6 10 149 https://www.baroque.dahvc.org/fall-2021/files/original/Illusion_and_the_Baroque_Ceiling_Fresco/Divine_Providence_Glorification_of_the_Reign_of_Urban_VIII/Cortona_Allegory_of_Divine_Providence.jpg 94169140faafe9e6c60a46dec9675a1d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Illusion and the Baroque Ceiling Fresco Description An account of the resource A collection of Italian Baroque ceiling frescoes demonstrating emerging techniques for painted illusion, such as di sotto in sù and quadratura. Creator An entity primarily responsible for making the resource Various artists Source A related resource from which the described resource is derived Enggass, Robert. “Bernini, Gaulli, and the Frescoes of the Gesù.” The Art Bulletin 39, no. 4 (1957): 303–5. https://doi.org/10.2307/3047734. "Illusionism." Grove Art Online. 2003; Accessed 13 Oct. 2021. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000039956. Lavergnee, Arnauld Brejon de. "The great illusionists." UNESCO Courier, September 1987, 30+. Gale OneFile: CPI.Q (accessed October 12, 2021). https://link.gale.com/apps/doc/A6133957/CPI?u=duke_perkins&sid=summon&xid=e32d1bb3. Wheeler, Katherine. “Fictive and Real Architecture: A Preliminary Drawing for Andrea Pozzo’s Vault Fresco at Sant’Ignazio, Rome.” Thresholds, no. 28 (2005): 100–153. http://www.jstor.org/stable/43876210. Publisher An entity responsible for making the resource available Various publishers Date A point or period of time associated with an event in the lifecycle of the resource Baroque period (1600-1750) Contributor An entity responsible for making contributions to the resource Eliza Henne Format The file format, physical medium, or dimensions of the resource Fresco/Stucco Type The nature or genre of the resource Ceiling frescoes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Various locations Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Divine Providence: Glorification of the Reign of Urban VIII Description An account of the resource Divine Providence: Glorification of the Reign of Urban VIII is one of the reigning examples of the Baroque ceiling fresco, a manifestation of Pietro da Cortona’s mastery of Baroque style. The fresco dominates the ceiling of the Palazzo Barberini, the estate of Pope Urban VIII’s family, and pays extravagant tribute to the family in a mass of allegorical and mythological figures. The central female figure, Divine Providence, reaches up towards the Barberini family coat of arms, the set of three bees, supported by the Fates. She directs Fame, who holds a starry crown. Other notable characters include the mythological Hercules and Minerva; Chronos, time personified; Immortality; Religion; and Good Government. The fresco places its myriad figures in a framework of painted stucco columns, but the rest of the image opens the ceiling to the heavens in an illusory extension of space. Cortona’s work in this fresco indicates some of the technical innovations emerging particularly in Baroque ceiling painting. Earlier painters had utilized methods of trompe l’oeil, or “tricking the eye” as a way of manipulating a painting to blend with the wall on which it was displayed or extend a space backwards into the wall. Greater contrast in light and shadow and perspective techniques like foreshortening could be used to make a painted figure “project” outward towards the viewer. In this case, Cortona extends the space of the Palazzo Barberini upwards with the practices that came to be known as quadratura and di sotto in sù. Quadratura refers to the extension of architectural elements from the walls of a room into the painted ceiling; the addition of false columns or balustrades into the painted image increases the perceived height of the ceiling. Di sotto in sù, or “as seen from below” painting, was not quite at its height in Divine Providence but Cortona developed the technique further in his fresco in the nave of the Chiesa Nuova in Rome. Creator An entity primarily responsible for making the resource Pietro da Cortona (1596-1669) Source A related resource from which the described resource is derived Lavergnee, Arnauld Brejon de. "The great illusionists." UNESCO Courier, September 1987, 30+. Gale OneFile: CPI.Q (accessed October 12, 2021). https://link.gale.com/apps/doc/A6133957/CPI?u=duke_perkins&sid=summon&xid=e32d1bb3. This source provides an overview of the most well-known practitioners of illusionistic painting in the Baroque period, touching on such notable figures as Pietro da Cortona (1596-1669); Giovanni-Battista Gaulli, known as Baciccia (1639-1709); and Andrea Pozzo (1642-1709). It traces the origins of Baroque style and how that style translated into the newly bold, dynamic ceiling frescoes of the period. Pietro da Cortona in particular is set apart as a trailblazer of Baroque painting, especially in his use of illusionary tactics including trompe l’oeil, di sotto in su, and quadratura. Publisher An entity responsible for making the resource available Pietro, da Cortona, 1596-1669. 