{"id":2019,"date":"2024-03-11T15:31:43","date_gmt":"2024-03-11T15:31:43","guid":{"rendered":"https:\/\/web.colby.edu\/ar112-spring2024\/?p=2019"},"modified":"2024-03-11T15:31:43","modified_gmt":"2024-03-11T15:31:43","slug":"ar112-3-6-the-baroque-in-italy-pt-1","status":"publish","type":"post","link":"https:\/\/web.colby.edu\/ar112-spring2024\/2024\/03\/11\/ar112-3-6-the-baroque-in-italy-pt-1\/","title":{"rendered":"AR112 &#8211; 3\/6 &#8211; The Baroque in Italy pt.1"},"content":{"rendered":"\n<p>Today we finally made the leap from the Renaissance to the Baroque in Italy. I think it&#8217;s interesting that the Baroque sort of distills everything that was revolutionary and praiseworthy from the Renaissance while eliminating the psychological distance between the viewer and the artwork. I appreciate the visible emotion of Baroque figures, and the emotions expressed by the dynamism and movements of figures like in Caravaggio&#8217;s <em>The Calling of Matthew<\/em>. One interesting thing about Caravaggio is that we don&#8217;t have any drawings of his. I don&#8217;t know if he was a student of Annibale Carracci&#8217;s, whose art school in Bologna hammered home the importance of drawings in response to the unproportionality and unevenness of the Mannerist period, but I would assume given Carracci&#8217;s influence on the Baroque style itself Caravaggio would also see the importance of making drawings.<\/p>\n\n\n\n<p>Speaking of Carracci, I think his <em>quadri riportati<\/em> work is absolutely astounding. His understanding of a whole laundry list of artistic skills like grisaille, trompe-l&#8217;oeil, and of course fresco painting make his patchwork ceilings like the one in the Palazzo Farnese amazing feats. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Today we finally made the leap from the Renaissance to the Baroque in Italy. I think it&#8217;s interesting that the Baroque sort of distills everything that was revolutionary and praiseworthy from the Renaissance while eliminating the psychological distance between the viewer and the artwork. I appreciate the visible emotion of Baroque figures, and the emotions [&hellip;]<\/p>\n","protected":false},"author":18314,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2019"}],"collection":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/users\/18314"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/comments?post=2019"}],"version-history":[{"count":1,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2019\/revisions"}],"predecessor-version":[{"id":2020,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2019\/revisions\/2020"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/media?parent=2019"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/categories?post=2019"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/tags?post=2019"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}