Thursday, February 28, 2013

Time: 1581-1582
Style:  manirerismo Italian
Artist; Juan de Bolonia
Material and Technique: marble
Location: Loggia dei Lanzi ( Florence, Italy)

Iconographic analysis

Name: the kidnapping of the Sabina
Type of building and function: the scultures hows a scarty iconography without accesory or symbols convencionals

Formar analysis

Composition, space and decoration: is realized by it an alone black of white marble composed by three pronnient figure
Size: high 4,10m


The picture it shows the mythological episode of the " kidnapping of the sabinas" on the part of  founders of Rome

Name: 1599-1600
Style: Baroque
Artist: Caravaggio
Material and technique: Oil on canvas
Location: San luigi dei Francesi( Rome)

Iconographic analysis

Name: The calling of St Matthew
Type of  building: It's a painting of Caravaggio

Formar analysis 
Composition, space and decoration: the saint this one sat in fornt of to able with a group of persons garment as the contemporany ones of Caravaggio as in a scene on taverne
Size: 3,38m x 3,48m

 The painting  represent the history that narrates in the gaspeñ as St Matthew

Tuesday, February 26, 2013

Plaza Mayor (Salamanca) & "Las Lanzas"

Plaza Mayor in Salamanca

File:Salamanca Plaza Mayor por la tarde.jpg

Time: 1729 - 1756

Style: Spanish Baroque

Artist: Alberto de Churriguera

Material and technique: Sandstone and stone from Villamayor. It's an irregular square surrounded by buildings

File:Plaza Mayor Night.JPG
City Hall
At the front of the plaza we find the City Hall, one of the most important icons of the site. It was designed by Andrés Garcia de Quiñones in a baroque style which match with the plaza.It is lined by restaurants, ice cream parlors, tourist shops, jewelry stores and a pharmacy along its perimeter except in front of the city hall. It is considered the heart of Salamanca and is widely regarded as one of the most beautiful plazas in Spain

Its iconographic program consist of an ensemble of "medallones". These are more than eighty eight small portraits of famous Spanish personalities which represent the history of Spain.

Carlos V de la Plaza Mayor de Salamanca.jpg

Formal analysis

Size: As said before, it forms an irregular square, where none of its sides measure the same. The facade of the City Hall is 82'60 m long, the west, 81'6 m, one more meter than the oriental facade, and the other one 75'59 m. To sum up, the plaza has an are of 6400 square meters, excluding the colomnade.

"The surrender of Breda" or "Las Lanzas"

File:Velázquez - de Breda o Las Lanzas (Museo del Prado, 1634-35).jpg

Time: 1634-1635

Style: Baroque

Artist: Diego Velázquez

Material: Oil on canvas

The picture shows the capture of Breda after its siege, one of the major Spanish successes in the latter stages of the Eighty Years' War. The Spanish army was led by one of the best strategist under his service, Ambrosio de Spinola. The city was the seat of the Orange family, so its oficial was Nassau-Orange. The strategy of Spinola is regarded as a masterpiece. However, the heroic defense defense led to honorable terms of defeat, so Spinola let Duch army to form outsidethe walls of the city. 

Time: 1603-1606
Style: Baroque
Artist: Juan Martinez Montañés
Material and technique: It is made of cedar wood.
Location: Cathedral of Seville

Iconographic analysis
Name: Crist of Clemency
Type of building and function: It was order to build by a canon of Seville for a particular oratory.

Formar analysis
Composition, space and decoration: It represents the God of the Christians when he died in the cross. You can see the blood and the crown of thorns.
Size: heigh 1.90 metres

Meaning: This is very Catholic because is the God of the Christians. This crucifix shows nobility, calm and honour.

Time: 1665-1666
Style: Baroque
Artist: Veermer de Delft
Material and technique: oil on panel
Location: Mauritshuis's museum

Iconographic analysis
Name: The young girl with the pearl 
Type of building: It's a picture of Veermer de Delft

Formar analysis
Composition, space and decoration: a young girl with a headscarf, the pearl is on her ear.
Size: 25.7 x 19cm

Meaning: this painting was important for a novel by Tracy Chevalier. The most important thing of this picture is the pearl that is on the ear of the girl. This can be a symbol of a wedding.

