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Prof. Munman      Art History 252      Spring, 2006




               Art History 252

 Art & Architecture of the Baroque and Rococo

                 Spring, 2006
                Professor Munman
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Prof. Munman   Art History 252   Spring, 2006
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Prof. Munman                          Art History 252                           Spring, 2006


                                    INTRODUCTION

AH 252 presents the art and architecture of the European Baroque and Rococo, which is
to say, a period covering roughly 1590 - 1750. Since a specific Baroque architecture
course is offered in the Art History department, the emphasis in 252 will be on painting
and sculpture, though some important architecture will be included. The required books
for this course are Harris’s, Seventeenth-Century Art & Architecture, and John Rupert
Martin's Baroque. Recommended is Minor’s Baroque & Rococo: Art & Culture. All
three books are on reserve with a number of others that will helpful to you in both your
studies and in the research of your term papers (see p.4 below).

                                          EXAMS

There will be two mid-term examinations, one around the sixth week, the other around
the eleventh, and a final. My grading system is straightforward; I use the percentage
system, with 90%-100% = A, 80%-90% = B, and so on. Please note that a small
difference on a single exam or paper does not carry much significance. For example,
someone with a 89.3 (a B+) is only 7/10 of a point short of an A- and can easily be made
up on other grades.

The two mid-terms will be worth 20% each; the paper will be worth 25%; the final will
be worth 35%. The mid-term exams are NOT cumulative; exam will cover the material
from the beginning of the term; exam two will cover material from that point on.
Although the final will cover the entire course, there will be a strong emphasis on the
material following the second mid-term to the end of the course.

                                     OFFICE HOURS

In general, I will be briefly available after class and officially available on Tuesdays and
Thursdays from 10:00 to 11:00. However, I expect to be often available on other days
(usually Wednesday) meetings can be arranged at our mutual convenience. If you need
to call me, my office number is 312-996-5325 (please give your name clearly and note
the time and day you called); it is more efficient, however, to contact me by e-mail, at
munman@uic.edu.
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Prof. Munman   Art History 252   Spring, 2006
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Prof. Munman                         Art History 252                           Spring, 2006


                                RESERVE BOOK LIST

Alpers, S., The Art of Describing: Dutch Art in the Seventeenth Century, 1983

Blunt, A., Art and Architecture in France 1500-1700, 1970

Brown, J., Velázquez: Painter and Courtier, 1986

Dempsey, C., Annibale Carracci and the Beginnings of Baroque Style, 1977

Freedberg, S.J., Circa 1600. A Revolution of Style in Italian Painting, 1983

Friedlaender, W., Caravaggio Studies, 1969

Garrard, M., Artemisia Gentileschi, 1989

Gerson, H. and E.H. ter Kuile, Art and Architecture in Belgium 1600-1800, 1960

Harris, A.S., Seventeenth-Century Art & Architecture, 2005

Held, J. and D. Posner, 17th and 18th Century Art, 1972

Hibbard, H., Bernini, 1966

Hibbard, H., Caravaggio, 1983

Kahr, M.M., Dutch Painting in the Seventeenth Century, 1978

Martin, J.R., Baroque, 1977

Minor, V.H., Baroque & Rococo: Art & Culture, 1999

Posner, D., Annibale Carracci: A Study in the Reform of Italian Painting Around 1590,
1971

Rosenberg, J., Rembrandt: Life and Work, 1964 and 1968

Rosenberg, J., S. Slive and E.H. ter Kuile, Dutch Art and Architecture 1600-1800, 1966

Waterhouse, E., Italian Baroque Painting, 1969
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Prof. Munman                        Art History 252            Spring, 2006



Wheelock, A.K., Jan Vermeer, 1981

White, C., Rembrandt, 1984

White, C., Peter Paul Rubens : man and artist, 1987

Wittkower, R., Art and Architecture in Italy 1600-1750, 1968
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Prof. Munman                          Art History 252                          Spring, 2006


                             TERM PAPER ASSIGNMENT

You will be responsible for writing a term paper on a topic of your choice or one selected
from the suggested topics listed below. This is a research paper, not merely a "visual
analysis", and you should make use of both books and relevant journal articles.
Important (and recent) books on your topics will offer the best references to further
material in their bibliographies or in reference notes. You should also utilize the Art
Index, a reference series that lists journal material by both author and subject. NOTE:
although the Art Index begins in 1929 (and can be consulted in printed form in our
library), about the last twenty-five years or so is available electronically and can be found
on-line. To do so, go to the UIC Home page and click on Library. Click on the Quick
Links/Short Cuts box and insert Electronic Resources. Click “GO” and when the
list comes up, go to Art Abstracts. When that appears, enter the required
information. Some subjects are, naturally, easier to check than others (e.g., "Annibale
Carracci" as opposed to "portraits"), but most subjects lend themselves to a "key word"
search. Thus, for recent journal information, the Art Index is very easy to check. Our
library has many of the journals you may wish to consult, but not everything you might
want will be found there. However, remember that you can use interlibrary loans (though
you must give yourself enough time for borrowed books to arrive), and, if you are a
member, you have easy and close access to one of the best art history libraries in the state
at the Art Institute of Chicago. (Membership is reasonable for students and not only
allows use of the library but free Museum admission, with a guest, and a 10% discount at
the museum shop.) Their collection of both books and journals is extensive and, as it is a
non-circulating library, the material is almost always available. Moreover, the Ryerson
and Burnham Libraries will open on Saturday for the Spring semester and, in addition,
this past Fall they changed their policy regarding students, staff and faculty at local
colleges and universities. Students, staff and faculty at these institutions no longer need
an INFOPASS to use the libraries, instead only a valid college or university ID is all
that is needed.

AIC Library Hours from JANUARY 4 - MAY 20
Wednesday: 12:30 - 4:30 PM
Thursday: 12:30 - 7:45 PM
Friday: 12:30 - 4:30 PM
Saturday: 10:00 AM - 4:45 PM
CLOSED SUNDAY - TUESDAY
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Prof. Munman                          Art History 252                           Spring, 2006


In order to help you use such reference materials, and in order to recommend where you
might begin your research, I need to speak to you before you begin your paper. In
addition, if you work on a subject of your own choosing (which I encourage), you must
receive permission from me first. NOTE: if you write on a subject of your own
choosing WITHOUT my permission, you run a real risk of your paper being
refused and having to write another!!! This permission is needed in order to ensure
that you are not tackling a subject that is too complex, or is inaccessible because of a lack
of material in English, or one that presents some other difficulty. Similarly, I will not
approve topics that are too general (e.g., "Rembrandt"), simply because you will not be
able to produce
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Prof. Munman                          Art History 252                            Spring, 2006


anything more than a synopsis of general facts. Thus, if you wish to write on a topic of
your own, look at the topic list below for ideas on how to structure your approach.

The paper should be between 3500 and 5000 words (i.e., about 12 and 15 printed pages
using [as an example] Times New Roman font at 13 font size). Please do not use Italics
except, if you wish, where appropriate for bibliographic reference and foreign words
(which, of course, can be underlined in place of Italics). You should supply photocopies
of relevant illustration or integrate illustrations into your text, but in either case keep in
mind that space taken up by illustrations does not affect the paper’s length requirements!.

