Monday, October 11, 2010
Caravaggio, St. Jerome Writing, c 1600
Diego Velasquez, Old Woman Frying Eggs, 1618
Diego Velasquez, The Waterseller at Seville, 1623
This week we saw high-contrast chiaroscuro in Jarman's "Caravaggio," and talked about the cinematic drama of baroque painting and how it functioned for a struggling Catholic church. The paintings and sculptures at the end of the renaissance and into the baroque began to favor dynamism over classical symmetry and depictions of flesh over divine iconography.
Why do you think that in the baroque paintings we've looked at (and those above) perspective has become such a secondary strategy?
Also, we talked about the anachronistic props in the film at the end of class. Can you think of other examples of films or artworks that incorporate techniques, styles, or subjects from various time periods--and to what effect?