Monday, February 25, 2013


Historical and artistic context

-Time: In 1710.18th century.

-Style: Baroque.

-Artist: Antoine Coysevox.

-Material and technique: Made of white marble.Architecture.

-Location: Louvre Museum.

Iconographic analysis

-Name: Sculpture of ''María Teresa de Saboya''.Duchess of Borgoña.

-Type of building: Sculpture with the mythological representation of the goddess Diana.It's located in the Louvre Museum but the sculpture come from the Palace of Versailles.

Formal analysis

-Composition, space, decoration: 
This is an usual sculpture of the Baroque art, made up of marble, represented María Teresa de Saboya as the goddess Diana.You know that Diana in the Roman mythology, is the goddess of the hunt, so that's why she is taking a dog.

-Size of the sculpture: 
The sculpture measure about 240 cm.

The sculpture was created in 1710, a year before the death of María Teresa. In this sculpture the artist wants show the Duchess of  Borgoña such as a protective of the nature and with a wild bearing.


Historical and artistic context

-Time: 1636-1639.

-Style: 17th century, Baroque.

-Artist: Peter Paul Rubens.
-Material and technique: Oil on boards.

-Location: Prado Museum.

Iconographic analysis

-Name:The three Graces.

-Type of paint: This paint was done by oil and it's belong to the Baroque art.

Formal analysis

-Composition, space and decoration: 
The composition respects the classical model that represent the Graces totally nude, with a extreme white skin, and assembled, the veil that cover the Graces and the watchs produce more unit.They form a circle.The paint is colourful , warm, and with a beautiful lanscape, there are a tree, flowers and a fountain.

-Size of the paint:
221cm x 181cm

The three women are characterized for the bombast of their bodies, people say that one of the woman is the wife of Rubens.The paint was donated to Felipe IV of Spain for decorate the rooms of his mansion and them for decorate the rooms of the Alcazar of Seville.

Sunday, February 24, 2013

Apollo and Daphne.

Historical and artistic context:

-Time: 1622-1625.

-Style: Baroque.

-Artist: Gian Lorenzo Bernini.

-Material and technique: Marble

-Location: Galleria Borghese (Rome)

Iconographic analysis:

-Name: Apollo and daphne.

-Type of work of art and function: It is a sculpture which you can find in Rome, exactly in "Galleria Borghese". This sculpture was designed by Gian Lorenzo Bernini which is the auntor of more famous sculptures for instance: David, Santa Teresa, Beata Ludovica. It is the representation of a myth, is the representation of the transformation of Dafne into a tree.

Formal analysis: 

-Composition, space, decoration: As you know this a baroque sculpture, so the contrast of the element and the technique "Chiaroscuro" predominate in this sculpture. We can see techniques typical of baroque times. It is life-sice marble sculpture and it was created in two marble's colums .

-Size of the sculpture: It is a life-size. It is about 2.43 m because of the rock that is below them.


-Apollo laughed of Eros because he was playing with arrows, so Apollo was punished with a golden arrow in the heart and Eros threw an iron arrow to Daphne. The golden arrow make people fall in love and the iron arrow means hate somebody. Apollo fell in love with Daphne, and Daphne hates Apollo.
Gods helped Apollo to catch up Daphne. When Apollo caught her, Daphne's father turned her into a tree. This sculpture represents this situation, Apollo and Daphne turning into a tree.

San Serapio.

Historical and artistic context:

-Time: 1628.

-Style: Baroque.

-Artist: Francisco de Zurbaran.

-Material and technique: Oil on canvas.

-Location: Wadsworth Atheneum, Harthford (U.S.)

Iconographic analysis:

-Name: San Serapio

-Type of painting:  It is a baroque painting by Francisci de Surbaran.It was a painting for the Convent of "Nuestra señora de la Merced calzada" to represemt Saint Serapion after a torture.

Formal analysis:

-Composition, space, decoration:  This picture is baroque so, we can see many characteristics tpical of this era like "chiaroscuro" this consist of using shades and light. We can see a man who looks like a prisioner with white tunic.

-Size of the paint: 120 cm x 103 cm.