NOTE: Reference notes must be supplied with the paper; either footnotes or endnotes
are acceptable and should be written in a standard (and consistent) form. Check any good
style book, or your text book, for format. You MUST also provide a separate
bibliography of consulted sources (Note: Do not combine your reference notes and your
bibliography; the bibliography must be a separate listing of sources that you used.
Remember that sources are listed somewhat differently in notes and in bibliographies,
e.g. the latter list authors alphabetically, the former do not; again, see your textbook for
form).

 Needless to say, you must use a reasonable variety of sources (avoiding general survey
 books, "coffee table" books, popular magazines, and the like), presented in a standard
 format (once again, see your own text book for form). Be aware that electronic, on-
 line sources are unreliable in regard to accuracy, authorship and “citability”, i.e.
 one cannot easily cite such work since no page or screen numbers are used, and
 any reference you offer must absolutely be able to be located by
 specific page citation. Thus, while there is much information to be found on
 the World Wide Web, it should NOT be used in place of published material.

Please staple papers; do not use plastic or paper folders. AND FOR YOUR OWN
PROTECTION, BE SURE TO MAKE A COPY OF YOUR PAPER AND RETAIN
IT AT LEAST UNTIL YOUR ORIGINAL IS RETURNED WITH A GRADE. The
wisdom of safeguarding against any accidental loss of your work my part (or yours) is
obvious.

Keep in mind that you MUST write your papers using your own thoughts and words and,
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Prof. Munman                         Art History 252                          Spring, 2006


where you use the thoughts and words of others, you must give appropriate credit.
The use of the work of others (whether here or in any other formal writing), requires that:
(1) Wherever you quote a source you must use quotation marks and a citation note;
(2) Wherever you paraphrase a source, you must eventually give a note indicating the
origin of your borrowing;
(3) Any substantial information or major ideas that are not commonly known
should eventually have a reference note (e.g. at the end of the paragraph or the section
dealing
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Prof. Munman                          Art History 252                           Spring, 2006


with the material). Not to use quotation marks and appropriate reference notes when
necessary constitutes plagiarism. (Note: do not over-react to these injunctions: it is not
necessary to have a note reference at the end of every sentence! Simply use common
sense and provide the reader with reasonable references to borrowed material. In
addition, keep in mind that not all notes are necessarily reference notes; information that
you feel does not fit comfortably into your text but that you wish to include somewhere,
can be offered in a note. See, e.g., Harris’s note 13 in Chapter 5 (Harris, p.407).

A word in regard to paraphrasing: THERE SHOULD BE LITTLE IF ANY. A
common, major problem with student papers is that they are often simply a series of
paraphrases of sources. To "construct" a paper in this way is unacceptable! DO NOT -
I REPEAT - DO NOT merely rearrange your notes into a paper! In fact, generally
speaking, you should try to avoid paraphrasing completely. While paraphrases may
be legitimate in the sense that they are not quotations and they do have correct reference
note credit, to construct a paper in such a way is not a substitute for actually writing one!
To put it another way, if you correctly give reference notes to all quotations, paraphrases
and important ideas taken from your sources, and you find that you are giving a reference
note with almost every sentence and/or paragraph, you are probably "constructing" your
paper without much input of your own and you should rethink your entire approach. In
short, read your source material, understand it, formulate a thesis (the major point of the
paper) that is supported by the material you've collected, and put it all together in a
coherent way in your own words. It's better to write a simpler paper that is your own
than a more sophisticated one that is not! If you have a problem understanding or dealing
with this problem, SEE ME and I will help you!

Finally, keep in mind that while I do not grade you directly on writing style and grammar,
the quality of your writing will be a factor in your grade. In short, PROOF-READ
your papers carefully, not only for content, but for form. And, if necessary, have someone
else proof-read them as well (this is particularly important if English is not your native
language).
                                 Suggested Paper Topics

NOTE: Remember that you do NOT have to restrict yourself to the following list:
many similar approaches may be applied to artists or themes not listed (e.g. "The
early works of Rembrandt", or "'Anatomy' Scenes in Dutch Baroque Painting"; see
me for possible variations of these suggested topics).
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Prof. Munman                        Art History 252                        Spring, 2006



I have asterisked the most popular topics. You may certainly take these, but be
aware that, being popular, they will sometimes be a bit harder to research since
other students writing on the same subject may be using materials that you need.

(NOTE: Artists’ names or terms followed by a colon are given in this way merely for the
convenience of alphabetizing this list. See next page for topics list.)
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Prof. Munman                            Art History 252                             Spring, 2006



1. Asian Influence on the French Rococo
2. Bernini’s Fountains
3. Bernini's Papal Tombs
4. Bernini's Baldacchino and Cathedra Petri*
5. Borromini's S.Carlo alle Quattro Fontane
6. Borromini’s Sant’Ivo alla Sapienza
7. Camera Obscura: Dutch Art and the Camera Obscura*
8. Caravaggio's "Davids" and their influence
9. Caravaggio's Origins
10. Caravaggio: Radical Changes in Caravaggio’s Compositions
11. Carracci: The Early Works of Annibale Carracci
12. Chardin: The Symbolism of Domestic Virtue in the Genre Paintings of Chardin
13. Cortona/Sacchi: The Barberini Ceilings of Pietro da Cortona and Andrea Sacchi
14. Dutch Tavern ("Brawling Peasant") Scenes: Development and Meaning*
15. Dutch Still-life: Symbolism in Dutch Still-life Painting*
16. English Baroque: The Origins of English Baroque
17. Fragonard: The Iconography of "The Stages of Love" (Frick Collection, N.Y.)
18. Genre: The Origins of the Baroque Genre Painting
19. Hals: The Group Portraits of Frans Hals
20. Hogarth's "Marriage a la mode"*
21. Illusionism: The Development of the Baroque Illusionistic Ceiling Frescoes
22. Light Symbolism in (Italian or Dutch or French) Baroque art
23. Louvre: The East Facade of the Louvre and its Place in Baroque Architecture*
24. Piranesi: The "Carceri" (Imaginary Prisons) Etchings of Giovanni Battista Piranesi
25. Poussin and French Academic Art Theory
26. Rembrandt's Interpretations of the "Supper at Emmaus"
27. Rembrandt’s “Anatomy Lessons”
28. Rembrandt’s “Return of the Prodigal Son”
29. Rembrandt and Greco-Roman Mythology
30. Rubens: Rubens and Italy
31. Rubens and the Antique
32. Rubens's "Maria de' Medici" Cycle
33. Rubens’s Self- and Family-Portraits
34. Steen: Moralizing in the painting of Jan Steen
35. Theater Scenes in French Rococo Painting
36. Tiepolo's “History of Rinaldo and Armida” (four original canvases in the Art Institute)
37. Velasquez and Mythology
38. Velasquez’s “Las Meninas”*
39. Velasquez’s Court Jesters and “Fools”
40. Vermeer's "Artist in His Studio" ("The Art of Painting")*
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Prof. Munman                           Art History 252                       Spring, 2006