1633-39. Rome: Palazzo Barberini: Divine Providence, Glorification of the Reign of Urban VIII. https://library.artstor.org/asset/ARTSTOR_103_41822000549095. Date A point or period of time associated with an event in the lifecycle of the resource 1633-39 Contributor An entity responsible for making contributions to the resource Eliza Henne Rights Information about rights held in and over the resource The Service Platform and Content. The Service platforms and any trademarks, issued patents, and patent applications, copyrights and copyright registrations and applications, rights in ideas, designs, works of authorship, derivative works, and all other intellectual property rights (collectively, “Intellectual Property”) relating to the Service platforms are proprietary to ITHAKA and all Intellectual Property related to the Content provided by ITHAKA’s participating libraries, universities, publishers, scholarly societies, and other Content contributors are proprietary to them, subject to the rights of third parties. Format The file format, physical medium, or dimensions of the resource Stucco/Fresco Type The nature or genre of the resource Ceiling fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Barberini, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Bernini_s_Mythological_Sculptures/Neptune_and_Triton/Giovanni_Lorenzo_Bernini-Neptune_and_Triton-Victoria_and_Albert_Museum.jpg 38e3e4b08cfe6e36ab2d70f57f0bb1f0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bernini's Mythological Sculptures Description An account of the resource Gian Lorenzo Bernini is considered to be one of the important artists from the Baroque period and is considered to be one of the most influential artists of all time. He was born in Naples in 1598 and from a young age was considered gifted in the arts. He was just eleven years old when his father, sculptor Pietro Bernini, brought him as a prodigy to Pope Paul V Borghese. His marble sculptures are his most celebrated works with groundbreaking biblical works like the “David” and “The Ecstacy of St. Theresa.” However, many of his most renowned sculptures, which encompass an earlier point in his career, include his mythological sculptures. Many of these sculptures depicted Green and Roman myths. During the baroque period, alongside several biblical works, we see a large number of mythological artworks– a continuity from the Renaissance period. Bernini’s works are no exception. His mythological sculptures are famous for their dynamic composition and emotional storytelling. Bernini was heavily inspired by many of the myths included in Ovid’s Metamorphoses. This collection explores ten notable mythological sculptures by Bernini and tackles to understand why Bernini was so intrigued by these myths and how he was able to communicate these myths through sculpture. Furthermore, on a broader scale, this collection will also explore the use of mythology in the Counter-Reformation period and its place in Baroque art. Contributor An entity responsible for making contributions to the resource Sofia Silvosa Creator An entity primarily responsible for making the resource Sofia Silvosa Source A related resource from which the described resource is derived Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Bacchi, Andrea, and Anna Coliva. Bernini. Milano: Officina Libraria srl, 2017. Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993. Strunck, Christina. "The poisoned present. A new reading of Gianlorenzo Bernini's Rape of Proserpina." (2014): 185-201. Dickerson, Claude Douglas, Anthony Sigel, Ian Wardropper, Andrea Bacchi, Tomaso Montanari, Steven F. Ostrow, and A. Lawrence Jenkens. Bernini: Sculpting in Clay. New York: The Metropolitan Museum of Art, 2012. Victoria and Albert Museum, Online Museum. “Bernini's Neptune and Triton.” 'Neptune and Triton' by Gianlorenzo Bernini. Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Telephone +44 (0)20 7942 2000. Email vanda@vam.ac.uk, August 22, 2013. http://www.vam.ac.uk/content/articles/n/berninis-neptune-and-triton/ Collier, William. “New Light on Bernini’s Neptune and Triton.” Journal of the Warburg and Courtauld Institutes 31 (1968): 438–40. https://doi.org/10.2307/750654. Date A point or period of time associated with an event in the lifecycle of the resource 1598-1680 Type The nature or genre of the resource Sculptures Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Neptune and Triton Subject The topic of the resource Bernini's mythological sculpture depicting Neptune and Triton after a deluge. Description An account of the resource The breathtaking “Neptune and Triton” was completed by Bernini in 1622-3. It was commissioned by Alessandro Damascenti-Peretti Montalto. The sculpture was intended to be the focal point of his large fish pond at his villa. The sculpture is a dynamic piece that portrays the powerful Neptune and Triton. Neptune stands, holding his trident. Below him, we see Triton who blows on his conch to communicate to the four corners of the world. The figures' bodies are curved and have a commanding presence that dominates the space. The muscular figures underscore these gods’ power as they’re taking control of the deadly seas. Bernini portrays their movement as highly energetic which is communicated by the twisting, opposing directions of the two muscular bodies. Neptune’s cloak swirls in a playful motion as well. Many scholars have even pointed out that the end of the cloak