Baroque painting

Artemisia Gentileschi (1614-1620 A.D.)

Judith Slaying Holofernes

Oil on canvas

  Artemisia Gentileschi was one of the most renowned female artists of the Baroque era. She was the daughter of Orazio Gentileschi, another well known Baroque painter, and both were heavily influenced by the realistic naturalism and drama of Caravaggio's work. Artemisia eventually became court painter for Charles I under the patronage of the powerful Medici family. In this painting, Artemisia utilizes the characteristic chiaroscuro technique along with dramatic lighting to highlight the figures depicted. The dark subject matter--another trait of Caravaggio's work, depicts a biblical scene in which Judith and her handmaiden cut the throat of the Assyrian general Holofernes. The spurting blood and strained postures, or expressions, depict a starkly realistic struggle between the figures.

Baroque sculpture

Gianlorenzo Bernini (1623 A.D.)

David

Marble

  Bernini was a master of both architecture and sculpture in the 17th century. In the words of Filippo Baldinucci, "He gave his works a marvelous softness . . . making the marble, so to say, flexible." This is apparent in the textural and visual distinction Bernini creates between his figure's skin, clothing, and miscellaneous items. This piece is heavily influenced by classical renditions of David, such as Michelangelo's and Donatello's, however it is distinct because of its depiction at the height of climactic action in David's battle against Goliath. Instead of standing poised for a fight, or as the arrogant victor; Bernini presents us with a violent and distracted figure of David which is distinct of the Baroque style--serving to break away from Renaissance-era ideas about restraint and modesty. With its unrestrained action and dynamic representation this piece is especially successful as a free standing piece of art.

Netherlandish Renaissance

Hieronymus Bosch (1505-1510 A.D.)

Garden of Earthly Delights

Oil on wood

  This fantastic piece predates the surrealist movement, yet seems to be an influence upon its central theme of dream-like depictions. In the left panel of this 16th century painting, Bosch presents Christ introducing Adam to Eve in an imaginary setting which may be a representation of the Garden of Eden. This scene is continued in the central panel with many figures cavorting in an equally bizarre landscape. Most of these human-like figures are depicted in pairs or groups and the abundance of fruits, animals, and sexually-suggestive objects lends credence to the idea that this piece was meant to glorify procreation. However, the right panel depicts a hellish scene of demons and sinners which may serve as a warning against the excessiveness in the central scene.

German Renaissance

Hans Baldung Grien (1510 A.D.)

Witches' Sabbath

Chiaroscuro woodcut

  This early 16th century woodcut is an example of a recent innovation in German woodcutting which required two blocks to be carved--one for use as a traditional black and white print, and another  used to create colored or shaded highlights over the print. This allowed the artist to create a chiaroscuro effect that required close attention to detail in order to both engrave and paint a particular piece. In Grien's woodcut, he successfully utilizes this technique to create visually fluid motion, especially in regards to the smoke billowing from the pot; and he is able to create a sense of texture and definition which only skilled woodcuts can maintain. The subject of witches was popular in Grien's time as Church inquisitors actively sought out heretics to be tortured and killed at the pope's behest. 

Mannerist style

 

Jacopo da Pontormo (1525-1528 A.D.)

Entombment of Christ

Oil on wood

  Although this piece depicts a scene which has been used for countless works of art, Pontormo's use of Mannerist style sets it apart from others. The vivid colors and flowing lines used to illuminate the figures and the expressions of despair create a startling contrast within the painting. The figures themselves are placed in awkward positions which seem to contort their bodies adding a sense of uncomfortable realism to figures which support Christ's body. The composition of characters around a central void is also worth noting, as only hands and garments penetrate the central space of the painting.

Rennaissance in Quattrocento Italy

Leonardo da Vinci (begun 1483 A.D.)
Madonna of the Rocks
Oil on wood

  This painting makes use of ground-breaking light and shading techniques which "immerse [the figures] in a layer of atmosphere". Leonardo visually unites the figures in his painting using pyramidal composition, with Mary at it's apex. The vivid background and foreground accurately many natural features such as a pond closest to the viwer, various flora and fauna, and a strikingly mountainous landscape which rises above the figures. The sense of depth in this piece is incredible, giving the scene a realistic feel.

Sculpture in Quattrocento Italy

Andrea del Verrocchio (1465-1470 A.D.)
David
Bronze

  Verrocchio, like Donatello, presents us with a child-like form of David. He utilized the classic contrapposto in David's pose as well as adding realism to the piece in the form of Goliath's head between his feet. The look of pride and confidence contrasts with the docile expression which Donatello's David displays. Verrocchio also chose to clothe his image of David in loose, war-like garments, as opposed to the nudity of Donatello's rendition.

Painting in Quattrocento Italy

 

Massaccio (1424-1427 A.D.)

Expulsion of Adam and Eve from Eden

Fresco

  In this work, Massacio depicts a scene in which an angel wielding a sword casts Adam and Eve out of the Garden of Eden. Their posture and facial expressions display embarrassment and despair. The background of the image is uncertain, hinting at the unknown and desolate world which they will inhabit. This fresco piece is successful in both its representation of human form and its Biblical message.