41. Versailles: Royal Iconography of Louis XIV at The Palace of Versailles
42. Watteau's "Embarkation from the Isle of Cythera"*
43. Wren: Sir Christopher Wren's Designs for St.Paul's Cathedral, London


   DUE DATE: THE PAPER IS DUE ON
TUESDAY, APRIL 11(the 13th week of class).
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Prof. Munman                        Art History 252                      Spring, 2006


                                The High Renaissance

Leonardo da Vinci, 1452-1519

      The Madonna of the Rocks, Louvre, Paris, ca.1483
      The Last Supper, S.Maria delle Grazie, Milan, 1495-97

Raphael Sanzio, 1483-1520

      The School of Athens, Stanza della Segnatura, Vatican, Rome, 1510-11

Michelangelo Buonarroti, 1475-1564

      Pietà, St. Peter's, Rome, 1497-1500
      The Creation of Adam, Sistine Chapel, Vatican, Rome, ca.1511

Fra Bartolommeo (Baccio della Porta), 1475-1517

      Madonna and Child with Saints, Museum, Besacon, ca.1511
      Mystic Marriage of St. Catherine, Uffizi, Florence, 1512

Giorgione (Giorgio da Castelfranco), ca.1478-1510

      The Castelfranco Altar, Cathedral, Castelfranco, 1504

Titian (Tiziano Vecellio), ca.1487-76

      Assumption of the Virgin, S. Maria Gloriosa dei Frari, Venice, 1516-18
      Madonna of the Pesaro Family, S. Maria Gloriosa dei Frari, ca.1519-26


Correggio (Antonio Allegri da Correggio), 1489-1534

      The Madonna of the Basket, National Gallery, London, ca.1520-23
      The Ascension of Christ (Vision of St. John), S. Giovanni Evangelista, Parma,
      1520-24
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Prof. Munman                      Art History 252                       Spring, 2006


      The St. Jerome Altar (Madonna & Child Enthroned w/SS.), Gallery, Parma,
      1529-30

READING: Harris, Seventeenth-Century Art & Architecture, Preface and Introduction,
viii-xxi
Recommended Reading: Friedlaender, Mannerism & Anti-Mannerism
in Italian Painting; Martin, Baroque, Introduction.
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Prof. Munman                       Art History 252                         Spring, 2006


                       Early Mannerism and the "Maniera"

Rosso Fiorentino (Giovanni Battista di Jacopo), 1495-1540
      Madonna & Child with Saints (S.Maria Nuova Altar), Uffizi, Florence, 1518
      Descent from the Cross, Museum, Volterra, 1521

Jacopo Pontormo (Jacopo Carucci da Pontormo), 1494-1557
      Joseph in Egypt, National Gallery, London, ca.1518
      Descent from the Cross, Sta.Felicita, Florence, 1525-28

Il Parmigianino (Francesco Mazzuola), 1503-1540
      The Vision of St. Jerome, National Gallery, London, 1526/27
      The Madonna of the Long Neck, Uffizi, Florence, ca.1535-40

Benvenuto Cellini, 1500-1571
     Salt Cellar of Francis I, Kunsthistorisches Museum, Vienna, ca.1540-45

Giovanni da Bologna, 1529-1608
     Apollo, Studiolo of Francesco I, Palazzo Vecchio, Florence, 1573-75
     Astronomy, Kunsthistorisches Museum, Vienna, ca.1570

Agnolo Bronzino, 1503-1572
     St. John the Baptist, Uffizi, Florence, ca.1545-50
     Resurrection, SS.Annunziata, Florence, 1552
     Martyrdom of St. Lawrence, S.Lorenzo, Florence, 1565-69

Giorgio Vasari, 1511-1574
      The Immaculate Conception, Pinacoteca, Lucca, after 1541

Pellegrino Tibaldi, 1527-1593
      Adoration of the Shepherds, Borghese Gallery, Rome, 1549
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Prof. Munman                       Art History 252                       Spring, 2006



Bartolommeo Passarotti, 1529-1592
      Presentation of the Virgin, Pinacoteca, Bologna, ca.1583

Reading: Harris, Seventeenth-Century Art & Architecture, Introduction; Martin, Baroque
Recommended Reading: Friedlaender, Mannerism and Anti-Mannerism in Italian
Painting; Shearman, Mannerism
               The Counter-Reformation and "Proto-Baroque" trends

Michelangelo, 1475-1564

      The Last Judgment, Sistine Chapel, Vatican, Rome, 1536-41

Santi di Tito, 1536-1603

      Phaeton's Sisters Changed to Poplars, Studiolo, PalazzoVecchio, Florence,
1570-73

      Baptism of Christ, Galleria Corsini, Rome, 1575

Giovanni Battista Crespi, called Cerano, 1576-1633

      St. Francis Displaying the Wounds of the Stigmata, Palazzo Rosso, Genoa,
1590(?)

Federico Barocci, 1528-1612

      Descent from the Cross, Cathedral Perugia, 1567-80

      Nativity, Prado, Madrid, ca.1570
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Prof. Munman                      Art History 252                      Spring, 2006


      "Madonna del Popolo", Uffizi, Florence, 1575-1580



                          Painting of the Early Baroque:
                               The Carracci Family

Lodovico Carracci, 1555-1619

      Madonna dei Bargellini, Pinacoteca, Bologna, 1587

      Madonna degli Scalzi, Pinacoteca, Bologna, ca.1590

Annibale Carracci, 1560-1609

      The Crucifixion with Saints, S.M.della Carità, Bologna, 1483
      Man Eating Beans, Gallery Colonna, Rome, 1583-84

      Pietà (Deposition), Pinacoteca, Parma, 1585

      The Galleria Farnese: The Loves of the Gods
           The Wedding of Bacchus and Ariadne
           The Story of Polyphemus (Polyphemus Throwing
           Rocks at Acis), Palazzo Farnese, Rome, 1595-1600

      Assumption of the Virgin, Cerasi Chapel, Sta.Maria del Popolo, Rome, 1601

      "Domine, Quo Vadis", National Gallery, London, ca.1600-1605

      Pietà, Museo Capodimonte, Naples, ca.1599-1600
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Prof. Munman                        Art History 252                       Spring, 2006


       Landscape with the Flight into Egypt, Pal. Doria, Rome, 1603-1604


Reading: Harris, Seventeenth-Century Art & Architecture, 1-34; Martin, Baroque



                  Caravaggio (Michelangelo Merisi da Caravaggio)
                                    1573-1610


Boy with a Basket of Fruit, Galleria Borghese, Rome, ca.1590-93

Fortune Teller, Louvre, Paris, ca.1590-93

The Cardsharps, Kimbell Art Museum, Fort Worth, TX, ca.1594

Bacchus, Uffizi, Florence, ca.1595-96

Supper at Emmaus, National Gallery, London, ca.1595-97

Decoration for the Contarelli Chapel, St.Luigi dei Francesi,
 Rome, ca.1595-1602
      The Calling of St. Matthew, ca.1599-1600
      The Martyrdom of St. Matthew, ca.1599-1602
      The Inspiration of St. Matthew, 1st version, formerly Berlin; destroyed, both
      versions, ca.1602