takes on the form of a dolphin. The work follows Ovid’s depiction of a Roman myth in which Jupiter vows to destroy life on Earth. He calls out Neptune to create a flood, leading him to strike the earth with his trident and release a deluge. After the flood, Neptune calls Triton to blow his conch as a signal for the seas to calm. The dolphin imagery in the sculpture also harks back to Ovid’s passage in which it states that dolphins were seen romping in the wood at the beginning of the deluge. Furthermore, this imagery of transforming cloak and flesh further underscores Bernini’s metamorphosis themes. The cloak in a way metamorphoses into a marine animal. Interestingly, it can’t be neglected that this deluge story alludes to the biblical story of the Great Flood. Again we see how many of Bernini’s mythological works connect in some way to the biblical themes he would explore in his later works. Creator An entity primarily responsible for making the resource Giovanni Lorenzo Bernini Source A related resource from which the described resource is derived Collier, William. “New Light on Bernini’s Neptune and Triton.” Journal of the Warburg and Courtauld Institutes 31 (1968): 438–40. https://doi.org/10.2307/750654. Victoria and Albert Museum, Online Museum. “Bernini's Neptune and Triton.” 'Neptune and Triton' by Gianlorenzo Bernini. Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL. Telephone +44 (0)20 7942 2000. Email vanda@vam.ac.uk, August 22, 2013. http://www.vam.ac.uk/content/articles/n/berninis-neptune-and-triton/. Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000): 383–408. http://www.jstor.org/stable/30222585. Publisher An entity responsible for making the resource available Albert Museum Date A point or period of time associated with an event in the lifecycle of the resource 1622-23 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 182.2 cm Type The nature or genre of the resource Marble Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Victoria and Albert Museum of London https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Still_Life_with_Fruit_on_a_Stone_Ledge_/Fruit_Caravaggio.jpeg 021156a773cae5b2fbf88d4448dc10bc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still Life with Fruit on a Stone Ledge Description An account of the resource "Still Life with Fruit on a Stone Ledge," oil on a 105 x 84cm canvas dated to around 1603, depicts various fruits including grapes, pomegranates, watermelon, and more sitting atop a stone ledge [1]. The painting is thought to have been created in Caravaggio's personal residence [2]. The painting features Caravaggio's iconic theatrical diagonal lighting, adding a thrust of motion to still objects. Several of the fruits, such as the melons, are sliced and spilling out almost as if they are moving. No single fruit is in focus; instead a variety of fruits in different shapes, sizes, and colors comprise the image. Contrastingly, Garzoni's "Plate of Figs" focuses on a singular produce and embraces the stillness. Caravaggio's use of oil paints allows for strongly pigmented, glossier colors adding a dramatic feel to his painting, while the use of gouache in Garzoni's piece retains a matte finish and utilizes texture from water lends it a more grounded, natural appearance. Similarly, the significantly larger size of Caravaggio's still life adds to its theatrical grandiose feel as compared to Garzoni's miniature. Caravaggio's still life is more representative of themes during the Baroque period at large, while Garzoni's use of medium, painting style, and focus creates a more naturalistic message. [1] “Still Life with Fruit on a Stone Ledge.” Still Life with Fruit on a Stone Ledge by Caravaggio. Caravaggio.net. Accessed October 14, 2021. http://www.caravaggio.net/still-life-with-fruit-on-a-stone-ledge/. [2] De Groft, Aaron, ed. “Caravaggio Still Life with Fruit on a Stone Ledge.” Papers of the Muscarelle Museum of Art 1 (2010): 1–160. Creator An entity primarily responsible for making the resource Michelangelo Merisi da Caravaggio Source A related resource from which the described resource is derived De Groft, Aaron, ed. “Caravaggio Still Life with Fruit on a Stone Ledge.” Papers of the Muscarelle Museum of Art 1 (2010): 1–160. “Still Life with Fruit on a Stone Ledge.” Still Life with Fruit on a Stone Ledge by Caravaggio. Caravaggio.net. Accessed October 14, 2021. http://www.caravaggio.net/still-life-with-fruit-on-a-stone-ledge/. “ArtsViewer.com.” Caravaggio, picture Still Life with Fruit on a Stone Ledge 1605-1610 | ArtsViewer.com. Accessed October 14, 2021. http://artsviewer.com/caravaggio-40.html. Publisher An entity responsible for making the resource available The Fitzwilliam Museum Date A point or period of time associated with an event in the lifecycle of the resource 1603 Contributor An entity responsible for making contributions to the resource Meena Gudapati Rights Information about rights held in and over the resource Denver Art Museum Format The file format, physical medium, or dimensions of the resource Oil on canvas, 105 x 84cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Denver Art Museum, Denver, USA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marvellously gifted’: Giovanna