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Gianlorenzo Bernini. St. Teresa of Ávila in Ecstasy . 1645–1652. Height of the group 11’ 6”.

Gianlorenzo Bernini. St. Teresa of Ávila in Ecstasy . 1645–1652. Height of the group 11’ 6”. OBJECTIVES. Understand and assess the impact of the Council of Trent’s guidelines for the Counter-Reformation art of the Roman Catholic Church.

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Gianlorenzo Bernini. St. Teresa of Ávila in Ecstasy . 1645–1652. Height of the group 11’ 6”.

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  1. Gianlorenzo Bernini. St. Teresa of Ávila in Ecstasy. 1645–1652. Height of the group 11’ 6”.

  2. OBJECTIVES • Understand and assess the impact of the Council of Trent’s guidelines for the Counter-Reformation art of the Roman Catholic Church. • Identify and explore the work of Bernini and Caravaggio, the dramatic intensity, technical virtuosity and unvarnished naturalism that informed the transition to the Baroque period. • Trace and recognize the broad influence of Caravaggio’s style on art ACROSS Europe during the 17th century. • Understand, recognize, and analyze the how and why 17th century artists created works that expressed the power and prestige of the monarchy. • Understand, recognize and analyze the development of portraiture, still life, landscape and genre scenes as major subjects in painting, particularly in the prosperous art mark of the Netherlands.

  3. 17th-Century Europe.

  4. Italy

  5. St. Peter's Basilica and Piazza, Vatican, Rome. Carlo Maderno, façade, 1607–1626; Gianlorenzo Bernini, piazza design, c. 1656–1657.

  6. Gianlorenzo Bernini. Baldacchino. 1624–1633. Height approx. 100’. Gianlorenzo Bernini. Chair of St. Petter 1657-66. Height approx. 100’.

  7. Gianlorenzo Bernini. David. 1623. Height 5’ 7”. 1446-60 1501-1504

  8. Gianlorenzo Bernini. Pluto and Proserpina. 1621. Height 5’ 7”.

  9. Gianlorenzo Bernini. Cornaro Chapel, Church of Santa Maria Della Vittoria, Rome. 1642–1652. How does Bernini’s St. Theresa personify the Baroque style of 17th century Italy?

  10. Francesco Borromini. Façade, Church of San Carlo alle Quattro Fontane, Rome. 1638–1667.

  11. Francesco Borromini. Plan of the Church of San Carlo alle Quattro Fontane, Rome. 1638–1667.

  12. Francesco Borromini. View Into the Dome of the Church of San Carlo alle Quattro Fontane, Rome. 1638–1667.

  13. Painting

  14. Annibale Carracci. Ceiling of Gallery, Palazzo Farnese, Rome. 1597–1601. Approx. 68’ × 21’.

  15. Caravaggio. Bacchus. 1595–1596. 37 × 33 1/2”.

  16. Contarelli Chapel, San Luigi Dei Francesi. Paintings by Caravaggio 1599–1602.

  17. Caravaggio. The Calling of St. Matthew. 1599–1600. 10’ 7 1/2" × 11’ 2”.

  18. Caravaggio. The Conversion of St. Paul. c. 1601. 7’ 6" × 5’ 8”. Tenebrism

  19. Artemisia Gentileschi. Susannah and the Elders. 1610. 67 × 47 5/8”.

  20. Judith and Holifernes

  21. Artemisia Gentileschi. Self-Portrait as the Allegory of Painting. 1630. 38 × 29”.

  22. Giovanni Battista Gaulli. The Triumph of the Name of Jesus and Fall of the Damned. 1672–85.

  23. Spain

  24. Juan Sánchez Cotán. Still Life with Quince, Cabbage, Melon, and Cucumber. c. 1602. 27 1/8 × 33 1/4”.

  25. Francisco de Zurbarán. St. Serapion. 1628. 47 1/2 × 40 3/4”.

  26. Diego Velázquez. Water Carrier of Seville. c. 1619. 41 1/2 × 31 1/2”.

  27. Diego Velázquez. Las Meninas (The Maids of Honor). 1656. 10’ 5" × 9’ 1/2”.

  28. West Façade, Cathedral of St. James, Santiago de Compostela, Spain. South tower 1667–1680; north tower and central block finished mid-18th century by Fernando de Casas y Nóvoas.

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