Conversion of St. Paul; Crucifixion of St. Peter, Cerasi Chapel, Sta.Maria del Popolo,
Rome, 1601
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Prof. Munman                       Art History 252                        Spring, 2006


Victorious Cupid (Amor Vincit Omnia, i.e."Love Conquers All"), Berlin, ca.1602

Death of the Virgin, Louvre, Paris, ca.1601-1602

Deposition, Vatican Museum, Rome, ca.1602-03

(1606 Caravaggio goes to Naples, then Malta, Syracuse and Messina)

Resurrection of Lazarus, Museo Nazionale, Messina, 1609

(1609 Caravaggio goes to Palermo, returns to Naples, then leaves for Rome, dying on
route at Port'Ercole, 1610)


Reading: Harris, Seventeenth-Century Art & Architecture, 34-49; recommended,
Friedlaender, Caravaggio Studies, and Hibbard, Caravaggio


            The Italian and Dutch "Caravaggeschi" (or "Caravaggisti")

Orazio Gentileschi, 1563-1639 (Italian)

      David and Goliath, Palazzo Spada, Rome, ca.1611-16

      The Lute Player, National Gallery, Washington, ca.1626

Artemisia Gentileschi, 1597-1652/53

      (Self-Portrait, National Gallery, Rome)

      Susanna and the Elders, H.Langer/Graf Von Schönborn’sche Schlossverwaltung
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Prof. Munman                       Art History 252                        Spring, 2006


      Pommersfelden, 1610

      Judith and Holophernes, Pitti Palace, Florence, ca.1620-30

      Judith and Holophernes, Uffizi, Florence, ca.1620-30

Gerrit van Honthorst (called by the Italians "Gherardo delle Notte"), 1590-1656
(Dutch)

      Christ Before the High Priest Caiphas, National Gallery, London, ca.1617

      A Supper Party, Uffizi, Florence, 1620

      The Merry Flea Hunt, Basel Offentliche Kunstsammlung, ca.1625-30



Hendrick Terbrugghen, 1588-1629 (Dutch)

      Calling of St. Matthew, Central Museum, Utrecht, 1621

      The Denial of Peter, Art Institute, Chicago, ca.1624

      Boy with a Wine Glass, N. Carolina Museum of Art, 1623

      Singing Lute Player, National Gallery, London, ca.1622-25 . Another version in
      the Art Institute, Chicago)


Reading: Harris, Seventeenth-Century Art & Architecture, 50-56, 315-319
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Prof. Munman                       Art History 252                      Spring, 2006



                      Gianlorenzo Bernini, 1598-1680 - Part I

Self-Portrait, Borghese Gallery, Rome, 1620s

Martyrdom of St. Lawrence, Pitti Palace, Florence, ca.1617

The Rape of Persephone by Pluto, Borghese Gallery, Rome, 1621/22

Apollo Pursuing Daphne, Borghese Gallery, Rome, 1623-1624

David, Borghese Gallery, Rome, 1623-1624

Blessed Soul and Damned Soul, Palazzo di Spagna, Rome, ca.1619

Baldacchino, St. Peter's, Vatican, Rome, 1624-33

Portraits of Cardinal Scipione Borghese, Borghese Gallery, Rome, 1632

Portrait of Costanza Buonarelli, Bargello, Florence, ca.1635


Reading: Harris, Seventeenth-Century Art & Architecture, 85-99
Recommended reading: Howard Hibbard, Bernini
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Prof. Munman                       Art History 252                       Spring, 2006


                   The Earlier Followers of the Carracci in Italy

Guido Reni 1575-1642

      Crucifixion of St. Peter, Vatican Museums, Rome, 1604-05

      Massacre of the Innocents, Pinacoteca, Bologna, 1611-12

      Aurora, ceiling of the Casino Rospigliosi-Pallavicina, Rome, 1612-14

      Atalanta and Hippomenes, Capodimonte Museum, Naples, ca.1625

      Virgin and Child with Patron Saints of Bologna (Pala della Peste), Pinacoteca
      Nazionale, Bologna, 1631

Il Guercino (G.f.Barbieri), 1599-1666

      Aurora, Casino Ludovisi, Rome, 1621

Andrea Sacchi, 1599-1661

      Divine Wisdom, Palazzo Barberini, Rome, 1629-30

      Vision of St. Romauld, Vatican Museums, Rome, ca.1638

Pietro da Cortona (Pietro Berrettini), 1596-1669
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Prof. Munman                        Art History 252                       Spring, 2006



      Rape of the Sabines, Capitoline Museum, Rome, 1631

      Glorification of the Reign of Pope Urban VIII (Divine Providence), Grand
      Salone, Palazzo Barberini, Rome, 1633-1639

Reading: Harris, Seventeenth-Century Art & Architecture, 56-77, 113-125

                      Gianlorenzo Bernini, 1598-1680 - Part II

Fountain of the Four Rivers, Piazza Navona, 1648-51

The Ecstacy of St. Theresa, Cornaro Chapel, S.Maria della Vittoria, Rome, 1645-52

Cathedra Petri, St. Peter's (apse), Vatican, 1657-66

Portrait of Francesco I d'Este, Duke of Modena, Galleria Estenese, Modena, 1652-
1653

Portrait of Louis XIV, Versailles, France, 1665

Tomb of Pope Alexander VII, St. Peter's, Vatican, 1671-78

Reading: Harris, Seventeenth-Century Art & Architecture, 99-113

                      Italian Baroque Architecture - Part I
               [NOTE: Comparative non-baroque material in brackets:
                   Reading will be found in photocopied packet]

[Antonio da Sangallo, the younger, 1473-1546: Sto. Spirito in Sassia, Rome, 1538-44]

      [Guido Guidetti: Sta. Caterina dei Funari, Rome, begun 1564]

Vignola (Giacomo Barozzi da Vignola), 1507-1573

      Il Gesù, Rome, begun 1568 (façade designed but not executed)

Giacomo della Porta, 1540-1602: Façade of Il Gesù, Rome, 1573-75
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Prof. Munman                        Art History 252                       Spring, 2006



Carlo Maderno, 1556-1629

      Santa Susanna, Rome, 1597-1603

      Nave and Façade of St.Peter's, Rome, 1606-1612

[Bramante, 1444-1514: design of St.Peter's, 1506; Michelangelo, 1475-1564: design of
St.Peter's, 1546-93, continued by Giacomo della Porta on Michelangelo's designs]
                            Gianlorenzo Bernini, 1595-1680

Piazza S. Pietro, Vatican, Rome, 1656-67

Sant'Andrea al Quirinale, Rome, 1658-70

Designs for the East Façade of the Louvre, Paris (1st : 1664; 2nd & 3rd: 1665)