Garzoni’s first visit to the Medici court Creator An entity primarily responsible for making the resource Sheila Barker Source A related resource from which the described resource is derived Barker, Sheila. “‘Marvellously gifted’: Giovanna Garzoni’s first visit to the Medici court.” Burlington Magazine 160 (2018): 654-59. Publisher An entity responsible for making the resource available The Burlington Magazine Date A point or period of time associated with an event in the lifecycle of the resource 2018 Contributor An entity responsible for making contributions to the resource Meena Gudapati Rights Information about rights held in and over the resource The Burlington Magazine Format The file format, physical medium, or dimensions of the resource PDF of article Type The nature or genre of the resource Document Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Online, The Burlington Magazine Description An account of the resource Barker's article posits evidence based hypotheses about the art of Garzoni's career, and provides a primary source telling of Garzoni's youth. Garzoni was an acting artist even at adolescence, thought to have had her first patron, Grand Duchess Maria Magdalena as a child. Garzoni's trip to the Medici court in Florence also happened at a young (undetermined) age. Scholars hypothesize that this visit to the court prior to 1625 was when Garzoni encountered several arts influential to her life and work including Ligozzi, notable for scientific depictions of natural objects, and Artemisia Gentileschi. The article features a direct translation of a letter about Garzoni from Cristofano Bronzini to the Tuscan court. He describes he describes as "being about 15 years old, and who was born in [the] fortunate century of 1605." He goes on to praise her heavily not only on her visual art, but for her singing, beauty, calligraphy, and "grace and tenderness." Bronzini discusses how Garzoni paints miniatures on vellum with subject matter of "festoons, plant leaves, flowers, fruits and various animals." Bronzini's description of Garzoni shows that even at the early age of 15, Garzoni had already found her focus in both media and subject matter in art. She was recognized at an early age, and as a result made visits to courts in numerous countries through her long career lending a global influence on her art. Encountering artists in the Medici court and beyond, Garzoni was more fortunate than other women artists in her access to mentors. https://www.baroque.dahvc.org/fall-2021/files/original/Illusion_and_the_Baroque_Ceiling_Fresco/Triumph_in_the_Name_of_Jesus/Gaulli_Triumph_in_the_Name_of_Jesus.jpg 42523aca833d9cdc41fe4b5a755c27b9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Illusion and the Baroque Ceiling Fresco Description An account of the resource A collection of Italian Baroque ceiling frescoes demonstrating emerging techniques for painted illusion, such as di sotto in sù and quadratura. Creator An entity primarily responsible for making the resource Various artists Source A related resource from which the described resource is derived Enggass, Robert. “Bernini, Gaulli, and the Frescoes of the Gesù.” The Art Bulletin 39, no. 4 (1957): 303–5. https://doi.org/10.2307/3047734. "Illusionism." Grove Art Online. 2003; Accessed 13 Oct. 2021. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000039956. Lavergnee, Arnauld Brejon de. "The great illusionists." UNESCO Courier, September 1987, 30+. Gale OneFile: CPI.Q (accessed October 12, 2021). https://link.gale.com/apps/doc/A6133957/CPI?u=duke_perkins&sid=summon&xid=e32d1bb3. Wheeler, Katherine. “Fictive and Real Architecture: A Preliminary Drawing for Andrea Pozzo’s Vault Fresco at Sant’Ignazio, Rome.” Thresholds, no. 28 (2005): 100–153. http://www.jstor.org/stable/43876210. Publisher An entity responsible for making the resource available Various publishers Date A point or period of time associated with an event in the lifecycle of the resource Baroque period (1600-1750) Contributor An entity responsible for making contributions to the resource Eliza Henne Format The file format, physical medium, or dimensions of the resource Fresco/Stucco Type The nature or genre of the resource Ceiling frescoes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Various locations Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Triumph in the Name of Jesus Description An account of the resource Triumph in the Name of Jesus is the most well-known of Giovanni Battista Gaulli’s frescoes decorating Il Gesù in Rome. Gaulli, commonly known as Baciccio, was mentored by Gian Lorenzo Bernini, an outstanding figure in the Italian art world. He received the commission for Il Gesù’s ceiling frescoes through his connection to Bernini, who directed him towards the commission competition and recommended him to the Jesuit order. Gaulli caters to the order’s interests; the fresco is built on Jesuit symbolism and direct spiritual appeal. The central Jesuit monogram radiates light onto the surrounding angels and holy beings as they look up towards it in awe. As the virtuous marvel among the clouds, the damned souls tumble as if falling towards the viewer. Around the stucco frame of the main fresco, stucco sculptures of angels