ART HISTORY 341
ITALIAN ART OF THE SEVENTEENTH
and EARLY EIGHTEENTH CENTURY
Professor Gail L. Geiger
226 Conrad A. Elvehjem Building
Art History 341
Professor Gail L. Geiger
226 Conrad A. Elvehjem Building
Office Hrs. Tues. 2:30-4:30
& by appt.
ITALIAN BAROQUE ART
This course will be concerned with the arts of seventeenth-century Italy and, to a lesser
degree, that of the first half of the eighteenth century. We will focus on the media of painting,
sculpture, architecture and the graphic arts and very occasionally, the so-called decorative arts.
Patronage is important in this period so, of necessity, we shall consider commissions by the
hierarchy of the Roman Church from the pope to the College of Cardinals and by a variety of
wealthy collectors. At the same time, the art created also appealed to a broad spectrum of society
including the illiterate and the poor, so audience reception also will be addressed. Because
Church Reform is central to these years, the patronage of religious orders also has an impact: the
Jesuits, the Oratorians, the Dominican Order, the Franciscan Order, and others. Much of the
course will concentrate on Rome, but also other areas will be treated. We will conclude with
Venice, an independent Republic, which maintained its international prestige well into the
eighteenth century. We shall touch on the arts of Naples, Genoa, Turin and Florence, but not on
important regional schools in any depth. The methodological approach to this class is a mixed
one: art theory, style development, art patronage, gender studies, religious and secular
symbolism, allegory, and some modern critical theory.
Evaluation will be based on two types of work. A: 3 in-class exams, the third on the last
day of class; 1 cumulative take-home final also due at final exam 13 May, 5:05 pm. The exams
in-class will be in two parts: 1) they consist of images from the syllabus which must be
identified, dated, discussed with two solid art historical points [extra points can be earned with
constructive use of readings and comparative imagery] and 2) image comparisons in which the
same identification procedure will be joined to the incorporation of documents and critical
readings. The critical, 10 page essay is due at the final exam, serves as a "cumulative" evaluation
of the course. Specifics are in your Reader.
Your text books include R. Wittkower, Art and Architecture in Italy 1600-1750 [Any
edition will do; note that many references are to the single volume 1982. The 6th ed. is in three
vols. and I have tried to specify that when referring to them.]; Francis Haskell, Patrons and
Painters: Art and Society in Baroque Italy [2nd ed.], and a Reader that includes the course
syllabus, documents, critical essays, and some illustrations. This latter is available at Bob's Copy
Shop, 616 University Ave. A supplementary bibliography also will be on reserve in the Kohler
Library. [*Items found in the Reader are so marked.] Sylvan Barnet, A Short Guide to Writing
about Art 9th ed.(N.Y: Longman) and James Hall, Dictionary of Subjects & Symbols in Art (any
edition) are recommended.
If anyone intends to take this course as a graduate student, or an honors student please see
me, as both have slightly different requirements.
While I do not take attendance for lectures, I expect you to be in class regularly.
Obviously it is to your advantage to participate and to learn from lecture as well as from reading
assignments. In evaluation I do account for participation and for improvement! Please consult
the Art History Department web site for syllabus and required images in the course
http://www.wisc.edu/arth/ [images only on the web are marked with % sign.]
PART I. INTRODUCTION. POST-TRIDENTINE ART 1563-1590s
20 Jan. Tues. Introduction. Methods of Approach and Themes of the Course.
Church Reform and the Arts.
Read: *Doc. 1. “Canons and Decrees of the Council of Trent”; and R. Wittkower, Art
and Architecture in Italy, 1600-1750, Chapt. 1 “Rome: Sixtus V to Paul V (1585-1621);
*Essay 1. Pamela M. Jones, “The Power of Images: Paintings and viewers in Caravaggio’s Italy.”
Wittkower, Chapt. V, on Lodovico Cardi called Il Cigoli (1559-1613) and note letter from
Galileo to Cigoli under *Docs. 4; and on Daniele Crespi (c. 1598-1630).
Images: Wittkower: Tomb of Paul V, 1608-15, Cappella Paolina, Rome, S. Maria
Maggiore. Giovanni Vansanzio, Villa Borghese, 1613-15, Rome. Flaminio Ponzio, Acqua
Paola,1610-14, Rome. In Wittkower: Cigoli, Martyrdom of St. Stephen, 1597, Ecstasy of St.
Francis, 1596 and Daniele Crespi, St. Charles Borromeo at Supper, c. 1628. In *Jones:
Scipione Pulzone, The Lamentation, c. 1591. Caravaggio, Conversion of Mary Magdalene, c.
1598. Guido Reni, Penitent Magdalene, c. 1630. Caravaggio, Madonna of Loreto, S. Agostino,
Rome, 1604-05. Domenichino Madonna of Loreto and Saints, c. 1618-20.
22 Jan. Thurs. A New Style of Art for the Church Reform: The “Anti-Mannerist” Style of
Painting and the Carracci Family in Bologna; the Importance of Venice.
Read: *Essay 2. Charles Dempsey, “The Carracci Reform of Painting”; Wittkower,
Chapt. 3, “The Carracci”; Haskell, Patrons and Painters, Chapt. 1, “The Mechanics of
Seventeenth- century Patronage.” *Essay 3. Marcia Hall, “Federico Barocci.”
Images: The Carracci School in Bologna: Lodovico (1555-1619): Holy Family with S.
Francis, Cento, 1591; Agostino ( 1557-1602), Last Comunion of St. Jerome% , c.1592;
Annibale (1560-1609): The Virgin with St. John and St. Catherine, 1593, Man with a
Monkey, before 1595, The Butcher's Shop (Dempsey); Agostino (1557-1602): Pieta, 1579,
engraving after Michelangelo (Dempsey). Federico Barocci (1535-1612) Deposition, Cathedral
in Perugia (as in Hall). Lavinia Fontana, Self-Portrait at the Spinet with her Maidservant%,
PART II: ROME. THE "EARLY BAROQUE" 1605-1623
27 Jan. Tues. The Carracci in Rome: Models from the Roman High Renaissance and the
Read: *Doc. 2. Giovanni Bellori's Lives of the Artists, Excerpt on the "Carracci"
(Enggass and Brown, here after E&B) and Poem by Marino on death of Annibale; *Essay 4.