                          Francesco Borromini, 1559-1667

S.Carlo alle Quattro Fontane ("S. Carlino"), Rome, 1638-41; (façade construction
1665-67 but probably designed earlier with plan)

                             Guarino Guarini, 1624-1683

Cappella Santissima Sindone (Chapel of the Holy Shroud), Cathedral, Turin, 1667-94

READING: Held & Posner, 17th and 18th Century Art, 24-51 (photocopied packet)
Recommended reading: Wittkower, Art & Architecture in Italy 1600-1750; Norberg-
Schulz, Baroque Architecture

                    Later High Baroque Ceiling Painting in Italy

Giovanni Battista Gaulli (called "Il Baccicio"), 1639-1709

      Triumph of the Name of Jesus, nave of Il Gesù, Rome,
           1676-79

Andrea Pozzo, 1642-1708
                                         27


Prof. Munman                       Art History 252                       Spring, 2006



      Entrance of St. Ignatius into Paradise, nave of S. Ignazio, Rome, 1691-94

Reading: Harris, Seventeenth-Century Art & Architecture, 127-141

                          Baroque Art in Northern Europe

                    Part I: Peter Paul Rubens (1577-1640)

Adam and Eve, Rubenshuis, Antwerp, ca.1600

Drawings and Copies after Mantegna, Michelangelo, Raphael, Annibale Carracci,
Leonardo, Titian, the Antique, etc., ca.1600-1609

Self-Portrait with His Wife, Isabella Brandt, Pinakothek, Munich, 1609-1610

Raising of the Cross, Cathedral, Antwerp, 1610-1611

Rape of the Daughters of Leukippos, Kunsthistorisches Museum, Vienna, ca.1616-17

Miracles of St.Francis Xavier, Kunsthistorisches Museum, Vienna, 1618-1619

Henry IV Receives the Portrait of Maria de'Medici, Louvre, Paris, ca.1622-25

Maria de' Medici, Queen of France, landing in Marseilles, Louvre, Paris, ca.1622-25

The Garden of Love, Prado, Madrid, ca.1632-36

Portrait of Helena Fourment ("La Petite Pelisse"), Kunsthistorisches Museum,
Vienna, ca.1638

Self-Portrait, Kunsthistorisches Museum, Vienna, ca.1638-40


Reading:Harris, Seventeenth-Century Art & Architecture, 143-174

                         Flemish Baroque Painting - Part II
                                          28


Prof. Munman                       Art History 252                         Spring, 2006


Anthony van Dyck, 1599-1641

      Self-Portrait, Alte Pinakothek, Munich, ca.1621

      Betrayal of Christ, Prado, Madrid, ca.1620

      Samson and Delilah, Kunsthistorisches Museum, Vienna, 1630s

      Elena Grimaldi, Marchesa Cattaneo, National Gallery, Washington, 1621

      Portrait of the Earl of Denbigh and Turkish Boy, National Gallery, London,
      1630s

      Portrait of James Stuart, Duke of Richmond and Lennox, Metropolitan
      Museum, New York, ca.1634

      Portrait of Charles Louis and Rupert, Louvre, Paris, ca.1634

      Charles I at the Hunt, Louvre, Paris, 1635

Jacob Jordaens, 1593-1678

      Allegory of Fertility ("Abundance"), Royal Museums, Brussels, 1620s

      The Church Triumphant, National Gallery, Ireland, 1630

      The King Drinks, Royal Museums, Brussels, ca.1638

      “As the Old Sing, so the Young Twitter”, Berlin, Schl.Grunewald, ca.1645

Jan Davidsz. de Heem, 1606-1683/84

      Still-life: Fruits, Flowers and Oysters

      Still-life: Vase of Flowers, Nat. Gal., Washington, ca.1645

      Still-life with Parrots, Ringling Museum, Sarasota, Fla., ca.1640s
                                         29


Prof. Munman                       Art History 252                          Spring, 2006


Adriaen Brouwer, ca.1605-1638

      Peasants Brawling after a Card Game, Alte Pinakotek, Munich, ca.1631-35

      Village Surgery, Metropolitan Museum, New York, ca.1636

      The Smokers, Metropolitan Museum, New York, ca.1636

      The Smoker, Louvre, Paris, ca.1638

Reading: Harris, Seventeenth-Century Art & Architecture, 174-194, 388-396


                          Dutch Baroque Painting - Part I

                             Frans Hals, ca. 1580-1666


Shrovetide Revellers (The Merry Company), Metropolitan Museum, N.Y., ca.1615

"Yonker Ramp with His Sweetheart," Metropolitan Museum, N.Y., ca. 1623

Catharina Hooft with her Nurse, Berlin, 1619-20

"The Jolly Toper", Rijksmuseum, Amsterdam, ca. 1618-30

Malle Babbe, Berlin, Dahlem Museum, 1630-33

Portrait of Wilhem van Heythuysen, Pinacothek, Munich, ca. 1625

Portrait of Wilhem van Heythuysen, Royal Museum, Brussels, ca. 1637/39

Haarlem Militia Company (Doelen) of St. George, Hals Museum, Haarlem, 1616

Haarlem Militia Company (Doelen) of St. George, Frans Hals Museum, Haarlem,
1627

Haarlem Militia Company (Doelen) of St. George, Frans Hals Museum, Haarlem,
                                           30


Prof. Munman                        Art History 252                          Spring, 2006


1639

Regents of the Old Men's Almshouse, Frans Hals Museum, Haarlem, 1664

Regentesses of the Old Men's Almshouse, Frans Hals Museum, Haarlem, 1664


Reading: Harris, Seventeenth-Century Art & Architecture, 311-327. Recommended
reading: Rosenberg, Slive and Ter Kuile, Dutch Art and Architecture 1600-1800; M.M.
Kahr, Dutch Painting in the Seventeenth Century


                  Dutch Baroque Painting - Part II: Still-life Painters

Pieter Claesz., 1597-1661

       Still-life with a Candle, Mauritshuis, The Hague, 1627

       Still-life, Museum of Fine Arts, Boston, 1641

       Still-life ("Vanitas"), Kunsthistorisches Museum, Vienna, 1650

       Still-life with a Roemer & Silver Cup, Staatsmuseum, Berlin, ca.1640-50

       Still-life with Nautilus Shell, National Gallery, Washington, ca.1650-60

Ambrosius Bosshaert (the elder), 1573-1621

       Still-life: Vase of Flowers, Kunsthistorisches Museum, Vienna, 1608

       Still-life: Vase of Flowers in a Landscape, Stockholm, P.C., 1619

       Still-life: Vase of Tulips

Judith Lyster, 1609-1660

       Studies of a Tulip, Frans Hals Museum, Haarlem, 1643
                                           31


Prof. Munman                        Art History 252                         Spring, 2006



Willem Claesz. Heda, 1599-1680/82

      Still-life, W-Richartz Museum, Cologne, 1632
      Still-life: breakfast piece, Ludwig Museum, Aachen

      Still-life with Lobster, National Gallery, London(?)


