Summary
Summary History of art baroque revision notes
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Detailed history of art a level revision notes for paper 2 baroque theme including works by Caravaggio and Bernini
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Paper 2:Baroque
revision
, Area Peter is considered first pope ‘rock’ of church
Context • In a family private chapel in church in Rome dedicated to VM
• Patron- Tiberio Cerasi, commissions 2 paintings by Caravaggio
Church first • Treasurer to the pope-papal, originally commissioned in 1600 fo
visited by Jubilee (every 25 years) first ones rejected
pilgrims • Popular area for pilgrims and is near first gate in Rome
Subject • Shows moment of raising cross-mid action, nailed to cross, red
• Emotional painting, intense as he's shown sacrificing himself fo
matter • Viewed side on so peter looks at altar and head is closer to the v
Martyrdom • Biblically accurate depiction of peter in his 60s with 3 execution
Co-ref • Highly dramatic and engages with an early saint-educates, inter
Compositio • Flat, no levels of space, foreground close to picture plain-more
• Typically baroque, diagonal axis, pushes figures into foreground
n –pictorial • X shape-peter in his own space and take up most of the painting
space • Over life sized depiction- large scale
• Two diagonal crossing lines
Naturalism • Painting base on life models-highly naturalistic
• Based on real life, observed detail , accurate
• Shows ordinary people-relates more to viewer and shows saints
• Hugely innovative in use of detail
Name of artist/sculptor/architect:
Caravaggio Light • Black background and illumination of figures (chiaroscuro) and
comes from window and shows relationship with Christ-strengt
Name of work: spiritual light • Tenebrism- gives it atmospheric quality, creates dramatic effect
Martyrdom of Saint Peter illuminates • Theatrical light, spotlight, no setting, emphasis on figures and m
Date(s) made: 1601 peter
, Area
Context • Commissioned by Pope Urban VIII-causes papacy to go bankru
• Bernini is chief architect of St Peters and designed one of the 4
Specified niches the look at the high altar under dome- key saints with rel
sculptor
Subject • Longinus is an early saint present at crucifixion and depicts mo
conversion –welcomes God, acceptance, arms extend into nich
matter • Looks at baldacchino to dove, holy spirit, accepting and embrac
Soldier for • Dramatic trace like state, awe, leaving behind old life as a pagan
roman emp • Volumes of drapery makes the sculpture large 3x life sized
• Niche becomes setting-sky going black when Jesus crucified-pr
Compositio • Much of the body is obscured by the drapery creates dramatic e
• Emerging into new life-coming through drapery-freedom-diagon
n • Above entablature is heaven like realm and looks out to dove an
Contrappost • Idealisation-grand scale 18ft and made of 5 blocks of marble
o pose • Musculature-works with antiquity, reference from Laocoon in he
authority referencing past-shows knowledge, undrilled eyes, ha
Light • Is illuminated from the windows on the dome which spotlights f
• Texture on the arms give ribbed quality, rough-absorbs light rath
Gives him it so its visible to the viewer, sense of weigh and validity from afa
Name of artist/sculptor/architect: status • Passages of dark shadow in the drapery-similar to chiaroscuro-
Bernini • Colour of niche creates a dramatic contrast
Name of work: Materials • Unusual texture, criticised for using five blocks of marble, again
Conversion of Saint Longinus • Planned sculpture using clay and plaster cast and worked on it
and • Introduced colour through marble of niche-figure and setting ar
Date(s) made: 1638 techniques • Innovative use of carving techniques-making sculpture out of m
Location: St Peters Basilica, Rome and fusing location to the sculpture
• Bronze bees placed on spandrels outside niche-pope urban
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