Charles Dempsey, Excerpts and imagery from Annibale Carracci: The Farnese Gallery as
Images: Farnese Gallery, 1597: Annibale Carracci: Polyphemus, The Triumph of
Bacchus; *Dempsey, Paris and Mercury, "Ignudi and Grotesques" and details; "The Lower
Long Walls: Farnese Devices," The Virgin and the Unicorn; "Mouldings and Other Wall
Decorations" and the personal device/emblem of Cardinal Alessandro Farnese: an arrow in the
center of a curved shield hanging from a tree. Above this...Arion and the Dolphin. ie. the
"Cardinal's devotion to the doctrine of the mean." "The End Walls: Perseus and Andromeda
and Perseus and Phineas," discussion and images. Assumption of the Virgin, Cerasi Chapel, S.
Maria del Popolo, Rome 1601; Pieta, late [Naples]; Landscape (Flight into Egypt) c. 1604.
29 Jan. Thurs. Michelangelo Merisi called Caravaggio (1573-1610).
Read: Wittkower, Chapt. 2, "Caravaggio"; * Docs. 3. Pt.I Excerpts from Bellori's
"Caravaggio." Pt.II. Court Testimony ; Pt. III. Epitaph. * Essay 5. Excerpt from Creighton
Gilbert, Caravaggio and His Two Cardinals, esp. Fig. 30; and *Essay 6. P.Askew, "Facts and
Forecast" with image of Death of the Virgin.
Images: Bacchus, c. 1595; Supper at Emmaus, c. 1600 (London); So-called John the
Baptist [Paris? as in engraving after *lost Roman relief], c. 1600; Martyrdom of St. Matthew
from the Contarelli Chapel, S. Luigi dei Francesi, 1599-1600; *Conversion of St. Paul from the
Cerasi Chapel, S. Maria del Popolo, 1600+; *Death of the Virgin between 1601-07; Raising of
Lazarus, 1608-9; Portrait of M. Barberini as a Young Prelate, c.1595 (Haskell, 2a).
Remember Caravaggio paintings in Jones, Docs.3, and Camiz.
[Note: Derek Jarman has made a film Caravaggio (97 min.) You might wish to look at
this since it demonstrtes the degree to which Caravaggio has achieved contemporary appeal. An
alternative interpretation is offered by Creighton Gilbert, Caravaggio and his Two Cardinals.]
3 Feb. Tues. Art Collections in Rome. Antique Sculpture: the papacy; the Farnese, the Medici,
the Borghese, and the Ludovisi. Painting Galleries: Focus on those owned by Cardinal Francesco
del Monte and the Marchese Vincenzo Giustiniani.
Read: *Essay 7. Haskell and Penny, "Control and Codification" including catalogue
entries for the classical sculpture: Farnese Hercules, Dying Gladiator, and Niobe and her
Youngest Daughter; *Essay 8. Excerpt from Franca Camiz on "Music and Painting in Cardinal
del Monte's Household." *Essay 9. Luigi Salerno, "The Picture Gallery of Vincenzo Giustiniani";
Francis Haskell, Patrons and Painters, Part I, Chapt. 2, intro., pt. i and Chapt. 4, pt. i.
Images: In Essay 7. Haskell, "Control..."* Farnese Hercules, Dying Gladiator, Niobe
and her Youngest Daughter. In *Camiz: Caravaggio, The Lute Player, ca. 1595-96
(Hermitage); Portrait of Cardinal Maria del Monte, late 16th c.. In Haskell/Patrons: Mellan,
Portrait of Vincenzo Giustiniani (Haskell, 17b).
5 Feb. Thurs. Art Theory: Naturalism and the Ideal. Painter and Theorist Bellori; Collector
Vincenzo Giustiniani; Monsignore Giovanni Battista Agucchi (1570-1632); and poet Giovanni
Read: *Docs.4: Bellori, "The Idea of the Painter"; Letter from Giustiniani; excerpts from
Agucchi's Trattato della Pittura. From Marino's "Galleria".
Images: * [Docs.4] Pietro Testa, Liceo della pittura, early 1640s, engraving;
Domenichino Portrait of Giovan Battista Agucchi; Caravaggio's Still Life (Ambrosiana);
10 Feb. Tues. The Caravaggisti: Orazio Gentileschi (1563-1639); Orazio Borgiani (c.1578-
1616); Carlo Saraceni (1579-1620); Giovanni Battista Caracciolo (+1637).
Read: Beginning of Wittkower, Chapt. 4; and section of Chapt. 14 [6th ed. II: Chapt. 8,]
concerning Naples, pp. 355-62; Haskell, Chapt 7, intro and pp. 170-71 of pt. i.
Images: O. Gentileschi, The Annunciation, 1623 and Rest on the Flight into Egypt, c.
1626; Public Felicity Triumphant Over Dangers, 1623-25 for Maria de'Medici (Haskell, 25).
Borgiani, S. Carlo Borromeo, c. 1611-12 (Wittkower, 25, 6th ed. fig. 36). Saraceni, St.
Raymond Preaching, c. 1614. Caracciolo, Liberation of St. Peter from Prison, c. 1615
(Wittkower 241, 6th ed. II:fig. 209).
12 Feb. Thurs. The Bolognese School of Annibale Carracci: Guido Reni (1575-1642); Lanfranco
(1582-1647); Domenichino (1581-1641); Guercino (1591-1666).