Willem Kalf, 1619-1693

      Still-life with Chinese Bowl, Staatsmuseum, Berlin, 1662

      Still-life, National Gallery, Washington, ca.1665

Abraham van Beyeren, ca.1620/21-1690

      Still-life, Rikjsmuseum, Amsterdam, ca.1654

      Still-life, De Young Museum, San Francisco, 1666


Samuel van Hoogstraten, 1627-1678

      Still-life (trompe-l'oeil – “fool the eye”), Akademie, Vienna, 1654

      Dutch Interior: Perspective ("Peep") Box, Art Institute, Detroit

Reading: Harris, Seventeenth-Century Art & Architecture, 356-360
Recommended reading: Held & Posner, 17th and 18th Century Art, chap. 5; Rosenberg,
Slive and Ter Kuile, Dutch Art and Architecture 1600-1800; M.M. Kahr, Dutch Painting
in the Seventeenth Century


               Dutch Baroque Painting - Part III: Landscape Painters

Jan van Goyen, 1596-1656
                                          32


Prof. Munman                       Art History 252                          Spring, 2006


      Landscape with Two Oaks, Rijksmuseum, Amsterdam, 1641
      Fort on the River, Museum of Fine Arts, Boston, 1644
      Emmerich Across the Rhine, Cleveland Museum of Art, Cleveland, 1645

Aelbert Cuyp, 1620-1691

      Landscape with Cattle and Figures, National Gallery, Washington, ca.1665

Jacob van Ruisdael, 1629-1682

      Forest Scene, National Gallery, Washington, ca.1665
      The Jewish Cemetery, Institute of Art, Detroit, ca.1655
      View of Haarlem from the Dunes of Overveen, Rijksmuseum, Amsterdam,
      ca.1670

Reading: Harris, Seventeenth-Century Art & Architecture, 378-385.
Recommended reading:: Held & Posner, 17th and 18th Century Art, chap. 5. Rosenberg,
Slive and Ter Kuile, Dutch Art and Architecture 1600-1800;
M.M. Kahr, Dutch Painting in the Seventeenth Century


                         Dutch Baroque Painting - Part IV:

                       Rembrandt van Rijn - 1609-1669

Consul Cerialis and the Germanic Legions(?), Dutch State Property, 1626

The Money Changer, Staatsmuseum, Berlin, 1627

A Scholar in a Lofty Interior, National Gallery, London, ca.1628

Self-portraits, Rijksmuseum, Amsterdam and Staaatliche Museen, Kassel, ca.1628/9

Christ at Emmaus, Jacquemart-Andre Musee, Paris, ca.1629

                  1631 - Rembrandt leaves Leyden for Amsterdam

Portrait of Margaretha van Bilderbeecq, Stadel Institute, Frankfurt, 1633
                                           33


Prof. Munman                        Art History 252                         Spring, 2006



The Anatomy Lesson of Dr. Tulp, Mauritshuis, The Hague, 1632

Self-Portrait, National Gallery, London, 1640

The Shooting Company of Captain Frans Banning Cocq, called "The Night Watch,"
Rijksmuseum, Amsterdam, 1642

Christ at Emmaus, Louvre, Paris, 1648

Christ Healing the Sick, called "The Hundred Guilder Print", etching, 1648-50

Portrait of a Young Jew (Head of Christ), Detroit Institute of Art; Berlin, ca.1650

Self-Portrait, Kunsthistorisches Museum, Vienna, ca.1655-60

Woman Bathing (Hendrickje Stoffels?), National Gallery, London, 1655

Self-Portrait, Louvre, Paris, ca.1660
The Conspiracy of the Batavians, National Museum, Stockholm, 1661

Syndics of the Drapers' Guild, Rijksmuseum, Amsterdam, 1661/62

Return of the Prodigal Son, Hermitage, Leningrad, ca.1669

Self-Portraits, National Gallery, London and Mauritshuis, The Hague, 1669

Reading: Harris, Seventeenth-Century Art & Architecture, 333-356
Recommended reading: Held and Posner, 17th and 18th Century Art, chapter 5; J.
Rosenberg, Rembrandt: Life and Work


             Dutch Baroque Painting - Part V - Architectural Painters

Pieter Jansz.Saenredam, 1597-1665

      Interior of the Cathedral, Utrecht, drawing, Gemeente A., Utrecht
                                         34


Prof. Munman                      Art History 252                        Spring, 2006


      Interior of Grote Kerk ("Great Church"), Haarlem, National Gallery,
      London, ca.1635(?)

      Interior of Buurkerk ("Neighborhood Church"), Utrecht, National Gallery,
      London, 1644

      Interior of St.John's Cathedral, S'Hertogenbosch, National Gallery,
      Washington, 1646

      Interior of Church in Assendelft, Rijksmuseum, Amsterdam, 1649

      Interior of St. Bavo, Haarlem, Worcester Museum of Art, Ma. 1660

Emmanuel de Witte, 1616/18-1692

      Interior of Niuwekerk ("New church") in Delft with the Tomb of William the
      Silent, E. W. Carter collection, 1653

      Interior of an Imaginary Catholic Church, Mauritshuis, The Hague, 1668

      Interior of a Gothic Church, Rijksmuseum, Amsterdam, ca.1670

      Interior with a Woman at the Harpsichord, Boymans-Van Beuningen Museum,
      Rotterdam, ca.1670

                     Dutch Painters - Part VI: Genre Painters

Jan Steen, ca.1626-1679

      Girl Eating Oysters, Mauritshuis, The Hague, ca.1660

      The Doctor's Visit, Mauritshuis, The Hague, ca.1660s

      The World Turned Upside Down, KHM, Vienna, ca.1663

      Family Concert, Art Institute of Chicago, 1666

      Merry Company ("The Young One Chirrup as the Old Ones Used to Sing"),
                                         35


Prof. Munman                      Art History 252                        Spring, 2006


      Mauritshuis, The Hague, ca.1668


Pieter de Hooch, 1629-1685

      The Bedroom, National Gallery, Washington, ca.1660

      A Dutch Courtyard, National Gallery, Washington, 1660s

      A Mother at the Cradle, Sstaatliche Museen, Berlin, ca.1660

Gerard ter Borch, 1617-1681

      The Music Lesson, Art Institute of Chicago, ca.1660

      "Le Galant Militaire" ("The Gallant Soldier"), Louvre, Paris, ca.1662-3

Barent Fabritius, 1624-73

      Self-Portrait as a Shepherd, Gemaldegalerie, Vienna, ca.1658

Carel Fabritius, 1622-54

      Self-Portrait, Boymans-Van Beuningen Museum, Rotterdam, ca.1645-50

      The Goldfinch, Mauritshuis, The Hague, 1654

      Sentinel at the Gate, Staatsmuseum, Schwerin, 1654

      View of Delft, National Gallery, London, 1652


                   Jan Vermeer van Delft, 1632-1675

Diana and her Companions, Mauritshuis, The Hague, ca.1653
The Procuress, Gemaldegalerie, Dresden, 1656

The Milkmaid, Rijksmuseum, Amsterdam, ca.1658-1660
                                          36


