CHAPTER TWENTY TWO – STUDY GUIDE
Baroque Art
Learning Objectives
Following the conclusion of the chapter, the student will be able to:
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identify and articulate the many monuments of Baroque art.
interpret Maria Sibylla Merian’s contributions to science and art.
consider Borromini’s eccentric involvement in architecture.
analyze Artemisia Gentileschi’s approach to painting.
explain tenebrism.
estimate Velazquez’s use of optical realism and naturalism.
appraise Murillo’s treatment of the Virgin and child.
examine Rubens’s contribution to Baroque art.
evaluate the economic and political changes of the Dutch Republic and how it impacted art
patronage.
analyze Brueghel and Rubens’s Allegory of Sight.
examine Rembrandt’s contribution to Baroque art.
compare the considerable accomplishments of the Dutch Baroque artists.
analyze technical aspects of French Baroque Garden Design.
assess the importance of the French Royal Academy of Painting and Sculpture.
appraise the contribution of Christopher Wren
Key Terms
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genre
The Sun King
impasto
prie-dieux
baldachin
travertine
quadric riportati
tenebrism
Habsburg
Benedictine
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still life
drypoint
landscape
school
parterres
Glorious Revolution
wattle and daub
clapboard
limners
Major Works
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Hyacinthe Rigaud, Louis XIV, 1701, oil on canvas, 9’2” x 7’ 10 ¾” (2.19 x 2.4 m), Musée du
Louvre, Paris (fig. 22-1)
2. Gianlorenzo Bernini, Baldacchino, 1624-33, gilt bronze, height appox. 100’ (30.48 m), chair of
Peter shrine, 1657-66, gilt bronze, marble, stucco, and glass, pier decorations, 1627-41, gilt bronze
and marble, crossing, Saint Peter’s Basilica, Vatican, Rome (fig. 22-3)
3. Caravaggio, The Calling of Saint Matthew, 1599-1600, oil on canvas, 10’ 7 ½” x 11’ 2” (3.24 x 3.4
m), Contarelli Chapel, Church of San Luigi dei Francesi, Rome (fig. 22-16)
4. Gianlorenzo Bernini, Saint Teresa of Avila in Ecstasy, 1645-52, marble, height of the group 11’6”
(3.5 m), Cornaro Chapel, Church of Santa Maria della Vittoria, Rome (fig. 22-6, 22-5)
5. Peter Paul Rubens, Garden of Love, 1630-32, oil on canvas, 6’6” x 9’ 3 ½” (1.98 x 2.83 m), Museo
del Prado, Madrid (fig. 22-37)
6. Judith Leyster, Self-Portrait, 1635, oil on canvas, 293/8 x 25 5/8” (72.3 x 65.3 cm), National
Gallery of Art, Washington, D.C. (fig. 22-43)
7. Rembrandt van Rijn, Captain Frans Banning Cocq Mustering His Company (The Night Watch),
1642, oil on canvas, 11’11” x 14’ 4” (3.63 x 4.37 m), (cut down from the original size),
Rijksmuseum, Amsterdam (fig. 22-45)
8. Rembrandt can Rijn, Three Crosses (first state), 1653, drypoint and etching, 15 1/6 x 17 3/4” (38.5
x 45 cm), Rijksmuseum, Amsterdam (fig. 22-46)
9. Jan Vermeer, Woman Holding a Balance, c. 1664, oil on canvas, 15 7/8 x 14” (39 x 35 cm),
National Gallery of Art, Washington, D.C., (fig. 22-50)
10. Jacob van Ruisdael, The Jewish Cemetery, 1655-60, oil on canvas, 4’6” x 6’ 2 ½” (1.42 x 1.89 m),
The Detroit Institute of Arts (fig. 22-53)
11. Rachel Ruysch, Flower Still Life, after 1700, oil on canvas, 30 x 24” (76.2 x 61 cm), The Toledo
Museum of Art, Ohio (fig. 22-55)
12. Palais de Versailles, Versailles, France, 1668-85 (fig. 22-56, 22-57, 22-58)
13. Claude Lorrain, Embarkation of the Queen of Sheba, 1648, oil on canvas, 4’ 10” x 6’ 4”
(1.48 x 1.93 m), National Gallery, London (fig. 22-63))
Discussion Topics
1. In what ways did the Carraci contribute to painting?
2. Why did Velazquez emphasize the natural and the real in his art? How did he accomplish these
goals?
3. In what way did Anthony Van Dyck alter portrait painting?
4. Why are Rembrandt’s self-portraits so compelling?
5. Who were the patrons of the new genre, landscape, and still life paintings of Northern Baroque
art?
6. What features are shared by Baroque architecture in Italy and France?
7. What was Inigo Jones’s contribution to architecture and landscape design?