Read: Wittkower, Chapt. 4, from "The Bolognese in Rome and Early Baroque
Classicism to end of chapt.[the Carracci School]; B&E, Doc. 5. From Carlo Cesare Malvasia
"Life of Guido Reni" in Felsina pittrice, Vite de'pittori bolognesi, 1678. *Doc. 6."Atalanta and
Hippomenes," and *Doc. 7 "Diana" from Ovid (43 B.C.-A.D.17) Metamorphoses; and *Doc.
8,"St. Petronilla"in Jacobus de Voragine (1228/30-1298), The Golden Legend [Legenda
Images: Guido Reni: The Triumph of Samson, c. 1620; Aurora, ceiling of Casino for
Scipione Borghese, now Palazzo Rospogliosi, Rome, 1613-14; Assumption of the Virgin,
Genoa, 1616-17; Atalanta and Hippomenes, early 1620s; * Massacre of the Innocents, c.
1610-12 as in *Jones. Lanfranco: Gods of Olympus, Villa Borghese, c. 1624-5 (detailing of
ceiling, Wittkower); The Virgin in Glory, Rome, dome of S. Andrea della Valle, 1625-27; St.
Luke, 1611. Domenichino: Scourging of St. Andrew, 1608, S. Gregorio Magno, Rome; Scenes
from Life of S. Cecilia at church of S. Luigi dei Francesi, Rome, 1614: esp. S. Cecilia before
the Judge, 1613-14; the Hunt of Diana, c. 1617. Guercino: Aurora, Casino Ludovisi, Rome,
1621-23; The Burial and Reception into Heaven of St. Petronilla, 1622-23.
17 Feb. Tues. Artemisia Gentileschi (1593-c.1652) and Feminist Criticism.
Read: * Essay 10. Chadwick, "The Other Renaissance"; Wittkower, brief comments and
illus. in chapt. 8 [new ed. II, p. 161]. *Essay 11: Summary of "Testimony of the Rape Trial of
1612" from Garrard Artemisia Gentileschi.
Images: Judith Slaying Holofernes, c. 1620 [Wittkower];*from Chadwick: Self-
Portrait as Allegory of Painting, 1630s; Susanna and the Elders, 1610; Judith with Her
Maidservant, c. 1618 (Florence)
[Note the film: Agnes Merlet's Artemisia [97 min.] which contrasts greatly with Mary
Garrard's summary of the Rape Trial in Rome 1612 *[Essay 11]. If you look at it note the
paintings by Artemisia included in the film. Also note that the translated transcript as it remains
has been included in Garrard's Appendix B of her Artemisia Gentileschi.]
19 Feb. Thurs. Sculpture under Pontificate of Pope Paul V (Borghese) 1605-21: Francesco Mochi
(1580-1654), Pietro Bernini (1562-1629), and the Young Gianlorenzo Bernini (1598-1680).
Read: Wittkower, Chapt. 6, section on "Sculpture" and Chapt. 7, up to the discussion of
St. Longinus; *Doc. 9. From Filippo Baldinucci's "Life of Gian Lorenzo Bernini." together a
*plate illustrating the Classical Orders in Architecture.
Images: Pietro Bernini: St. John the Baptist, 1614-15, Rome, S. Andrea della Valle;
Matteo Castelli, Family chapel of the Borghese in S. Andrea della Valle [note Pietro Bernini's St.
John on the facade]. Francesco Mochi: The Virgin of the Annunciation, 1603-8, Orvieto and
Alessandro Farnese, Equestrian Portrait, 1620-25, bronze, Piacenza, Piazza Cavalli.
Gianlorenzo Bernini: Aeneas and Anchises, 1618-19; Bust of Paul V, 1618; David, 1623-24;
Scipone Borghese, 1632; Note also earlier rep. of the Villa Borghese. Guglielmo Baur, View of
Villa Borghese in 1630.
PART III. THE ROMAN "HIGH BAROQUE"
24 Feb. Tues. Exam no. 1. Through 19 Feb.
26 Feb. Thurs. Maffeo Barberini, Pope Urban VIII, (1623-44) and his Entourage. Cesare Ripa's
Iconologia and the Importance of Allegory and Symbolism for Baroque Art.
Read: Interpretations of the Baroque style: * Essay 12. Martin "The Baroque"; Wittkower
['82], Intro. to Part II [Chapt. 7], pp. 137-142 and Chapt. 8, "Bernini," relevant sections; rest of
Haskell's Chapt 2, "Urban VIII and his Entourage." * Doc. 10, Mandowsky's intro. to facsimile
ed. of Ripa's Iconologia.
Images [cf. Haskell, Plates 1-4]: Caravaggio, Maffeo Barberini as a Young Prelate, c.
1595; Bernini, Maffeo Barberini as Pope Urban VIII, 1635+; Ottavio Leoni, portrait of
Urban's nephew Cardinal Francesco Barberini, 1624; Carlo Maratta, portrait of Urban's
nephew, Cardinal Antonio Barberini, (Capuchin monk). In papal circle: Pietro da Cortona's
portrait of the papal treasurer, Marcello Sacchetti; and Van Dyck's, Cardinal Guido
Bentivoglio, 1623; Guido Abbatini, Frontispiece of Aedes Barberinae, 1642, with view of
Barberini palace [Haskell, 9]. Doc. 10. Cesare Ripa, excerpts from Iconologia 1603 *images
from Happiness (Felicita), Sincerity, Theory, Practice, and Painting (Peinture).
3 March. Tues. The "Flamboyant Style": Bernini's Sculpture.
Read: Cont. in Wittkower. *Doc. 11, "St. Longinus" in Jacopo da Voragine Legenda
Images: Bernini: S. Bibiana, 1624-6 (sculpture only); Baldachin for St. Peter's, 1624-
33; St. Longinus, St. Peter's, 1629; Portrait of Costanza Bonarelli, c. 1635 (Wittkower 90),
Tomb for Urban VIII, St. Peter's, 1627-44; St. Mary Magdalen, 1661-3, Siena Cathedral,
Chigi Chapel. Architecture: (with Maderno), Palazzo Barberini, 1628-33;
5 March. Thurs. The "Flamboyant Style" cont.: Painting by Pietro da Cortona (Pietro Berrettini,
Read: Wittkower, Chapt. 10 [selectively on architecture; 6th ed, II:4] to Pietro's painting
for the Palazzo Pitti in Florence.