Prof. Munman                        Art History 252                        Spring, 2006



A Girl Asleep, Metropolitan Museum, New York, 1657

A Soldier and a Laughing Girl, Frick Collection, New York, ca.1658

A Street in Delft, Rijksmuseum, Amsterdam, ca.1658-60

A View of Delft, Mauritshuis, The Hague, ca.1662

The Music Lesson, Queen’s Collection, London, ca.1662-64

Woman with a Water Pitcher, Metropolitan Museum, New York, ca.1664-65

A Woman Holding a Balance (aka A Woman Weighing Pearls and A Woman Weighing
Gold), National Gallery, Washington, ca.1665

Head of a Young Girl (aka Girl with a Pearl Earring), Mauritshuis, The Hague, ca.1660-
65

The Lace Maker, Louvre, Paris, ca.1665

The Art of Painting (The Painter in His Studio, also aka "An Allegory of Painting"),
Kunsthistorisches Museum, Vienna, ca.1666-1667

Woman at the Virginal, National Gallery, London, ca.1673-75

Reading: Harris, Seventeenth-Century Art & Architecture, 361-377

                              Spanish Baroque Painting

Jose (Giuseppe) de Ribera, 1591-1652

      Martyrdom of St.Bartholomew, Prado, Madrid, ca.1630

Francisco de Zurbaran, 1598-1664

      St. Serapion, Wadsworth Atheneum, Hartford, Conn., 1628
                                          37


Prof. Munman                        Art History 252                        Spring, 2006


      Still-Life, Norton Simon Foundation., Pasadena, CA (replica, Pitti Gallery,
      Florence), 1633

      St.Francis in Prayer, National Gallery, London, ca.1635-40

      St.Francis in Prayer, Museum of Fine Arts, Boston, ca.1645

Diego Rodriguez de Silva y Velasquez, 1599-1660

      The Water Seller of Seville, Wellington Museum, London, ca.1621

      The Triumph of Bacchus ("Los Borrachos": The Drunkards), Prado, Madrid,
      ca.1628

      The Surrender of Breda, Prado, Madrid, 1634-35

      Portrait of King Philip IV of Spain, Prado, Madrid, ca.1628

      Portrait of King Philip IV of Spain (the "Silver" Philip), National Gallery,
            London, ca.1635

      Portrait of King Philip IV at the Hunt, Prado, Madrid, ca.1635

      Venus and Cupid (The “Rokeby Venus”), National Gallery, London, 148

      "Las Meninas" (The Maids of Honor), Prado, Madrid, 1656-57

Reading: Harris, Seventeenth-Century Art & Architecture, 195-241
Recommended reading: Held and Posner, 17th and 18th Century Art, chapter 3; J.
Brown, Velázquez: Painter and Courtier, 1986

                              French Baroque Painting

George de la Tour, 1593-1652

      Christ in the House of Joseph (aka St.Joseph the Carpenter), Louvre, Paris,
      ca.1635
                                           38


Prof. Munman                       Art History 252                     Spring, 2006


      St. Irene Curing St. Sebastian, Berlin-Dahlem, ca.1640

Louis Le Nain, ca.1593-1648

      A Peasant Family, Louvre, Paris, ca.1640

Claude Lorraine (Gellée), 1600-1680

      Seaport, National Gallery, London, 1639

      Embarkation of St.Ursula, National Gallery, London, 1641

      Landscape with Narcissus, National Gallery, London, 1646
Nicolas Poussin, 1594-1665

      Massacre of the Innocents, Musée Condé, Chantilly, ca.1625-28

      Rape of the Sabine Women, Metropolitan Museum, N.Y., 1636

      The Israelites Gathering Manna, Louvre, Paris, 1638/39

      "Et in Arcadia Ego" (The Arcadian Shepherds), Louvre, Paris, 1640 (earlier
      version of 1629/30, Chatsworth)

      Funeral of Phocion, Louvre, Paris, 1648

      Judgment of Solomon, Louvre, Paris, 1649

      Self-Portrait, Louvre, Paris, 1650


Charles LeBrun, 1619-1690

      The Tent of Darius, Louvre, 1660-1661 (tapestry version, 1680)

      The Triumphal entry of Alexander the Great into Babylon, Louvre, Paris,
      1662-1668
      Defeat of Porus by Alexander, Louvre, Paris, 1665-68
                                         39


Prof. Munman                      Art History 252                     Spring, 2006



Hyacinth Rigaud, 1659-1743

      Portrait of Louis XIV, Louvre, Paris, 1701


Reading: Held and Posner, 17th and 18th Century Art, chapter 2, 243-309
Recommended Reading:Held and Posner, 17th and 18th Century Art, chapter 2; A.
Blunt, Art and Architecture in France, 1500-1700; W. Friedlaender, Poussin
                     40


Prof. Munman   Art History 252   Spring, 2006
                     41


Prof. Munman   Art History 252   Spring, 2006
                                         42


Prof. Munman                      Art History 252                        Spring, 2006


                              French Rococo Painting

Reading: Held and Posner, 17th and 18th Century Art, chapter 7 (photocopy packet)
                (NOTE: all 18th-century material is in this packet)
Claude Gillot, 1673-1722

      The Two Carriages, Louvre, Paris, ca.1707

      Harlequin Scene from "Tomb of Andre", Albright-Knox Gallery, ca. 1707?

      Scene from "Death of Maitre Andre", drawing, Louvre, Paris, ca.1700

Antoine Watteau, 1684-1721

      The Cajoler; The Faun; decorative door panels from the Hotel Nointel, private
      collection, ca.1707-08

      Decorative panel from a Harpsichord

      Line of March, New York City Art Gallery, ca.1707

      The Halt, Thyssen-Bornemisza Collection, Lugano, 1709-10

      The Conversation, Museum of Art, Toledo, ca.1713

      The Perspective, Museum of Fine Art, Boston, ca.1714

      The Indiscreet, Boymans Museum, Rotterdam, ca.1715

      The Remedy, drawing, Private Collection, Paris, ca.1717

      The Shepherds, Schloss Charlottenburg, Berlin, ca.1716

      The French Comedians, State Museum, Berlin, after 1716
                                           43


Prof. Munman                       Art History 252                      Spring, 2006


      The Enchanted Isle, P.C, Switzerland, ca.1717

      Return from the Isle of Cythera, Louvre, Paris, 1717-19, and Schloss
      Charlottenburg, Berlin, ca.1718-19

      Mezzetin, Metropolitan Museum, New York, ca.1718

      Gilles, Louvre, Paris, 1718/19

      The Signboard of Gersaint, Schloss Charlottenburg, Berlin, 1721

Francois Boucher, 1703-1770

      Hercules and Omphale, Pushkin Museum, Moscow, 1730s

      Le Toilette, Thyssen-Bornemisza Collection, Lugano

      Breakfast, Louvre, Paris, 1739

      Jupiter in the Guise of Diana, Museum, Kansas City

      Danaë, National Museum, Stockholm

      Diana Bathing, Louvre, Paris, 1742

      Audience of the Chinese Emperor, Museum des Beaux-Arts, Besacon, ca.1740

      Chinese Fishers, Museum, Rotterdam

      Vegetable Vendor, Provincetown

      "Is He Thinking About the Grapes", Art Institute, Chicago, 1747

      "Is He Thinking About the Grapes", National Museum, Stockholm, 1747

      Venus Consoling Love, National Gallery, Washington, 1751
                                       44


Prof. Munman                    Art History 252                     Spring, 2006



     Odalesque: Mrs O'Murphy Relining, Alte Pinakothek, Munich, 1752

     Judgement of Paris, Wallace Collection, London, ca.1753

     Portrait of Madame de Pompadour, Fogg Art Museum, Cambridge, 1758

     Landscape: Mill near Chareton, Museum of Art, Toledo, Ohio, 1758
                                         45


Prof. Munman                      Art History 252                    Spring, 2006


Jean-Honore Fragonard, 1732-1806

     The Harvester, Detroit Institute of Arts, ca.1753?

