Questions Study 2 1) How do each of the following illustrate the Catholic Reformation emphasis on the immediacy of religious experience: Loyola's Spiritual Exercise, Teresa of Avila's vision, Caravaggio's The Crucifixion of Saint Peter? Loyola's Spiritual Exercise was a Jesuit handbook of religious reforms. His idea was to spread the Catholicism all over the world through mysticism and militant religious passion. Loyola was direct with his immediate reform and action in finding believers. He had a goal to extend the Christian faith and rebuild the religion, and did so successfully for the most part. Teresa of Avilia's Vision was "the roving nun" who was said to have vivid religious visions. She wrote about her intense connections spiritually and her overwhelming fire with God. Her visions were of an arrow slicing through her heart by angels of spirit. Caravaggio's The Crucifixion of Saint Peter was a dramatic piece of artwork full of darkness and fear. The face of Saint Peter in the piece is desperate and weak. This baroque painting showed the obvious trouble in the St. Peters church. It also brought up the idea of religious confusion. The painting was focused on the senses instead of the mental power. 2) How does the stylistic term mannerism apply to El Greco's The Agony in the Garden? Pamigianino's Madonna of the Long Neck? Mannerism applies to El Greco's The Agony in the Garden due to the spatial complexity. This is shown through the background and foreground. It also has a quality of movement, through artificiality. In Pamigianino's Madonna of the Long Neck spatial complexity is used by forcing all of the subjects to the left side of the painting. Affection is also shown through Madonna's holding of the oversized child. These values make the painting mannerist. 3) How did Bernini achieve "theatrical effect" in his sculpture and architecture? Bernini achieved "theatrical effect" in his sculpture and architecture by choosing movement as a repetitive style in his work. His art is all about action and illusions. He uses geometric shapes, details, repetition and curves to make 3D effects. 4) What is trompe l'oeil? Show how it works in an illustration of the interior of an Italian baroque church. Trompe l'oeil is realistic imagery that can sometimes create an optical illusion feeling. It is known as a 3D form of architecture and/or sculpture. In the
Italian baroque church, geometric patterns that differ in sizes are carved near the apex in the oval ceiling. This creates an illusion in walls the of the church.
5) When, where, and why did opera emerge as a form of artistic expression? The opera emerged as an art form in Italy around the early 1700s. The very first opera house was constructed in Venice. Opera was born as an art form because of its roots: music, theater, dance and drama. It was formed as a revision of Ancient Greece theater. 6) Describe the distortions that Parmigianino and El Greco introduced into their paintings (Figures 20.4 and 20.7). What effect do you think the painters wanted to achieve? Parmigianino made distortions through the length of Madonna's neck, the size of the newborn, the size of the apostle. The distortions were to guide the viewer to the importance of the scene. It was meant to be a painting of a simple message. The child appears to be significant even at birth in such a massive package. Madonna is stretched to a height of importance, which draws attention. The small apostle proves how unimportant he is in comparison to these two main people of Christianity. El Greco introduced distortions in the background, foreground and clothing. He left the people in reality, but drew contrast through the bright colors and movement in the garden. Greco brought the Garden alive, instead of the subjects. I think that he used this effect in order to show Jesus' love for nature and commitment to the life on earth. 7) In what way are the fountains of Rome typical of Baroque expression? The fountains of Rome are typical of Baroque expression because of the bold realistic forms. The fountains are theatrical, detailed, asymmetrical and bold. Rome's fountains were extravagant and original. Rome's fountains were dramatized. 8) Compare the Two Last Suppers how are they different? How are they alike? The Two Last Suppers paintings were almost completely contrasting of one another. Da Vinci's painting consisted of mainly grey dull tones and symmetry. His artwork is centered around geometry and the 10 disciples. Tintoretto takes a new spin on the scene, by using light glow to emphasize the importance of the painting. His version, unlike Da Vinci's is about asymmetry, distance and movement. Da Vinci focuses on the moment when
Jesus emphasizes his impending betrayal, while Tintoretto focuses on the bread and wine signifying Jesus' flesh and blood. The few things that are similar would be the 10 disciples, Jesus and the extensive table. The positions of these important people are different in both of the versions. Also, added in Tintoretto's painting are the servants and extra space.