Images: Pietro da Cortona in the Palazzo Barberini and other Roman projects: S.
Bibiana Refuses to Sacrifice to Idols, S. Bibiana, 1624-26, Rape of the Sabines, c. 1629,
Allegory of Divine Providence, Ceiling of Salone in Palazzo Barberini, 1633-39. Architecture:
Church of SS. Martino and Luca, 1635-50.
10 March. Tues. The "Classical Style": Andrea Sacchi (1599-1661); Alessandro Algardi (1598-
1654); Pietro Testa (1611-1650).
Read: Haskell, Chapt. 4, "Private Patrons," esp. section 2 on Cassiano da Pozzo;
Wittkower, Chapt. 11.
Images: Bernini, Caricature of Cassiano dal Pozzo (Haskell 17a). Andrea Sacchi: St.
Gregory and the Miracle of the Corporal, 1625-27; The Vision of S. Romuald, c. 1631;
Divine Wissdom (La Divina Sapienza), Ceiling in Palazzo Barberini, 1629-33. Algardi: St.
Mary Magdalen, c. 1628; Tomb of Leo XI, St. Peter's, 1634-44; The Meeting of Pope Leo I
and Attila, 1646-53; and The Decapitation of St. Paul, 1641-7, S. Paolo, Bologna. * (Essay
13) Pietro Testa, etchings: The Way of Virtue-Young Man Arriving on Parnassus, second
half 1640s, and Allegory of Winter-The Apotheosis of the Artist's Genius, 1644.
12 March. Thurs. The Foreigners in Rome: The Other Classicists: Francesco Duquesnoy (1597-
1643) and Nicholas Poussin (1593/94-1665). The antique model and Cassiano dal Pozzo's "paper
Read: Wittkower, Chapt. 11 on Duquesnoy; * Essay 12. Richard Verdi, "Nicolas
Poussin" and catalogue entries for images below. *Doc. 12. From Poussin's "Observations on
Painting" (pub. 1672 by Bellori).
Images: Duquesnoy: St. Susanna, 1629-33; St. Andrew, St. Peter's, 1629-40; Tomb of
Ferdinand van den Eynde, l633-40, S. Maria dell'Anima.
Poussin [see Verdi]: *Death of Germanicus, 1626-28; *The Arcadian Shepherds,
version 1, 1628-29 and version 2, c. 1638; *The Rape of the Sabines, c. 1637; *Sacrament of
Confirmation, c. 1638-40 and version 2, 1645;*Eliezer and Rebecca, 1648; * Landscape with
St. John on Patmos, 1640; *Eliezer and Rebecca, 1648; and *Self-Portrait, 1649-50.
SPRING BREAK 14-22 March.
24 March. Tues. Poussin cont.
Read: *Essay 15. Cropper and Dempsey, "Poussin's Sacrament of Confirmation, the
Scholarship of Roma Sotteranea, and Cassiano dal Pozzo's Museo Cartaceo."
Imges: Besides the 1st and 2nd versions of the Poussin Confirmation; drawings from
the Museo Cartaceo by Poussin: A Cynic Philosopher and Roman Senator Wearing the
Latus Clavus (in Cropper and Dempsey).
26 March. Thurs. Claude Gellee, called Lorraine (1600-1682)
Read: * Essay 16. Diane Russell, "Claude's Life: An Account" and images with their
catalogue entries for a painting, a drawing, and part of an etched series.
Images: Claude: View of Delphi with a Procession, 1673 (Haskell, 19b); *View of
From Russell: *Carthage with Dido and Aeneas, 1675;* drawing, Landscape;* etchings, On
Fireworks...on Election of Ferdinand III of Hungary as the King of the Romans, 1637.
31 March. Tues. Exam no. 2 through 26 March.
IV. MID-CENTURY AND BEYOND IN ROME
2 April. Thurs. Papacy of Innocent X (Pamphili), 1644-55
Read: Haskell, Chapt. 6, 1-iv; relevant sections of Wittkower, Chapt. 8.
Images: Bernini cont.: The Cornaro Chapel, S. Maria della Vittoria, 1645-61, esp. The
Ecstasy of St. Teresa; The Triton Fountain, 1642-3, Piazza Barberini; The Four Rivers
Fountain, 1648-51, Piazza Navona. Architecture: Palazzo di Montecitorio (originally called
Palazzo Ludovisi, but for family of Innocent), 1650.
7 April. Tues. Diego Velazquez in Italy, 1649-1650.
Read: * Essay 17. Jonathan Brown, "The King Collects" [Velazquez on a buying trip to
Italy for King Philip IV of Spain; [for fun see the "travel advisory" on the Galleria Doria
Pamphilj appended to the Brown excerpt]; Doc. 13. From "Palomino's Life of Velazquez."
Images: *Velazquez--[for the following three see images appended to the Brown
excerpt] *The Feast of Bacchus, 22 July 1629, *Woman with a Fan (early 1640s?); *Portrait
of Philip IV at Fraga, 1644; for the rest, dates are all during 2nd Roman trip and are in Brown,
1649-50: Portrait of Innocent X; Portrait of Monsignor Camillo Massimi; Portrait of
Cardinal Camillo Astalli-Pamphili; Portrait of Juan de Pareja; landscapes, Villa Medici--
Pavilion of Cleopatra-Ariadne; Villa Medici, Grotto-Loggia Facade.
9 April. Thurs. Francesco Borromini (1599-1667): Architecture
Read: Wittkower, Chapt. 9; Haskell, Chapt. 3, "The Religious Orders," to ii [p. 78].