interact with frescoed portions of the ceiling and blur the line between the two-dimensional and three-dimensional elements of the work. Gaulli’s work in this fresco builds on the innovations in perspective and illusion explored by Pietro da Cortona while incorporating the painting skills he learned from Bernini. The painting opens the ceiling to the sky, and Gaulli uses the di sotto in sù effect to lend a certain physicality to the image of heaven. The dramatic shrink in the size of the figures suggests a perceivable distance between heavenly and earthly planes; this inspires an emotional response to the immediacy of heaven, supplementing Jesuit belief in missionary work and active religious participation. Gaulli adds to his three-dimensional illusion by adding dark glazed areas on the vault where the painted clouds and figures would theoretically cast shadows as they obstruct the blazing light. The contrast of lighter and darker sections of the overall image as a compositional method highlights the Baroque painting style that was well-established by that time. Creator An entity primarily responsible for making the resource Giovanni Battista Gaulli (Baciccia) (1639-1709) Source A related resource from which the described resource is derived Enggass, Robert. “Bernini, Gaulli, and the Frescoes of the Gesù.” The Art Bulletin 39, no. 4 (1957): 303–5. https://doi.org/10.2307/3047734. This source explores the fresco work of Giovanni Battista Gaulli, commonly known as Baciccio, in the decoration of the Gesù cathedral in Rome. An introductory biography of Baciccio provides his background as a pupil of Gian Lorenzo Bernini, and the following material gives an overview of his various works within the cathedral, particularly his ceiling frescoes. The well-known Triumph in the Name of Jesus fresco is discussed in terms of both its technical and emotional prowess. Publisher An entity responsible for making the resource available Gaulli, Giovanni-Battista, 1639-1709. 1676-79. Triumph in the Name of Jesus. https://library.artstor.org/asset/ARTSTOR_103_41822000819514. Date A point or period of time associated with an event in the lifecycle of the resource 1676-79 Contributor An entity responsible for making contributions to the resource Eliza Henne Rights Information about rights held in and over the resource The Service Platform and Content. The Service platforms and any trademarks, issued patents, and patent applications, copyrights and copyright registrations and applications, rights in ideas, designs, works of authorship, derivative works, and all other intellectual property rights (collectively, “Intellectual Property”) relating to the Service platforms are proprietary to ITHAKA and all Intellectual Property related to the Content provided by ITHAKA’s participating libraries, universities, publishers, scholarly societies, and other Content contributors are proprietary to them, subject to the rights of third parties. Format The file format, physical medium, or dimensions of the resource Stucco/Fresco Type The nature or genre of the resource Ceiling fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Il Gesù, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/Sant_Ivo_alla_Sapienza/1.jpg a762f7ef9579a8f38f6d519e16c775f2 https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/Sant_Ivo_alla_Sapienza/2.jpg a102f41ea6ffbc3fe440402ccd6960ce https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/Sant_Ivo_alla_Sapienza/3.jpg fbb39b4ec4611695309563ca081e2f40 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Francesco Borromini Contributor An entity responsible for making contributions to the resource Michael Greenstein Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sant'Ivo alla Sapienza Description An account of the resource This church, consecrated in 1660, represents another architectural feat and masterpiece of Borromini. Like in San Carlino, Borromini utilizes a novel geometric plan to erect the church unobtrusively in the context of its surroundings. In fact, the architect makes use of the surrounding courtyard of Della Porta to develop a façade that seamlessly transitions between the exterior and interior. Borromini continues to play with ideas of fluidity and dynamism in the solid structure. Sant’Ivo alla Sapienza was built as a Roman Catholic church sitting amidst the courtyard of the Palazzo della Sapienza – the palace of the University of Rome. Borromini draws upon these environmental influences as he incorporates both intelligence and innovation into his design. Notably, these two forces intersect at the spiraling lantern atop the church's external face. A convergence of bending metals coalesces into a large golden orb upon which an artistic cross sits. The structural meaning and resemblance of this element remain a topic of debate. Perhaps this was Borromini’s intention, to construct something that would remain in the intellectual conversation for generations to follow. Nonetheless, the dynamic interactions of the many elements of the lantern offer biblical and more practical theories of why it was contrived. Such ambiguity is furthered when entering the church. There is an anamorphic structural interior, characteristic of Borromini. Pulsing pilasters