Transcript Slide 1

Are the Wölfflinian principles really “a set of stylistic qualities?”
(p. 14, col. 1)
linear/painterly
plane/recession
closed/open form
multiplicity/unity
absolute/relative clarity
Are the terms “irregular, bizarre, uneven, strange, and awkward,”
sufficient and satisfactory when we come to identifying from what we see
works which are said to belong to the Baroque? (p.13, col.1)
What is the difference between “symptom” and “syndrome?” Invent a
modern-day example of each. (p. 15, col.2)
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Does a hierarchy of genres exist today? If you think so, make a prioritized list.
(p. 19, col. 2)
allegorical*, folk art, genre painting, graffiti, landscape,
literary*, military*, mythological*, performance, portraiture,
religious*, seascapes, still life
*traditionally grouped as “history”
What do you understand (from Minor’s admittedly sketchy discussion) the
word “concetto” to mean? (p. 20, col. 2)
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What do you understand to be the concetto behind Rembrandt’s Danae? Behind
Kienholtz’s State hospital?
Explain how a Baroque time-traveler might see as “marvelous” the “shock and
awe” intended to result from the (unprovoked) invasion of Iraq. (p. 22, col1).
The collapse of the twin towers on 9/11.
Monumental canvases were featured in "E-werk," a 1994 exhibition. “In This Town,”
Lukacs depicts young workers with trademark shaved heads momentarily pausing
from their backbreaking work. Although interpretable as a social commentary on
the state of political affairs in post-unified Germany, the grimy, fleshy youths are
presented in such a way that
the gay male viewer may linger
with an erotic gaze on their
labor formed pectorals and
sweat covered limbs.
To what extent would our time-traveler agree
that Attila Richard Lukacs’s work exemplifies
the Baroque concept of spectacle?
From “E-werk” series, exhibited 1994
LOVE IN UNION: “Amorous meeting,”
1992, oil on canvas, 118.8 x 79 inches
Do both these details from the
Sistine Ceiling include quadri
Riportati?
A quadro riportato is a painted
Illusion which looks like a real
framed two-dimensional painting
glued to the ceiling.
Do you agree that both ceilings show the use of “quadro riportato” (transported picture)?
Ceiling fresco, 1597-1602, Fresco, Palazzo Farnese, Rome
Ceiling by Baciccio (painting) and Antonio Raggi and Leonardo
Retti (stuccoes),1679, Church of the Gesù, Rome