Images: Borromini: S. Carlo alle Quattro Fontane, 1638-41, facade, 1653-55; S. Ivo
della Sapienza, 1642-50; S. Agnese in Piazza Navona (begun by Rainaldi, 1652(, facade, 1653-
5; Oratory of S. Philip Neri, 1637-40; Collegio di Propaganda Fide, l662-4.
14 April. Tues. Late Pietro da Cortona in Rome and in Florence.
Read: Wittkower, Chapt. 10, "The Frescoes of the Palazzo Pitti and the Late Work."
Images: Pietro da Cortona, cont. Decorations for the Chiesa Nuova (S. Maria in
Vallicella): The Trinity in Glory, (dome) 1647-51 and The Assumption of the Virgin, (apse),
1655-60; Facade of S. Maria della Pace, 1656-57; Xenophon's Sacrifice to Diana, after 1653.
In Florence: Decorations for the Pitti Palace, 1647+: Sala di Marte, 1646; stucco for Sala di
16 April. Thurs. Papal Reign of Alexander VII (Chigi) 1655-67.
Read: Haskell, conclude chapt. 6; Wittkower, "Bernini" concl. Haskell, Chapt. 7, "The
Intervention of Europe." *Doc. 9, Chantelou's diary, Bernini.
Images: Bernini concluded: Chigi Chapel (begun by Raphael 1516), S. Maria del
Popolo, esp. The Prophet Habakkuk, l655-61; The Equestrian Portrait of Constantine the
Great, 1654-68, St. Peter's; Cathedra of St. Peter, St. Peter's, 1656-66; Portrait of King Louis
XIV, 1665; Tomb for Alexander VII, St. Peter's, 1671-8; Blessed Lodovica Albertoni, l674.
Architecture: Church of S. Andrea al Quirinale, 1658-70 [exterior in Wittkower, interior in
Haskell, 16]; Piazza/Colonade of St. Peter's, begun 1656; Scala Regia, 1663-6, St. Peter's and
Vatican Palace; Altieri Chapel, S. Francesco a Ripa, 1674:
V. REGIONAL DEVELOPMENTS
21 April Tues. Rome as a Model for Regional Developments: Naples, Florence, Genoa, and
Read: *Doc. 14. Salvatore Rosa's letter to Giovanni Battista Ricciardi, February 1656
and Rosa's poem "The Witch." Wittkower, Chapt.14 "Painting Outside Rome" relevant sections.
Note that Haskell, Chapt. 8 touches on these central cities. Skim only. *Essay 18. Salvatore
Rosa, etchings and cat. entries from Sopher Seventeenth-Century Italian Prints. *Essay, 19.
Jusepe de Ribera, etchings and cat. entries from Sopher, Seventeenth-Century Italian Prints.
*Essay, 20. Evaristus Baschenis, Cat. entry for Still Life with Musical Instruments (Brussels)
and excerpts from "To His Enigmatic Paintings" from catalogue Evaristus Baschenis.
Images: * Essay 19. Rosa, The Genius of Salvatore Rosa, etching and dry point, *Saul
with the Witch of Endor (Doc. 14). Wittkower: Landscape with the Finding of Moses, c.
1650, The Temptation of St. Anthony, c. 1645-49. Haskell, 24: Fortune 1662 and see pp. 153-
54. *Essay 19. Ribera, The Poet, etching and Bacchus, etching with some engraving. Giovanni
Benedetto Castiglione, The Genius of Castiglione, 1648, etching. Bernardo Strozzi, St.
Augustine Washing Christ's Feet, c. 1620-5, David, c. 1635, Christ Giving Keys to St. Peter,
c. 1630s (early) Elvehjem Museum. Evaristo Baschenis, Still Life with Musical Instruments
(guitars, cittern, mandola, violone, lute, violin with bow), after 1650. Brussels.
PART VI. LATE BAROUQE AND ROCOCO (C.1675-1750)
23 April Thurs.
A. Rome and Piedmont.
Read: Wittkower, Chapts. 15, and selected portions of 16 and 17 [for architecture
below]. In Chapt. 19, read on quadratura painting for the theater by the Bibiena family [in 6th
Images: Rome: Francesco de Sanctis: The Spanish Steps, 1723-6; Filippo Raguzzini,
Piazza S. Ignazio, 1727-8; Nicola Salvi, Fontana Trevi 1732-62 [finished in 1751 by Giuseppe
Pannini]. Piedmont [region around Turin/Torino]: Guarino Guarini, Cappella SS. Sindone,1667-
90; Filippo Juvarra, Superga near Turin, 1717-31. Giuseppe Bibiena, Engraving from
Architetture e Prospettive, Augsburg, 1740.
[Note: If you've never seen Fellini's film, La Dolce Vita (1960) do so--great way to
remember the Trevi Fountain!]
B. The "Serene Republic" of Venice: The Establishment
Read: Haskell, Chapt.; Wittkower on Baldassare Longhena (1598-1682) in Chapter 12;
Doc. 15. "Nobles, Citizens and People in Venice, c. 1618." From a report on Venice attributed to
the former Spanish ambassador, Don Alonso della Cueva, Marquis of Bedmar. [Engraving of
1686 by Mitelli is for fun only!]; *Doc. 16. "The resolution to build the church of Santa Maria
della Salute, 1630 From Senate decree of 22 October 1630. [Pullan]. *Essay 21. Rudolf
Wittkower, S. Maria della Salute: Scenographic Architecture and the Venetian Baroque."
Images: Haskell: Pompeo Batoni, Triumph of Venice, 1737-40; Giambattista Tiepolo,
Neptune Paying Homage to Venice, c. 1756-58, Palazzo Ducale, Venice. Baldassare
Longhena: S. Maria della Salute, 1631+ (facade, interior, plan and urban position in Venice).