are organized throughout providing structural integrity. However, these pilasters also add to the discombobulating effects of concavity found in the bays of the church. Yet, there is a calming resolution to the unnerving experience as the dome atop draws, viewers, upwards. The heavens are depicted overhead, with the rhythmic ribbing of the dome melting into its apex. While his architectural feats are loud and boisterous, Borromini himself was extremely reserved and introverted. Indeed, there are few primary recounts of conversations and interactions Borromini had during the time of the construction of Sant'Ivo alla Sapienza. Thus, many have relied on original building plans and their evolution over time as a written record of architectural language for Borromini. However, there seem to be competing plan records that rely on competing geometrical patterns. Alas, the beauty of the church is furthered by many of the mysteries of its construction. Creator An entity primarily responsible for making the resource Francesco Borromini Source A related resource from which the described resource is derived Connors, Joseph. “Borromini’s S. Ivo Alla Sapienza: The Spiral.” The Burlington Magazine 138, no. 1123 (1996): 668–82. http://www.jstor.org/stable/887143. Francesco Borromini. Sant’Ivo Alla Sapienza, Exterior, Lantern. Images, n.d. https://jstor.org/stable/community.15996748. Francesco Borromini. Sant’Ivo Alla Sapienza. Images, n.d. https://jstor.org/stable/community.14680880. Francesco Borromini. Sant’Ivo Alla Sapienza. Images, n.d. https://jstor.org/stable/community.14699177. Hatch, John G. “The Science behind Francesco Borromini’s Divine Geometry.” Architecture and Mathematics from Antiquity to the Future, 2014, 217–29. https://doi.org/10.1007/978-3-319-00143-2_14. Scott, John Beldon. “S. Ivo Alla Sapienza and Borromini’s Symbolic Language.” Journal of the Society of Architectural Historians 41, no. 4 (1982): 294–317. https://doi.org/10.2307/989801. Smyth-Pinney, Julia M. “Borromini’s Plans for Sant’Ivo Alla Sapienza.” Journal of the Society of Architectural Historians 59, no. 3 (2000): 312–37. https://doi.org/10.2307/991646. Publisher An entity responsible for making the resource available Pope Urban VIII Date A point or period of time associated with an event in the lifecycle of the resource 1660 Contributor An entity responsible for making contributions to the resource Michael Greenstein Rights Information about rights held in and over the resource ITHAKA encourages Authorized Users to engage in research activities, including downloading or printing Content in reasonable amounts for non-commercial, scholarly purposes, as well as use the Content on its platform in the following ways (as long as you abide by the prohibited uses in Section 4 below) (collectively the “Permitted Uses”): in student assignments, educational presentations, and student or faculty curatorial portfolios (so long as such use conforms to the customary and usual practice in the field), or in research papers or dissertations, including reproductions of the dissertations (provided such reproductions do not include Books, and are only for personal use, library deposit, and/or use solely within your Institutional Licensee); Format The file format, physical medium, or dimensions of the resource 27 m x 26 m Type The nature or genre of the resource Church Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Cupola_of_Santa_Maria_in_Valicella/chiesaNuovaCupola.jpg c6f34d8f8dd223edb06b73d4f0f8d805 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cupola of Santa Maria in Valicella Description An account of the resource Commissioned in 1646, this work was a tremendous undertaking to fresco the cupola of the Chiesa Nuova for the Oratorians. Cortona also painted a second ceiling fresco in the same church. This fresco has historically been called "The Trinity in Glory" and "The Glorification of the Instruments of the Passion". Creator An entity primarily responsible for making the resource Pietro da Cortona Source A related resource from which the described resource is derived Ronen, Avraham. "Divine Wrath and Intercession in Pietro Da Cortona's Frescoes in the Chiesa Nuova." Römisches Jahrbuch Der Bibliotheca Hertziana 25, (1989): 179. https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/scholarly-journals/divine-wrath-intercession-pietro-da-cortonas/docview/1302118352/se-2?accountid=10598. “A Drawing by Cortona for the Chiesa Nuova, Rome.” The Burlington Magazine 122, no. 926 (1980): 341–42. http://www.jstor.org/stable/879972. Publisher An entity responsible for making the resource available Cardinal Francesco Barberini Pietro da Cortona. Trinity in Glory. Images, n.d. https://jstor.org/stable/community.14479146. Date A point or period of time associated with an event in the lifecycle of the resource 1647-1651 Contributor An entity responsible for making contributions to the resource Kyle Campbell Type The nature or genre of the resource fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Maria in Valicella, Rome, Italy Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. https://www.baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Damned_Soul/Bernini_-_Damned_Soul.jpeg 