-Francisco de Zurbaran wanted to reflect on this painting a soul which leave life because he can't find a reason to live.

Wednesday, February 20, 2013

Ecstasy of Saint Teresa

Historical and artistic context
  • Time: 1644-1652
  • Style: 17th century Baroque Art
  • Artist: Gian Lorenzo Bernini
  • Material and technique: White marble.  Arquitecture
  • Location:St Maria de la Victoria.Rome (Italy)

Iconographic analysis
  • Name: The Ecstasy of Saint Teresa
  • Type of building : It’s a sculpture in side the St M.Victoria Church.
Bernini in addition painted the chapel where the set was placed, to give its major realism and sensation of mysticism.This escultura placed so that when the sun goes out, it across the rosette illuminates the sculpture

Formal analysis
  • Compostion, space, decoration:
The effects are dramatical. Bernini has been employed the stone at waves of fabric, doing that Teresa has a more spiritual air. Wind that seems that it moves the clothes of the angel. This one smiles.It expresses physical pain in the face that according to Teresa, was joining a condition of divine happiness.

  • Size of the sculpture:
351 cm. The expressiveness of the work, the disorder of the figures highlight the characteristics of Baroque.

MEANING: The moment represents summit of her, ecstasy on having seen Christ. There is so royal the expression of happiness, which was with drawn from the public sight on the part of the Popes

The miracle of the well

Historical and artistic context
  • Time: 1638-1640
  • Style: 17th century Baroque Art
  • Artist: Alonso Cano (1601-1665)
  • Material and technique: Oil on canvas. Paint
  • Location: Prado’s museum. Madrid

Iconographic analysis

  • Name: El milagro del pozo
  • Type of paint : It’s a Barroque paint on oil on canvas, which was painted by Cano in Spain.

Formal analysis
  • Compostion, space, decoration: It’s in the Prado’s museum.

  • Size of the paint:  215 x 150cm

MEANING: it tells the salvation of a child for the employer of Madrid, san Isidro Labrador


·Historical and artistic context:

-Time: Between 1623 and 1624.
-Style: Baroque - Baroque Rococo.
-Artist: Gian Lorenzo Bernini.

-Material and technique: This statue was make with marble. The technique is unknow. 
-Location: In the Borghuese gallery (Rome)

·Iconographic analysis:

-Name: David
-Type of building and function:
It's a statue made of marble it was
designed by Bernini and in this sculpture he
wanted to represent the moment in which David's king 
beat to Goliat. 

·Formal analysis:

-Composition, space and decoration: Sculpture made with marble that represent to David's king after he beat Goliat. In this statue you can see paradigmatic qualities of the Baroque Art. Bernini did this sculpture for the cardinal Scipione Borghese. It measure is 170 cm high.

-Size of the sculpture: It's about 1' 70 m high, that means that the sculpture has real size.

-Meaning: As I had said before, the statue is a representation of the moment in which David beat to Goliat. In the face you can notice the feelings an the effort of David. The moment that represent the sculpture is located in the    
                                                           Old Testament.

·Do you like it? What do you think about this sculpture? 

                                                                                                I hope you like!

Wednesday, February 13, 2013


Historical and artistic context

-Time ( 1682-1696)
-Style : baroque
-Artist : Leonardo de Figueroa
-Localization : Sevilla, Andalucía.

Iconographic analysis

-Name: Saint Telmo Palace
-Function : Its construction began in 1682 to establish the headquarters of the school-seminar at the University of Merchants, and currently holds the Presidency of the Junta de Andalucía

Formal analysis

-Composition, space, decoration : It has a rectangular plan with several courtyards, one central towers at the four corners, chapel and gardens
The main façade stands the magnificent cover Churrigueresque
The cover features three bodies. The first consists of a door flanked with three columns on each side, the second by a balcony supported by Atlanteans with Indian issues, surrounding the woman's balcony twelve figures, allegories of the arts and sciences related to marine studies. Crowns the facade a set in which, framed by columns, is the figure of San Telmo, patron saint of sailors.