28 April Tues. Giambattista Tiepolo (1696-1770)
Read: In Wittkower, Chapt. 18, relevant section on Giambattista Tiepolo. Haskell,
Chapt. 11, "Foreign Influences." Haskell, Chapt. 14, "Francesco Algarotti," and "Conclusion."
*Doc. 17. From Marco Boschini's "Brief Instructions" from his Rich Mines of Venetian Painting
Images: See Haskell 43, 44, 50, 61a, 61b and 68b: Marriage Allegory of Rezzonico
Family, Ca'Rezzonico, Venice, 1757. Haskell and new edition of Wittkower: Glorification of
the Pisani Family, Villa Pisani, Stra, 1760; Haskell: Apollo and the four Continents, detail
showing glorification of the Archbishop of Wurzburg, ceiling fresco above staircase of the
Residenz, Wurzburg, 1752. Haskell: Banquet of Antony and Cleopatra, versions 1 (1742-43)
and 2 (1745-46). In Wittkower, Sacrifice of Iphigenia, 1757, Vicenza, Villa Valmarana.
*Essay 22. Apelles' Painting the Portrait of Campaspe 1720s and *Rinaldo and Armida,
1757, detail of head only in Wittkower.
30 April Thurs. Portraiture
Read: *Essay 23. Bernardina Sani, "Rosalba Carriera's Young Lady with a Parrot"; *
Essay 24. Bruce Redford, "Portraits"; and Haskell, Chapt. 12, "The Enlightenment." Wittkower,
Chapt. 19, sections on "The Genres" and "Portraiture."
Images: Rosalba Carriera [note the medium is pastel on paper for all her following
portraits]. Sani:*Young Lady with a Parrot, c. 1730, *Portrait of Louis XV as a Young Boy,
c. 1720, *Self-Portrait, 1708/1709. Redford:* Portrait of Charles Sackville, 2nd Duke of
Dorset; *Pompeo Batoni, Portrait of Thomas William Coke, later 1st Earl of Leicester, 1774.
5 May Tues. The Vedute: Antonio Canale, called Canaletto (1697-1768); Giovanni Battista
Piranesi (1720-78); and Francesco Guardi (1712-93).
Read: Wittkower, Chapt. 19, section on "Landscape, Vedute, Ruins"; Haskell, Chapt.
13, "Publishers and Connoisseurs." *Essay 25. Malcolm Campbell, "A Comment on Piranesi's
Vita and his Vedute di Roma" from Piranesi: Rome Recorded and cat. entries for images.
Images: Canaletto: Piazza S. Marco, c. 1760; View from Badminton, 1748 (Haskell,
51); Dedicatory frontispiece to etchings, Vedute, c. 1741-44 (Haskell 55a); The Pra della Valle
in Padua from the Vedute (Haskell 62 and 63); Giovanni Battista Piranesi, Plate from the
Carceri, 1745 (Wittkower, fig. 247); Francesco Guardi, View of the Lagoon, c. 1790. From
Piranesi: *Title Page of Vedute di Roma; *View of Piazza Navona (no. 108) and *Forum
Romanum or Campo Vaccino.
7 May Thurs. Exam no. 3 (through 5 May).
CUMULATIVE ESSAY DUE: 5pm 13 May, Wednesday.
ESSAYS AND DOCUMENTS
IN COURSE PACKET
Doc. 1. "Canons and Decrees of the Council of Trent" (Holt)
Doc. 2. Giovanni Bellori's Lives of the Artists, Excerpt on the "Carracci" (Enggass and
Brown, hereafter E&B)
Docs. 3. Pt.I Excerpts from Bellori's "Caravaggio." Pt.II. Court Testimony ; Pt. III.
Docs. 4. Theory [excerpts from E&B] and Pietro Testa's Liceo della pittura.
a. Giovanni Bellori's "The Idea of the Painter, Sculptor, and Architect."
b. Letter from Vincenzo Giustiniani to Amayden.
c. Letter from Galileo Galilei to the painter Ludovico Cigoli.
d. From Giovanni Battista Agucchi's Trattato della Pittura and
Domenichino's Portrait of Agucchi (early 1620s) and cat. entry on this
from Correggio and the Carracci
e. From Giovanni Battista Marino's "Sacred Discourses" ["Dicerie sacre"]
f. Marino's poem: "The Head of Medusa on a Shield by Michelangelo da
Caravaggio" and Caravaggio's Medusa.
Doc. 5. From Carlo Cesare Malvasia "Life of Guido Reni" in Felsina pittrice, Vite de'
pittori bolognesi, 1678.
Doc. 6. "Atalanta and Hippomenes," from Ovid Metamorphoses.
Doc. 7. "Diana" from Ovid Metamorphoses.
Doc. 8. "St. Petronilla" in Jacopo da Voragine Legenda Sanctorum.
Doc. 9. a. From Filippo Baldinucci's "Life of Gian Lorenzo Bernini." and excerpts from b.
Chantelou's Diary on Bernini's 1665 Visit to France.
c. Plate of architectural orders from Scamozzi.
Doc. 10. Cesare Ripa, allegories from Iconologia 1603, 1625, 1644 and Erna Mandowsky's
introduction to the facsimile edition of 1603 republished in 1970.
Doc. 11. "St. Longinus" in Jacopo da Voragine Legenda Sanctorum.
Doc. 12. From Poussin's "Observations on Painting" (pub. 1672 by Bellori).
Doc. 13. From "Palomino's Life of Velazquez."
Doc. 14. Salvatore Rosa's letter to Giovanni Battista Ricciardi, February 1656 and Ros's
poem "The Witch." Illustration of Rosa's Saul and the Witch of Endor
On Venice in Pullan:
Doc. 15. "Nobles, Citizens and People in Venice, c. 1618." From a report on
Venice attributedto the former Spanish ambassador, Don Alonso della
Cueva, Marquis of Bedmar.
[Engraving of 1686 by Mitelli is for fun only!]