1f55d6d5edf12b01f3722ac7e062a2cd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gian Lorenzo Bernini - "Unity of the Visual Arts" Contributor An entity responsible for making contributions to the resource Meena Gudapati Description An account of the resource As a renowned sculptor, architect, and painter, Bernini fused all three media in several of his works. Art historian Irving Lavin published the book "Bernini and the Unity of Visual Arts" exploring in depth Bernini's synthesis of the media. Through my project, I will explore works of Bernini's to validate Lavin's widely known thesis. In addition to looking at works that more explicitly combine sculpture, architecture, and painting, I will look at individual works that show how Bernini looked beyond any norms and constraints of a medium. For example, through an analysis of his busts, we see how Bernini captured motion in a way that was previously restricted to paintings. Through this analysis of Bernini's more implicit methods of fusing media, I will endorse the term of Bernini's "Unity of Visual Arts". Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Damned Soul Description An account of the resource Damned Soul, a marble bust created by Bernini in 1619, depicts a male face with a twisted, painful expression [1]. The eyebrows are deeply arched, the mouth is open revealing a full set of teeth, and the head faces the left as if looking away at something. The bust has unruly hair in large pieces appearing ablaze. Constraining focus to the face, the piece only includes the neck and collarbone of the figue, leaving out the shoulders and chest as is often done in other busts. Commissioned in conjunction with Blessed Soul, the sculpture is one of Bernini’s early works - he began creating it at 20 years old. With lofty a goal of depicting the human soul in marble, Benini appeals to the human senses. Viewers can almost feel the heat from his flaming hair, hear his screams, and see the pain of the figure depicted. Bernini accomplishes this by capturing a moment of instantaneous motion though the uncomfortable rotation and grimace of the bust. This early work is a reflection of Bernini’s style at large - fleeting motion and emotion are captured eternally though form and figure. Bernini’s son, Domenico Bernini, wrote that the older Bernini set fire to his leg to understand and capture the agony that would result from the pain. Similarly, some scholars have hypothesized that Bernini inflicted pain on himself in the creation of Damned Soul. Even suspected to potentially be a self-portrait, Damned Soul retains facial features referencing that of Bernini [2]. Damned Soul delineates how while a specific medium served as a tool for Bernini’s art, it did not constrain his intended message. Bernini broke boundaries and conventions of creating busts of restful poses, and captured an emotion that would more typically be captured through painting. His willingness to try an capture the human soul at such a young age is a reflection of his boldness and conviction as an artist. Bernini looked beyond the medium, which ultimately allowed him to “unite visual art”. [1] “Damned Soul.” Damned Soul by Gian Lorenzo Bernini. Accessed October 18, 2021. http://www.gianlorenzobernini.org/damned-soul/. [2] Rowland, Ingrid D. “Bernini: He Had the Touch.” The New York Review of Books. NYREV, July 21, 2020. https://www.nybooks.com/articles/2015/06/04/bernini-he-had-touch/. Creator An entity primarily responsible for making the resource Bernini Source A related resource from which the described resource is derived Montagu, Jennifer. “Bernini and the Unity of the Visual Arts.” The Burlington Magazine 124, no. 949 (1982): 240–43. http://www.jstor.org/stable/880696. Rowland, Ingrid D. “Bernini: He Had the Touch.” The New York Review of Books. NYREV, July 21, 2020. https://www.nybooks.com/articles/2015/06/04/bernini-he-had-touch/. “Damned Soul.” Damned Soul by Gian Lorenzo Bernini. Accessed October 18, 2021. http://www.gianlorenzobernini.org/damned-soul/. Publisher An entity responsible for making the resource available Piazza di Spagna, Date A point or period of time associated with an event in the lifecycle of the resource 1619 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource Image of marble bust Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Piazza di Spagna, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Gian_Lorenzo_Bernini_-_Unity_of_the_Visual_Arts_/Blessed_Soul/Blessed_Soul_by_Bernini.jpeg 7d341c03255c6801219310da10750d4f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gian Lorenzo Bernini - "Unity of the Visual Arts" Contributor An entity responsible for making contributions to the resource Meena Gudapati Description An account of the resource As a renowned sculptor, architect, and painter, Bernini fused all three media in several of his works. Art historian Irving Lavin published the book "Bernini and the Unity of Visual Arts" exploring in depth Bernini's synthesis of the media. Through my project, I will explore works of Bernini's to validate Lavin's widely known thesis. In addition to looking at works that more explicitly combine sculpture, architecture, and painting, I will look at individual works that show how Bernini looked beyond any norms and constraints of a medium. For example, through an analysis of his busts, we see how Bernini captured motion in a way that was previously restricted to paintings. Through this analysis of Bernini's more implicit methods of fusing media, I will endorse the term of Bernini's "Unity of Visual Arts". Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Blessed Soul Description An account of the resource The marble bust Blessed Soul, or Anima Beata, was created in 1619 along with Damned Soul when Bernini was only 20. The piece is thought to have been commissioned by Cardinal Pedro Foix de Montoya [1]. The bust depicts a woman looking up toward heaven with a slightly open mouth with an almost absent expression. She wears a crown of flowers atop her long, curly hair, and the bust, like Damned Soul, cuts off around her collarbone and neck. While Damned Soul captures an intensity of emotion and pain, the woman in Blessed Soul almost appears absent from life, fixated on looking toward heaven. The parted lips and slight head tilt add an aura of innocence to the woman's expression. While the emotion is far less eminent in Blessed Soul than in Damned Soul, Bernini still captures an instantaneous motion and emotion rather than capturing a figure at rest. With her head tilted, lips parted, and eyes looking upward, the woman looks as though she is about to speak or perhaps ascend to heaven. Though the purity in her face is clear, the absence of life and emotion almost leaves a negative connotation on going to heaven [2]. The Damned Soul clearly experienced agony, but appears more alive with such intensity of emotion. Bernini again used sculpture as a media to depict an expression that may have more typically been seen in oil portraiture prior to the Baroque period. Through next examining a portrait of Caravaggio, this connection can be understood. Once again looking beyond a medium’s history and standard uses, Bernini established himself as a visionary almost agnostic to the medium he was working with. His paintings, sculptures, and architecture are connected by their dynamic nature. [1] “Anima Beata (the Blessed Soul).” Sotheby's. Sotheby's. Accessed October 18, 2021. https://www.sothebys.com/en/buy/auction/2021/tomasso-the-more-a-thing-is-perfect/anima-beata-the-blessed-soul. [2] Rowland, Ingrid D. “Bernini: He Had the Touch.” The New York Review of Books. NYREV, July 21, 2020. https://www.nybooks.com/articles/2015/06/04/bernini-he-had-touch/. Creator An entity primarily responsible for making the resource Bernini Source A related resource from which the described resource is derived Montagu, Jennifer. “Bernini and the Unity of the Visual Arts.” The Burlington Magazine 124, no. 949 (1982): 240–43. http://www.jstor.org/stable/880696. Rowland, Ingrid D. “Bernini: He Had the Touch.” The New York Review of Books. NYREV, July 21, 2020. https://www.nybooks.com/articles/2015/06/04/bernini-he-had-touch/. “Anima Beata (the Blessed Soul).” Sotheby's. Sotheby's. Accessed October 18, 2021. https://www.sothebys.com/en/buy/auction/2021/tomasso-the-more-a-thing-is-perfect/anima-beata-the-blessed-soul. Publisher An entity responsible for making the resource available Piazza di Spagna Date A point or period of time associated with an event in the lifecycle of the resource 1619 Contributor An entity responsible for making contributions to the resource Meena Gudapati Format The file format, physical medium, or dimensions of the resource Image of marble bust Type The nature or genre of the resource Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Piazza di Spagna, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/S._Maria_in_Vallicella_[Chiesa_Nuova]/chiesaNuovaFacade-2.jpg 48aed93086f50eb277c9e62e0bfbbf81 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource S. Maria in Vallicella (Chiesa Nuova) Creator An entity primarily responsible for making the resource Longhi, Martino, the Elder, Italian, c.1534-c.1593, Rughesi, Fausto, Borromini, Francesco Source A related resource from which the described resource is derived Longhi, Martino, the Elder, Italian, c.1534-c.1593, (architect), Rughesi, Fausto, (architect), and Borromini, Francesco, (associated architect). S. Maria in Vallicella (Chiesa Nuova). Images, n.d. https://jstor.org/stable/community.15664661. Publisher An entity responsible for making the resource available Publication: Pinto digital images (8/01), Data and image from John A. Pinto Collection, Princeton University, Department of Art and Archaeology Date A point or period of time associated with an event in the lifecycle of the resource Begun 1575 Contributor An entity responsible for making contributions to the resource Kyle Campbell Rights Information about rights held in and over the resource For uses of Licensor's Images beyond those permitted by Artstor, please contact: Visual Resources Collection, Princeton University, Dept. of Art and Archaeology, 207 McCormick Hall, Princeton, NJ 08544-1018; Tel No: (609) 258-3776; Email: visres@princeton.edu Format The file format, physical medium, or dimensions of the resource Facade - Architecture Type The nature or genre of the resource Church Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy