KennEy Mencher
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Artist: Larissa Pietrala
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Article 3
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17th C Baroque Art Caravaggio_cc
Caravaggio (1569-1609)
Michelangelo Meresi CaravaggioBoy Being Bitten by a Lizard c1600oil on canvasItalian Baroque
Michelangelo Meresi CaravaggioBoy Being Bitten by a Lizard c1600oil on canvasItalian Baroque
Tenebrism means using light as a spotlighting effect in a murky or dark scene.
ala prima-directly onto canvas; paints directly form life
ala prima-directly onto canvas; paints directly form life
chiaroscuro
Form: This allegorical portrait incorporates a low key or earth toned palette combined with a very close point of view. Caravaggio demonstrates a good mastery of the human face as well as chiaroscuro . According to the Brittanica,
chiaroscuro (from Italian chiaro, "light"; scuro, "dark"), which is technique employed in the visual arts to represent light and shadow as they define three-dimensional objects.
Caravaggio also uses an intense spotlight on his face while the rest of the picture plane is murky surrounding him. This is called tenebrism and it is a way of creating a focus on a particular element in a work and also gives the work a sense of heightened drama.
The painting also feels like an immediate kind of "snapshot" of a young boy dressed in neoclassic clothing caught at the instance when a lizard bites his fingers. The immediacy of the painting is complimented by the direct gaze and the facial expression of the figure. This painting appears to be painted directly from life without using any previous studies or drawings. This is called ala prima- (in the first) which means painting directly from observation onto canvas.
This painting also demonstrates Caravaggio's skill beyond his ability to paint the human form. The clear vessel of water is what is referred to as an artist's conceit or concetto (italian for conceit) because painting a transparent vessel is one of the harder things to paint. Caravaggio also has a fine command of painting drapery.
Even though the figure in this painting is placed in the visual center of the picture plane the light which rakes in from the upper left hand corner creates a strong diagonal across the picture plane. The use of a diagonal in the composition of the picture plane is a very Baroque device.
Iconography: Caravaggio was a rather outrageous and controversial man. Many of his paintings demonstrate a rebellious and often ribald sense of humor. This is an allegorical portrait of lust. The young boy is probably the type of young man that Caravaggio held as the object of his desire. Young male prostitutes were fairly common in cities during this time (as they are now) and it has been suggested by some sources that Caravaggio was a homosexual and a pederast. The lizard hanging from the boy's finger may represent the cost of the lust and the cherries may be a reference to the concepts concerning "forbidden fruit" or possibly even virginity.
Context: Caravaggio was an,
Italian baroque painter, who was the most revolutionary artist of his time and the best exemplar of naturalistic painting in the early 17th century. Originally named Michelangelo Merisi, Caravaggio was born September 28, 1573, in the Lombardy hill town of Caravaggio, from which his professional name is derived. Orphaned at age 11, he was apprenticed to the painter Simone Peterzano of Milan for four years. At some time between 1588 and 1592, Caravaggio went to Rome and worked as an assistant to Giuseppe Cesari, also known as the Cavaliere d'Arpino, for whom he executed fruit and flower pieces (now lost). Caravaggio's personal life was turbulent. He was often arrested and imprisoned. He fled Rome for Naples in 1606 when charged with murder. Later that year he traveled to Malta, was made a knight, or cavaliere, of the Maltese order. In October of 1608, Caravaggio was again arrested and, escaping from a Maltese jail, went to Syracuse in Sicily. He died on the beach at Port'Ercole in Tuscany on July 18, 1610, of a fever contracted after a mistaken arrest.
source of quote http://www.mcs.csuhayward.edu/~malek/Caravaggio.html
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Caravaggio, Basket of Fruit c. 1597The painting also feels like an immediate kind of "snapshot" of a young boy dressed in neoclassic clothing caught at the instance when a lizard bites his fingers. The immediacy of the painting is complimented by the direct gaze and the facial expression of the figure. This painting appears to be painted directly from life without using any previous studies or drawings. This is called ala prima- (in the first) which means painting directly from observation onto canvas.
This painting also demonstrates Caravaggio's skill beyond his ability to paint the human form. The clear vessel of water is what is referred to as an artist's conceit or concetto (italian for conceit) because painting a transparent vessel is one of the harder things to paint. Caravaggio also has a fine command of painting drapery.