Doc. 16. "The resolution to build the church of Santa Maria della Salute, 1630 From
Senate decree of 22 October 1630. [Pullan]
Doc. 17. From Marco Boschini's "Brief Instructions" from his Rich Mines of Venetian
Please note. Your xeroxed essays come from the following books. Both clearer imagery
and rich contexts can be found in these secondary sources on reserve in the Kohler Art Library.
Check the complete bibliography on reserve in both this Reader and in the 3 ring binder on the
counter of the reserve desk. Fourth credit readings will be in a binder behind the desk on reserve.
1. Pamela M. Jones, "The Power of Images: Paintings and Viewers in Caravaggio's Italy"
in Saints and Sinners
2. Charles Dempsey, "The Carracci Reform of Painting" from The Age of Correggio and
3. Marcia Hall, on "Federico Barocci (1535-1612)" from After Raphael. Including Barocci's
Deposition, 1569, Perugia, the Cathedral.
4. Charles Dempsey, Excerpts and imagery from Annibale Carracci: The Farnese Gallery: Paris
and Mercury, "Ignudi and Grotesques" and details; "The Lower Long Walls: Farnese Devices,"
The Virgin and the Unicorn; "Mouldings and Other Wall Decorations" and the personal
device/emblem of Cardinal Alessandro Farnese: an arrow in the center of a curved shield hanging
from a tree. Above this...Arion and the Dolphin. Ie. the "Cardinal's devotion to the doctrine of
the mean." "The End Walls: Perseus and Andromeda and Perseus and Phineas," discussion
5. Lost ancient Roman relief, Paris, from an engraving. Discussed by Creighton Gilbert,
excerpt, from his Caravaggio and his Two Cardinals.
6. Pamela Askew, "Facts and Forecast" and Caravaggio's Death of the Virgin (early 1600s)
from her Caravaggio's Death of the Virgin.
7. France\is Haskell and Nicolas Penny, "Control and Codification" and catalogue entries
and images of the Farnese Hercules, the Dying Gladiator, and Niobi and her
8. Franca Trinchieri Camiz, excerpt from "Music and Painting in Cardinal del Monte's
Household" from full essay on reserve in notebook for 4th credit.
9. Luigi Salerno, "The Picture Gallery of Vincenzo Giustiniani--I: Introduction."
10. Whitney Chadwick, "The Other Renaissance."
11. Mary D. Garrard, "Testimony of the Rape Trial of 1612" in Artemisia Gentileschi. Note
a translation of the trial is in Appendix B of Garrard and Agostino Tassi drawing, "I
was the maker of my own misfortune."
12. John Rupert Martin, "The Baroque" from Spencer, Readings in Art History 2nd ed.
13. Pietro Testa: Etchings and discussion from Marcus S. Sopher Seventeenth-Century Italian
14. Richard Verdi, Nicolas Poussin, biographical essay and catalogue entries and images.
a. "Nicolas Poussin 1594-1665"
b. Poussin Self-Portrait, red chalk, c. 1630
c. Death of Germanicus, 1626-8, cat. entry
d. The Arcadian Shepherds, c. 1628-9, and 6138-40 cat. Entries.
e. "The First Set of Seven Sacraments"
f. Confirmation, c. 1638-40, cat. entry
g. Landscape with St. John on Patmos, 1640, cat. entry
h. "The Second Set of Seven Sacraments"
i. Confirmation, 1645. cat. entry
j. Eliezer and Rebecca, 1648 cat. entry
k. Self-Portrait, 1649-50 cat. Entry
15. Elizabeth Cropper and Charles Dempsey, "Poussin's Sacrament of Confirmation, the
Scholarship of Roma Sotterranea, and Cassiano dal Pozzo's Museo Cartaceo" from their
Nicolas Poussin: Friendship and the Love of Painting. Know the two drawings from the Museo
Cartaceo: A Cynic Philosopher and Roman Senator Wearing the Latus Clavus both of
which are in the Windsor Castle collection.
16. Diane Russell, "Claude's Life: An Account" and images with their catalogue entries for
a painting, a drawing, and an etched series.
17. Jonathan Brown, "The King Collects" from Velazquez and some additional images.
18. Salvatore Rosa, etchings and cat. entries from Sopher Seventeenth-Century Italian Prints.
19. Jusepe de Ribera, etchings and cat. entries from Sopher, Seventeenth-Century Italian Prints.
20. Evaristus Baschenis, Cat. entry for Still Life with Musical Instruments (Brussels) and
excerpts from"To His Enigmatic Paintings" from catalogue Evaristus Baschenis.
21. Rudolf Wittkower,"S. Maria della Salute: Scenographic Architecture and the Venetian
22. Giambattista Tiepolo, Apelles Painting the Portrait of Campaspe, 1726-27 and
Rinaldo and Armida from catalogue Tiepolo.
23. Bernardina Sani, "Rosalba Carriera's Young Lady with a Parrot."
24. Bruce Redford, "Portraits" from VENICE AND THE GRAND TOUR
25. Malcolm Campbell, "A Comment on Piranesi's Vita and his Vedute di Roma," and
catalogue entries for 3 etchings of Rome.
CUMULATIVE ESSAY ASSIGNMENT
KOHLER ART LIBRARY BOOK RESERVE LIST
Art History 341
Cumulative Essay Due 13 May 5pm L140.
Choose one of the following questions for your essay, which should be no longer than 10
pages. Use Barnet if you have no experience writing an art history paper. Evaluation will be
based on the following criteria:
1. A well organized and throughout discussion in which you develop your argument...not simply
a descriptive narrative.
2. Include six images from your Syllabus that range in date from the first to the last decade of
the 17th c.
3. Include three documents from your Reader relevant to your discussion.
4. Include one critical essay from your Reader.
5. Use the resources from one bibliographical title on reserve in Kohler Art Library that is
not represented in your Reader.
Format: you need an introductory paragraph and a conclusion, you need to carefully document
your resources [identify your visual material by artist, title, date], cite your documents and critical
essays from the Reader by doc or essay number and Reader page as well as the specific page of
your quotation. For your independent book on reserve give the whole bibliographical reference
[author, title, pub. city and press and date]. Follow the Chicago Manual of Style format listed in
Barnet. ABSOLUTELY DO NOT USE THE "MOSAIC" TECHNIQUE OF LIFTING
LONG PHRASES FROM AN AUTHOR WITHOUT PUTTING THE WORDS IN
QUOTATION MARKS AND GIVING BIBLIOGRAPHICAL CITATION. I CONSIDER
SUCH PROCEDURE TO BE PLAGIARISM AND WILL GIVE A “O” TO THE PAPER.
1. Style: Visual "fashion" changes considerably in Italy between 1600 and 1700. Focus on a
theme from history/religion, portraiture, landscape, or genre and discuss changes due to time,
place, artist and nature of the commission if you know it. You might consider using some
images here in the Chazen Museum that represent a spectrum of the period [either in the gallery
and or in the print collection].
2. Patronage: The art of this period has large-scale corporate patronage by the church;an
considerable private patronage by individuals; sometimes an artist creates a work simply for him
or herself. What changes do these different types of patronage bring to a work of art?
3. Allegory: The importance of allegory for both religious and secular themes is dominant
throughout this period. Define allegory, consult and discuss its sources from the time, and show
the range of allegory from this time.
4. Theory: Throughout this period theoretical concerns interested critics, patrons and artists.
Discuss these or one aspect of them keeping in mind the dominant issue of the "classical," the
"dynamic," "color vs. line," and the emergence of the "fantastic" [sometimes viewed as the
beginning of the "sublime."]
5. Urbanism and architectural foci. Discuss the primary characteristics of the way architecture
and urban layouts [sometimes together with sculpture] to enhance the urban topography in this
7. Characteristics of the "Baroque." Using JR Martin's categories choose one and discuss its
impact on the art of our period: naturalism; the psychological preoccupation; the concept of
infinity. Is Martin's view still viable; how would you modify it?
8. Artists' views of themselves. Considerable self-reflection and expression emerges in the art
and written sources of this period concerning the status of the artist. Consider such matters as
self-portraits, allegories, poetry and essays, etc. What were the driving considerations?---fame,
independence, financial security, etc. ?
9. Propose a research project based on material from this course. Use the required parts of this
assignment to aid in presenting the Idea of the project, some evidence as to its importance..in
documents, in critical discussions thus far, and important relevant bibliography on reserve in
ND621 B7 A34 1986 THE AGE OF CORREGGIO AND THE CARRACCI
ND623 C4 D45 2002 ANNIBALE CARRACCI (Dempsey)
ND623 C38 D46 1995 ANNIBALE CARRACCI (Dempsey)
N6844 +B6 1993 ART AND ARCHITECTURE IN FRANCE:1500-1700 (Blunt)
N1696 W5 1999/3 ART AND ARCHITECTURE IN ITALY (Wittkower)
N6920 A7 2000 ART IN ROME IN THE 18TH C
ND623 G364 G37 1989 ARTEMISIA GENTILESCHI (Garrard)
N6415 B3 M37 BAROQUE (Martin)
NA1123 B5 M369 1998 BERNINI/ARCHITECTURE (Marder)
NB623 B5 H5 BERNINI (Hibbard)
NA1123 B6 B56 BORROMINI (Blunt)
ND623 C26 H44 1983 cp2 CARAVAGGIO (Hibbard)
ND623 C26 G53 1995 CARAVAGGIO/TWO CARDINALS (Gilbert)
ND623 C26 A64 1990 CARAVAGGIO'S DEATH OF VIRGIN (Askew)
N6853 L64 R87 1982 CLAUDE LORRAINE 1600-1682 (Russell)
ND623 R6 S66 1997 DIVINE GUIDO (Spear)
N6923 D63 S6 1982/1-2 DOMENICHINO (Spear)
N4395 H37 2000 EPHEMERAL MUSEUM (Haskell)
ND620 g46 2001 GENIUS OF ROME, 1592-1623 (Brown, ed)
ND623 T5 A4 1996 GIAMBATTISTA TIEPOLO (Christiansen, ed)
N7740 R5 1970 ICONOLOGIA (Ripa)
N6916 E5 ITALY AND SPAIN (Enggass/Brown)
NX552 R65 L54 1999 LIFE/ARTS IN BAROQUE PALACES/ROME (Walker, ed)
ND+553 +P8 B64/1-2 NICOLAS POUSSIN (Blunt)
ND553 P8 C76 1996 NICOLAS POUSSIN (Cropper/Dempsey)
ND +553+P8 A4 1995 NICHOLAS POUSSIN (Richard Verdi)
ND +553 P8 R583 1995 NICHOLAS POUSSIN (Rosenberg)
ND623 G366 A4 2001 ORAZIO/ARTEMISIA GENTILESCHI (Christiansen)
N6916 H37 1980 PATRONS AND PAINTERS (Haskell)
ND623 C26 A4 1999 SAINTS & SINNERS (Mormando, ed)
ND623 R7 S45 1995 SALVATOR ROSA (Scott)
NE659.2 S68 SEVENTEENTH-CENTURY ITALIAN PRINTS (Sopher)
ND623 B317 A4 2000 STILL LIVES/EVARISTO BASCHENIS (Bayer)
N6916 H3719 80 TASTE AND THE ANTIQUE (Haskell/Penny)
ND623 T5 A84 1994 TIEPOLO/PICTORIAL INTELLIGENCE (Alpers/Baxandall)
ND1140 M3413 1995 TO DESTROY PAINTING (Marin)
NA9415 R7 P5 1986 TREVI FOUNTAIN (Pinto)
ND+813 +V4 B89 1986 VELAZQUEZ (Brown)
DG673 R43 1996 VENICE/GRAND TOUR (Redford)