Chapter 26- Rococo To Neoclassicism: The 18th Century In Europe And America

One of my favorite works in this chapter is The Swing by Fragonard. The setting for the painted scene is very jovial and utopian. The painting's characters -the eager suitor peeping underneath dress of the "unsuspecting" dame, the helpful attendant, and the stone cupid- though mischievous and racy, remain relaxed and serene.

Jean-Honoré Fragonard, The Swing. 1766. France. Rococo/ Neoclassicism.

Another of my favorites in this chapter is Joseph Wright of Derby's A Philosopher Giving a Lecture at the Orrery. I love the genuine interests that the depicted observers seem to have with the "cosmic" lesson presented before them. I also have an appreciation for the audience itself- particularly the artist's inclusion of the young children and the lone woman. That Wright included them seems to openly suggest that previous, adult-male monopoly on art and science is coming to an end; culture is becoming attainable for all.

Joseph Wright of Derby, A Philosopher Giving a Lecture at the Orrery. ca. 1763-1765. England. Rococo/Neoclassicism.

Chapter 25- The Baroque in Nothern Europe

Gerrit van Honthorst. Supper Party. 1620. Dutch Republic/Baroque.

I seem like Supper Party by Gerrit van Honthorst, not only because it is a well painted work, but it is a great storyteller as well. The chiaroscuro lighting was convincing in establishing the setting for the viewers. The painted characters, of course, help in displaying the intimacy of the event.



Judith Leyster's Self-Portrait is particularly refreshing to view. The painting shows the enjoyment that she has in her work, and in herself as an artist and as a person.

Judith Leyster. Self-Portrait. 1630. Dutch Republic/Baroque.

Chapter 24- The Baroque In Italy And Spain

  Gentileschi's Judith Slaying Holofernes depicts a somewhat disturbing scene in which the Israeli heroine Judith and a maidservant are pictured as being in the process of beheading the Assyrian-enemy's general. The illustration definitely corresponds with the Baroque art movement in that the scene is very nearly a stage performance, very dramatic and showy. I also feel that Gentileschi's preferred subject matter of the adventures of historic heroines was rather risky for a female artist, in a seemingly male dominated field, to market feminist-oriented artwork. Her boldness is admirable and honest; her artwork was made without an aim to placate or to appease others, but to reflect personal interests and character.

Artemisia Gentileschi, Judith Slaying Holofernes. ca 1614-1620. Baroque Italy

 Borromini's architectural work on the facade of San Carlo alle Quattro Fontaine is very creative and seems to be somewhat of an anachronism is the time period. It is reminiscent of a modern-day "fun house" often featured at most fairs, carnivals, and amusement parks. I especially like the way he defined the structure of the building to correspond with the city's street, making it evident that he derived at least some of his inspiration from his environment and combined this with whatever internal influence that played a role in the building's frontal construction.

Francesco Borromini, facade of San Carlo alle Quattro Fontane. 1638-1641. Baroque Italy

Chapter 23- High Renaissance And Mannerism In Northern Europe And Spain

Jan Gossaert, Neptune and Amphidrite, ca 1516. High Renaissance; Netherlands.

One element of this painting that I appreciate is Gossaert's concept of painting the figures that they so closely resemble free-standing statues standing in a room. His majestic subjects are full-figured, which I love because it seems to contrast so starkly with the modern West's idea of ideal male and female bodies . Another is his color choice. I find it interesting that Gossaert chose to use rather earthy tones amid the fact that his subjects are the mythological god, and goddess, of the sea. Nevertheless, it is evident that Gossaert illustrates his subjects' relationship with the vast sea by including the conch shell covering Neptune's genitals, and the shell atop Amphitrite's head.

El Greco, View of Toledo, ca.1619. High Renaissance/ Mannerist Art; Spain.

El Greco's View of Toledo is fantastic. By far, my favorite landscape painting out of all of the chapters we've studied so far. The chimerical depiction of the landscape, however "manneristic", has a somewhat realistic element to it. The clouds, for instance, seem to be very realistic in that they are not painted as isolated, rigid forms, but are represented as abstract and interconnecting wisps of white that fade into the blue of the sky.

Chapter 22- Renaissance and Mannerism in Cinquecento Italy (post 2)

Sofonisba Anguissola, Portrait of the Artist's Sisters and Brother, 1555. Renaissance Great Britain.

Anguissola's portrait of her siblings really stood out to me among the others. I especially love the adolescent animation and innocence of the painting. Her painting also seems to be one of the first that I've seen where the characters clearly have individualized features, even though it is just as evident− through their individual faces− that the children are related. I also liked that the painted siblings were not positioned in the typical, frontal positions, but each had different focal points where their eyes realistically corresponded with the direction that each was facing. The different positions, I believe, helped to further individualize the children.

Chapter 22- Renaissance and Mannerism in Cinquecento Italy (post 1)

The interior of San Giorgio Maggiore is magnificent. I adore the balcony that overlooks the nave, the soft white of the stone along with the large columns work together to give the interior architecture a regal and majestic atmosphere to the church.

Andrea Palladio, interior of San Giorgio Maggiore, begun 1566. Renaissance Italy.

Chapter 21-The Renaissance In Quattrocento Italy (post 2)

The ceiling of the Camera Picta is absolutely beautiful in its incorporation of nature and perspective. I also appreciate the fact that in addition to the naturalistic (the sky and the curvature of the people's bodies, for instance) approach, the artist also incorporated symbols belonging to the supernatural/mythological (angels and Juno's peacock) realms.

Andrea Mantegna, ceiling of the Camera Picta (Painted Chamber), 1465-1474. Renaissance Italy.