Even though the figure in this painting is placed in the visual center of the picture plane the light which rakes in from the upper left hand corner creates a strong diagonal across the picture plane. The use of a diagonal in the composition of the picture plane is a very Baroque device.
Iconography: Caravaggio was a rather outrageous and controversial man. Many of his paintings demonstrate a rebellious and often ribald sense of humor. This is an allegorical portrait of lust. The young boy is probably the type of young man that Caravaggio held as the object of his desire. Young male prostitutes were fairly common in cities during this time (as they are now) and it has been suggested by some sources that Caravaggio was a homosexual and a pederast. The lizard hanging from the boy's finger may represent the cost of the lust and the cherries may be a reference to the concepts concerning "forbidden fruit" or possibly even virginity.
Context: Caravaggio was an,
Italian baroque painter, who was the most revolutionary artist of his time and the best exemplar of naturalistic painting in the early 17th century. Originally named Michelangelo Merisi, Caravaggio was born September 28, 1573, in the Lombardy hill town of Caravaggio, from which his professional name is derived. Orphaned at age 11, he was apprenticed to the painter Simone Peterzano of Milan for four years. At some time between 1588 and 1592, Caravaggio went to Rome and worked as an assistant to Giuseppe Cesari, also known as the Cavaliere d'Arpino, for whom he executed fruit and flower pieces (now lost). Caravaggio's personal life was turbulent. He was often arrested and imprisoned. He fled Rome for Naples in 1606 when charged with murder. Later that year he traveled to Malta, was made a knight, or cavaliere, of the Maltese order. In October of 1608, Caravaggio was again arrested and, escaping from a Maltese jail, went to Syracuse in Sicily. He died on the beach at Port'Ercole in Tuscany on July 18, 1610, of a fever contracted after a mistaken arrest.
source of quote http://www.mcs.csuhayward.edu/~malek/Caravaggio.html
Oil on canvas, 46 x 64 cm
Pinacoteca Ambrosiana, Milan
Italian Baroque
Form: This is a still life painting which is painted from an extraordinary point of view. The basket and its contents are depicted from eye level. The virtuosity of how realistically the surfaces and details of the basket, its contents, the moisture on the fruit and even the hints of decay are expressions of Caravaggio's skills. It's interesting to note that this is often referred to as the completely dedicated still life painting of its kind since Pompeii (79 CE).
Iconography: Paintings like this one depicting fruit is symbolic of the pleasures of every day life and perhaps of the delicacies one might desire. Fruit was not available all year and it is one of the fleeting pleasures. The depictions of fruit and other delicacies, such as Herakleitos' Unswept Floor (fig 6-58) are references to the wealth of the patron and the skill of the artist.
The depictions of the decay caused by the worms in the apple and on the leaves may be a memento mori. That although these are delicacies and treasured parts of enjoying life, sometimes such things are transitory and fleeting.
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17th C Baroque Art Bernini David and St Theresa_cc
The Cornaro Chapel
As a reaction to the Manneristic style that consumed the Late Renaissance in Europe, Baroque art began to surface around 1600. The Baroque style has many distinguishing characteristics, such as the use of different colors, materials, and irregular shapes; however, the hallmark of Baroque art is that it depicts the most climactic point in a story. The Ecstasy of St. Theresa, created between 1645-1652, is housed inside of the Cornaro Chapel, and is heralded as "one of Bernini's most brilliant and suggestive sculptural and architectural compositions" (The New York Times, 42).
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In terms of its form, the sculpture is made of different materials and puts a spin on classicism. The iconography of The Ecstasy of St. Theresa is very Baroque because it depicts the most dramatic point in the saint's life and caters to the notion that God equals light. In terms of context, The Ecstasy of St. Theresa is one of Gianlorenzo Bernini's most controversial and beautiful works of art. Gianlorenzo Bernini's stunning masterpiece, The Ecstasy of St. Theresa, epitomizes the high drama of 17th century Baroque art. The form of The Ecstasy of St. Theresa typifies Baroque art because the sculpture is made of different materials and the artist uses classicism irregularly. Gianlorenzo Bernini uses several different materials to create an awe-inspiring focal point within the Cornaro Chapel. The wall that houses The Ecstasy of St. Theresa is laden with colored marble. Like many other works of Baroque sculpture, this piece is "set within an elaborate architectural setting, and seems to be spilling out of its assigned niche or floating upward toward heaven" (The Columbia Encyclopedia). The Saint and angel are cut from the same mass of solid marble, yet Gianlorenzo Bernini is able to replicate different textures and colors. The angel's drapery clings to the body, giving it a silk-like quality; however, St. Theresa appears to be clothed in a woolen robe. Gianlorenzo Bernini also puts a spin on classicism by using irregular shapes and non-traditional architecture. Framing the sculpture are double columns, which serve as adornment rather than architectural support. The pediment above, typically flat, protrudes and indents, and is supported by marble pilasters. Gianlorenzo Bernini uses different materials and irregular classicism to create the epitome of Baroque art.
The iconography of The Ecstasy of St. Theresa embodies the Baroque style of art because the sculpture depicts the most dramatic point in the saint's life and caters to the notion that God equals light. In her autobiography, St. Theresa describes a dream where an angel appears before her in a halo of light. The angel takes a fiery arrow and stabs her repeatedly in the breast, filling her with the love of God. "To quote St. Theresa herself, "The pain was so great that I screamed aloud, but simultaneously I felt such infinite sweetness that I wished the pain to last eternally." This was interpreted at the time and ever since as a spiritual transport sexually expressed" (The NewsHour with Jim Lehrer). Gianlorenzo Bernini portrays St. Theresa's dream in this sculpture at the moment when her body has been consumed with the love of God, the climax of her life. "Wrapped in swirling draperies, her passionate gaze directed to heaven, [Gianlorenzo] Bernini's Saint epitomizes the age of the Baroque" (Christian Science Monitor, 12). The Ecstasy of St. Theresa also feeds into the notion that God equals light. Gianlorenzo Bernini capitalized on this notion that God and light were one in the same by placing the angel and the saint on a billowy cloud with bronze beams of light cascading down behind them. These beams of light reveal that God, himself, has pierced the heart of St. Theresa. "The sculptor's floating image of St. Teresa and the angel places the saint midway between earthly and heavenly existence" (Wilkins, 383). To give these heavenly beams a more dramatic impact, Gianlorenzo Bernini placed a hidden skylight above the sculpture. Gianlorenzo Bernini depicts the most dramatic point in St. Theresa's life and caters to the notion that God equals light to create the quintessence of Baroque art.
The context of The Ecstasy of St. Theresa exemplifies Baroque art because it is considered to be Gianlorenzo Bernini's most controversial and beautiful sculptures. The Baroque movement "was encouraged by the Catholic Church, the most important patron of the arts at that time, as a return to tradition and spirituality" (Artcylcopedia.com); however, Gianlorenzo Bernini depicts St. Theresa in the state of spiritual and sexual ecstasy. Her neck is flung back, eyes are closed, mouth partially open, telling of her elation. Although only her face, hands, and bare feet are visible, the bends and folds of her garment reveal a passionate body beneath in her moment of climax. Never before had a Saint been depicted in the state of sexual ecstasy, yet St. Theresa's autobiography allowed Gianlorenzo Bernini to create such a controversial piece of work. Looking now at the other figure in this sculpture, the angel's face is thought, by many, to be the most beautiful face ever created. The face is perfectly symmetrical; each feature is perfectly positioned. The eyes are aligned, the nose has a perfect slant, and the lips are just the right fullness. Gianlorenzo Bernini balances perfect beauty and sexual ecstasy to achieve the spirit of Baroque art.
Created between 1645-1652, Gianlorenzo Bernini's The Ecstasy of St. Theresa is one of the most talked about sculptures in history. "The religious sculptures he did from the 1640s on were perhaps the last flourish of great Christian art" (Economist, 87). In terms of its form, The Ecstasy of St. Theresa is made of different materials and puts a spin on classicism. The iconography of The Ecstasy of St. Theresa is very Baroque because it depicts the most dramatic point in the saint's life and caters to the notion that God equals light. In terms of context, the sculpture is one of Gianlorenzo Bernini's most controversial and beautiful works of art. Gianlorenzo Bernini's stunning masterpiece, The Ecstasy of St. Theresa, epitomizes the high drama of 17th century Baroque art.
Works Cited:
"Artists by Movement: The Baroque Era." Artcyclopedia.com.
Baroque, in art and architecture. The Columbia Encyclopedia, Sixth Edition.
Economist. 09/06/98, Vol. 349 Issue 8087, p87, 2/3p, 1bw.
The NewsHour with Jim Lehrer Transcript. "FURY OF CREATION" April 30, 1998.
The New York Times. April 26, 1998, Sunday, Late Edition - Final, Gian Lorenzo Bernini, Art, Section 2; Page 42; Column 3.
Wilkins, Ann Thomas. "Bernini and Ovid: Expanding the Concept of Metamorphosis." International Journal of the Classical Tradition Winter2000, Vol. 6, Issue 3, p383, 26p, 4bw.
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Peek a Bear, watercolor on cotton paper 11x14 inches by KennEy Mencher
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Artist: Marco Grassi
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Article 4
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Dear Kenney, Jobs have been posted on Art Frankly in: NYC, LA, Greenwich, Marfa Read our latest Frank Talk with Friederike Steckling - Conservator at the Fondation Beyeler. Not looking for a new job? Share this email with friends who are.  Jobs                  Spaces  Opportunities  Self-Directed & Instructional Residencies 2018 ALL DISCIPLINES Puebla, Cusco, Oaxaca, Mexico   Featured Blog PostsSep 12, 2018 12:14 pm Friederike Steckling – Conservator at the Fondation BeyelerFrank Talks Photo credit: wiewaersmalmit.ch This week we are very excited to share a rare look into Conservation with Friederike Steckling. Friederike is the Conservator at the prestigious Fondation Beyeler in Basel, Switzerland. Trained as a paintings conservator at the Conservation Center of NYU (Certificate of Advanced Study in Conservation and MA in Art History), Friederike has been […] The post Friederike Steckling – Conservator at the Fondation Beyelerappeared first on Frankly Speaking. Sep 05, 2018 11:32 am Nicole Polletta – Co-Founder of The Art of ChangeFrank Talks Nicole Polletta is the Co-Founder of The Art of Change, a strategic consultancy focusing on fundraising, marketing and VIP relations The post Nicole Polletta – Co-Founder of The Art of Change appeared first on Frankly Speaking. You can also follow us on Instagram, Facebook, Twitter and LinkedIn to see all the new jobs available. If you have any questions please do not hesitate to email us at info@artfrankly.com. Sincerely, The Art Frankly Team |
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Jobs in the Academic World for Art People
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Louis, watercolor on cotton paper 11x14 inches by KennEy Mencher
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Artist: Walter Stuempfig
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Artist: Benjamin Carbonne
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Article 1
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17th C Baroque Art Velasquez cc
This is a painting everyone should know about even though it’s not really in the top 10 of images that people know from art history. Probably Velasquez’s other paintings are more famous however, this painting possesses all of the things that a student or someone wants to learn about Baroque art should know about the style of Baroque painting that stems from the painter Caravaggio.In terms of how the painting looks, for example its physical properties such as light, color, texture, and composition. Velasquez is pretty much unmatched in terms of his handling of light and shadow that is sometimes referred to as chiaroscuro. The term chiaroscuro literally translates from Italian into light and shadow or dark and light. If you look at the sphere that’s been shaded by a computer you can see that the qualities of light such as the highlight, transitional tones, core shadow, reflected light are all there in Velasquez is painting in several places. If you look at the jug in the foreground you can see that contains all of these elements. Most importantly it also possesses the reflected light right next to the old man’s left hand in the lower right-hand corner of the picture. Lights or wraps around the jug and transitions into that core shadow. Velasquez also has a little scuff in the pot where the highlight is.
The other thing about how Velasquez handles light is that even the heads and the features that are rounded such as fingers which you think about it are cylinders, all obey or conform to the passage of light coming from the upper left-hand corner and raking across the picture from left to right. This creates a sort of dramatic almost cinematic kind of light. This is where moviemakers get their ideas of spotlighting. He also does something with the light which is that some figures are in the background and are not hit by the spotlight. The old man and the young boy reaching for the glass of water are in the spotlight and the art historical term for this is called tenebrism which means in Italian murky or spotlight. This kind of makes the focus of attention the thing that’s in the center of the spotlight but not the center of the entire composition. The glass of water at the old man is handing to the young boy is the thing that is the center of the composition and everything seems to radiate from that. Light is what makes it the center of attention and the focus of the composition but also it seems like there’s a sort of half of jugs and light up to the little boys face and then up to the early old man’s face.
One of the other physical things about the paint is that if you can see this painting in person you would see that close to where ever the light hits the most highlights, Velasquez thickens up the paint and this is called an impasto. This kind of echoes how light feels and so the more opaque paint makes it feel like more light is actually hitting. So texture is an important part of showing how light and shadow work together and this creates more of an illusion than just leaving the paint surface on textured for the same thickness throughout.
The last thing that Velasquez does in terms of physical form is that he uses what’s called a reduced palette. If you notice there are no bright primary colors. Primary colors are red ,blue and yellow. In fact Velasquez doesn’t even include secondary colors such as orange, green, and purple. Instead he uses what are called tertiary colors which are just Browns. Sometimes because they are brown they are referred to as birth colors. Mainly because the paint was made from ground up iron oxides found in soil for example burnt sienna, comes from the Italian city of Sienna, umber is a color that comes from the city of Umbria. When she is making something look kind of like it’s blue, please be aware that your computer screen is not accurately showing color, Velasquez uses charcoal and oil mixed up to make his black and that gray is closer to blue in the spectrum than it is a warm color like an orange birth or a warm color such as burnt sienna which is reddish orange.
Probably the last important element in this painting is how well Velasquez paints a clear glass of water. I the teacher once you said that the way to paint or the way to see if the picture was a really good painter was to see how they painted a clear glass of water. In a way this is a virtuosic kind of exercise. The reflection and prism affect of how the glass in the water interact create all these abstract shapes that can sometimes make it confusing to paint. You can see that Velasquez masters this and he probably got this idea by looking at Caravaggio’s paintings.
The second most important thing about how this painting is really a fantastic example of Baroque painting is that it contains all of the messages and symbols that are Baroque painter would have to include to please his clients. Velasquez.like many of the other Baroque painters such as Rembrandt Caravaggio incorporate real people into their paintings and this is sometimes referred to as John run elements. He uses live models for the most part paint from and they are real people. He includes other elements that are considered genre elements such as everyday items from the 17th century in which he works such as the clothing, the ceramics, and even hairstyles. This makes the patron you were connect to the painting more.
The last genre element which is also a semblance often use as both in every day and possibly also a Catholic Christian religious meaning. The older man is actually kind of the street beggar who sells glasses of water that he filters in the pots that you see in the foreground. Part of this is that he goes to the wells in the center of town and then takes the water other places where it’s inconvenient to find glasses of water any charges of minimal amount, probably a quarter in today’s money, and the little boy who is somewhat wealthy, look at his collar white shirt, is doing God’s work by providing charity in the form of buying glass of water from the old beggar man. So in a way the glass of water represents purity and also charity.
There is another interpretation of this painting that it’s the three ages of man. Young boy, middle-aged man, and old man. However, I don’t think that that is really accurate I think it makes more sense that it’s just a genre scene of everyday life in which Christian teachings can be enacted.
Something you might want to look into is cool Velasquez was, the context surrounding his life because he has an interesting biography in which he sort of was connected to the right kind of society to make his career. He married bosses daughter and you can also climb the social ladder and became an advisor to the King of Spain who he was great friends with and probably this was because he sat painting portraits of the King and was able to converse with him.
For more texts and videos to help you get through art history:
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17th C Baroque Art Vermeer cc
In terms of its rendering and physical form, the style of this painting most resembles the works of Caravaggio. There’s a strong sense of light and shadow also referred to as chiaroscuro. It is a close up portrait and it is extremely realistic. It is most likely painted in something called ala prima, which basically means without it underdrawing and painted directly wet into wet. Where this work differs the most Caravaggio is in the painters use of colors that are referred to as nonlocal colors. In Caravaggio’s painting is a palette of colors that we would call earth toned, which are all there is hues of browns. If you compare the flesh color of Vermeer’s painting to Caravaggio’s you can see that Vermeer includes colors such as green and some purples in the flesh tones whereas Caravaggio paints everything as shades of browns or oranges. Caravaggio’s palette is restrained and only uses the hues that are in the brown family, but Vermeer has all of the hues (colors) such as blue, green, yellow and purple.
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Leather Daddy by Kenney Mencher 30 minute tutorial
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Handsome Young Man with Dark Eyes and Great Bone Structure, oil on canvas panel 9 x 12 inches Kenney Mencher
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