ART 3600

Study Guide for Exam #2

(complete)

èExam: Tuesday, March 7

Part I. Slide Identifications—you will be expected to identify the following images by artist, title, and nationality [not all will be on the exam]:

  1. [1.6] Carlo Maderno, Santa Susanna (façade), Italian
  2. [below] Carlo Maderno, St. Peter’s Basilica (façade), Italian
  3. [1.82] Francesco Borromini, San Carlo alle Quattro Fontane (façade), Italian
  4. [1.86] Francesco Borromini, Sant’Ivo alla Sapienza (façade), Italian
  5. [1.94] Gian Lorenzo Bernini, Apollo and Daphne, Italian
  6. [1.96] Gian Lorenzo Bernini, Cardinal Scipione Borghese, Italian
  7. [1.107] Gian Lorenzo Bernini, Baldacchino, Italian
  8. [1.113] Gian Lorenzo Bernini, Tomb of Alexander VII, Italian
  9. [1.116] Gian Lorenzo Bernini, Ecstasy of St. Teresa, Italian
  10. [3.17] Jusepe de Ribera, Boy with a Club Foot, Spanish
  11. [below] Jusepe de Ribera, Touch, Spanish
  12. [3.22] Francisco de Zurbaran, St. Serapion, Spanish
  13. [below] Francisco de Zurbaran, St. Francis in Meditation, Spanish
  14. [3.30] Diego Velazquez, Old Woman Cooking Eggs, Spanish
  15. [3.35] Diego Velazquez, Surrender at Breda, Spanish
  16. [3.40] Diego Velazquez, Philip IV of Spain (Fraga Portrait), Spanish
  17. [3.41] Diego Velazquez, Venus and Cupid (Rokeby Venus), Spanish
  18. [3.44] Diego Velazquez, Las Meninas, Spanish

Part II: Questions requiring short answers will be asked in relation to the images shown on the exam. How should you prepare?

·  From LECTURE:

o  Be sure to study any vocabulary or other terms that might relate to the image.

o  Know the elements of a Baroque church façade.

o  Why did Counter-Reformation leaders insist that churches be built with a basilica plan? What are the advantages?

o  How can architecture have “concetto”? Explain.

o  What is the concetto of Bernini’s Baldacchino? In other words, what is its purpose? Discuss the details he included for added symbolism.

o  Why is there is a skeleton caught in the “pall” of the Tomb of Alexander VII? What does this character add to the overall concetto of the monument?

o  What is transverberation?

o  What is a paragone? How might Ribera be making a claim that painting is the superior art in his series of allegories of the senses, especially the painting Touch?

o  What are “devotional images”? What is a memento mori?

o  What is a “bodegones”?

o  Discuss the paragone in Velazquez’ Rokeby Venus.

o  Discuss the paragone in Velazquez’ Las Meninas.

·  The following questions are from the TEXTBOOK:

o  The author points out that while the basic elements of Maderno’s Santa Susanna were not new to Rome, he gave his interpretation a new grandeur. What were the basic elements? How did he give this church new grandeur?

o  How did Borromini blend Sant’Ivo with its surroundings? What is the significance of its plan resembling a 6-pointed star?

o  What is “speaking likeness”? Discuss in relation to Bernini’s bust of Cardinal Scipione Borghese.

o  Where were twisted columns incorporated into the Baldacchino? What does their use assert?

o  The author notes several significant aspects of the composition of Ribera’s Boy with a Club Foot. Explain the meaning of (1) the low viewpoint, (2) the laugh, and (3) why the boy blocks our view of the background.

o  Where was Zurbaran’s St. Serapion originally hung? Why is this location significant in relation to the subject?

o  What is the significance of the riderless horse in Velazquez’ Surrender at Breta? How does it relate to the overall subject of the painting?

o  Why was it unusual that Philip IV posed three times for the “Fraga Portrait”? How were royal portraits usually done?

Maderno, St. Peter’s Ribera, Touch Zurbaran, St. Francis