     The Gardener, Detroit Institute of Arts, ca.1753?

     Woman Gathering Grapes, Detroit Institute of Arts, ca.1753?

     The Captured Kiss, Hermitage, Leningrad, ca.1759-60

     The Captured Kiss, Metropolitan Museum, New York, ca.1759-60

     Coresus and Callirhoe ("The High Priest Coresus Sacrifices Himself to Save
     Callirhoe"), Louvre, Paris, 1765

     The Bathers, Louvre, Paris, ca.1761-65

     Blindman's Bluff, National Gallery, Washington, ca.1765

     Girl on a Swing, National Gallery, Washington, ca.1765

     The Swing, Wallace Collection, London, ca.1767

     The Portrait of Abbe de Saint-Non, Louvre, Paris, ca.1769

     The Stages of Love: Pursuit; Rendezvous; Love Letters; The Lover Crowned
     Frick Collection, New York, ca.1771-2

     The Good Mother, Museum of fine Arts, Boston, ca.1770-72?

     Useless Resistance, National Museum, Stockholm, ca.1775

     Young Girl Playing with A Dog on Her Bed, Alte Pinakothek, Munich, ca.1775

     The Bolt, Louvre, Paris, ca.1778
                                        46


Prof. Munman                      Art History 252                          Spring, 2006


      The Fountain of Love, Wallace Collection, London, ca.1785

                  German Rococo Architecture and Decoration

The Asam brothers: Cosmas Damian, 1686-1739, and Egid Quirin, 1692-1750

      Abbey Church, Weltenburg, 1717-1736
      Monastery Church, Rohr, 1718-23

      St.Johann Nepomuk, Munich, 1733-46

Johann Balthasar Neumann, 1687-1753

      Pilgrimage Church of Vierzehnheiligen (near Staffelstein), 1743-72

Dominikus Zimmermann, 1685-1766

      Pilgrimage Church (called "Die Wies"), Upper Bavaria, 1746-54


                              Italian Rococo Painting

Giambattista Tiepolo, 1696-1770

      Madonna and Child Enthroned with SS. Dominic and Hyacinth, Art Institute,
      Chicago, ca.1745

      St.Dominic and the Rosary, Gesuati, Venice, 1737-39

      Meeting of Anthony and Cleopatra, Palazzo Labia, Venice, 1747-50

      Rinaldo & Armida Enchanted, Art Institute, Chicago, 1750-55

      Apollo Pursuing Daphne, National Gallery, Washington, 1755-60

      Four Continents, Staircase, Residenz, Wurzburg, 1750-53
                                         47


Prof. Munman                       Art History 252                        Spring, 2006



      Marriage of Barbarossa, Kaisersaal, Residenz, Wurzburg, 1752

Antonio Canale, called Canaletto, 1697-1768

      The Bucintoro Returning to the Molo, Bowes Museum, Durham, ca.`1730s

      Feast of the Ascension, Crespi collection, Milan

      St.Mark’s Square, National Gallery, Washington, ca.1740

      Campo SS.Giovanni e Paolo, Venice, National Gallery, Washington, ca.1740

      Piazza S. Marco, Venice, Fogg Museum, Harvard & Nat.Gal., London, ca.1760
      Capraccio with Colonnade, Accademia, Venice, ca.1762

      Venetian Scene, Fogg Art Museum, Cambridge

      Stone Mason’s Yard, National Gallery, London

Francesco Guardi, 1712-1793

      Piazza S.Marco, Venice, National Gallery, London

      Dogal Procession in the Piazza S.Marco, PSM, Grenoble

      Italian Seaport with Ruins, National Gallery, Washington, ca.1760

      Architectural Fantasy with Roman Ruins, Kunsthaus, Haylsho, ca.1760-65

      Campo SS.Giovanni e Paolo, National Gallery, Washington, 1782

      Capriccio with an Arch, National Gallery, London (two versions)

      Capriccio: The Lagoon, Art Institute, Chicago
                                          48


Prof. Munman                        Art History 252                     Spring, 2006


      Gondola on the Lagoon, Museo Poldo Pezzoli, Milan, ca.1790


                             French Rococo Sculpture

Edme Bouchardon (1698-1762): Amour, Louvre, Paris, 1750

Jean-Baptiste Pigalle (1714-1785): Child with a Bird Cage, Louvre, Paris, 1749

Etienne Maurice Falconet (1716-1791)

      Cupid, Louvre, Paris, .1757

      Portrait of Madame de Pompadour with Putti, National Gallery, Washington,
      c.1760

Claude Michel, called Clodion (1738-1814)

      Girl with Doves, Art Museum, Seattle, ca.1775

      The See-saw, Toledo Museum of Art, ca.1775
      Nymph and Satyr (terra-cotta), Metropolitan Museum, New York, ca.1775

                                               French Rococo Painting: Part III


Jean-Baptiste Greuze, 1725-1805

      Indolence, Wadsworth Antheneum, Hartford, 1756

      Broken Eggs, Metropolitan Museum, New York, 1757

      The Village Bride, Louvre, Paris, 1761

      The Paralytic Surrounded by His Family (“Filial Piety”), Hermitage,
      Leningrad, ca.1763
                                         49


Prof. Munman                       Art History 252                       Spring, 2006



      The Father’s Curse (The Ungrateful Son), Louvre, Paris, 1765

      The Punished Son (Return of the Prodigal Son), Louvre, Paris, 1767

      Meditation, Ringling Museum of Art, Sarasota, mid-1760s?

      Girl with a Dead Canary, National Gallery, Edinburgh, 1765

      Septimius Severus Reproaching Caracalla, Louvre, Paris, 1769

      The Broken Pitcher, Louvre, Paris, 1773

      Psyche, National Gallery, London, ca.1780s(?)

                       The Beginning of French Neo-Classicism

Jacques Louis David (1748-1825)

      Oath of the Horatii, Louvre, Paris, 1784

      Lictors Bringing Brutus his Dead Son, Louvre, Paris, 1789

Reading: Harris, Seventeenth-Century Art & Architecture, Epilogue, 404-406

				
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