Historical and artistic context

-Time: 1671
-Style : Baroque Spanish
-Artist : Juan De Valdés Leal
-Material:  Oil on canvas
-Localization: Museum: Charity Hospital (Sevilla)

Iconographic analysis

-Name in ictus oculi

Formal analysis

-Composition, space, decoration : absolutely baroque style, sharply naturalistic and tenebrismo trend, with strong drawing, a colorful and loud and unsubtle monumental volumes. It has a particular sensitivity inclined toward the dramatic pictorial, with great lightness of touch and a special interest in expressiveness, starring his compositions at the expense of beauty and formal correctness.
His penchant for the macabre or grotesque theme, but with a lively sense of movement, bright colors and dramatic lighting

Saturday, February 9, 2013

 Front of the Obradorio of the cathedral of Santiago de Compostela


Historical and artistic context:


-Time: between 1728 and 1750.
-Style: Baroque art 18th century-
-Artist: Fernando Casas y Novoa
-Material and technique: grey granite. Plaster cast technique.
-Location: Cathedral of Santiago de Compostela (west facade).

Iconographic analysis:

-Name: Front of the Obradorio of the cathedral of Santiago de Compostela.
-Type of building and function: To protect the Portico of the Glory of the ruin that was threatening it, Fernando Casas and Nova, constructed the front of the Obradorio with a pyramidal style and with columns of fluted shaft, put into it others structures for the wide glazed vain ones that were serving to illuminate the zone of the feet of the temple.

Formal analysis:

-Compostion, space, decoration: It is characterized for having plant of Latin cross and a lateral constant ship that makes a detour to the principal ship. It has platform, cruise, girola and chapels absidales. The central ship covers with a tunnel vault and wings with vault of edge. It had nine towers, two in every front and three in the cruise. Of medieval trace, it receives additions in Renaissance and Baroque times.
It consists of three round arches, the head office divided by mullion, where one finds the figure of the own God looking to inside of the temple. In the jambs, the Apostles and prophets support sacred conversations. In the eardrum, the Salvador surrounded by four Evangelists. Between his chapels, the major guard the sepulcher of the Apostle Santiago. To the side there is the famous "Botafumeiro", that was a great censer of the 19th century. 

Size of the the front:

-It dimensions are about 97 metres tall and the two towers has some metres more tall, about 107.

Sunday, February 3, 2013

Saint Charle´s Church
Time: 1716-1737
Style:18th century Baroque art or Baroque Rococo
Artist:Johann Bernad Fischer Von Erlach and Joseph Emanuel Fischer Von Erlach
Material and technique: Limestone, and the high altar, the columns, the tabernacle is made of marble of Laa. The technique is eclecticism because mix roman style and Austrian inside.
Location : Vienna, Austria

Iconographic Analysis 
Type of building and function:It is a catholic church built in honour of Saint Charles Borromeo, who help the ill people with the plague.The church was build by Johann Bernad Fischer Von Erlach and him son , Joseph Emanuel Fischer Von Erlach. When Johamn died continued him son with a different style, the baroque of Roma. Nowadays is a active church.

Formal Analysis
Composition,space,decoration.The façade is form by a big front, in the middle there are a portico and two columns commemorative.That design is a inverted latin cross that copy the Saint Peter´s Square  because it is like a body with the arms open . In the centre have a elliptical cupola. Inside is decorate with some painting and fresco  like  Intercession of Charles Borromeo supported by the Virgin Mary

Size of the Church: 55m-40m  and the dome 70m

As I had said before the form of the church ,it is mean that God welcome all the people. Johann Bernad Fischer wanted  built the best church of the baroque 

Old Woman Frying Eggs

Artist:Diego Velazquez
Material and technique:Oil on Canvas
Location : National Gallery of Scotland

Iconographic Analysis 
Name:Vieja Friendo Huevos
Type of painting :.This painting was drew  in Seville.As is a painting of the baroque is dark

Formal Analysis
Composition,space,decoration: This picture take place in a dark kitchen (typical because in  baroque the painting are dark) .In this painting there are two person, a old woman and a young boy.The woman is frying eggs while the boy is hold a melon and a container with oil or wine.

This painting have a lot of  meaning  because during the year all the important painter have been talking about this painting.Some thought that is in common with the picaresque novel but other thought that is a meaning religious because the woman is looking at nothing like was looking at god. But in my opinion , I think that is a grandmother cooking for her grandson.