Browse Exhibits (14 total)

Analysis of Balthasar Permoser's Bust of Marsyas

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This exhibit will analyze the composition, form, and medium of Balthasar Permoser's Bust of Marsyas and its relationship with its source narrative. It will demonstrate how Permoser distilled the narrative into its most pivotal moment, the flaying of Marsyas, and how this is reflected in the piece. It will identify the characteristics of Baroque style present in the piece, Gian Lorenzo Bernini's influence on the piece, and its part in the movement as a whole.

Bernaert van Orley, "The Last Supper," 1524-1546

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This is an exhibition of the 16th century tapestry, "The Last Supper," designed by Bernaert van Orley and woven by Pieter Pannemaker. It takes a look at the ways van Orley uses certain elements to convey the narrative of the institution of the eucharist, and analyzes how both the Northern and Italian Renaissance influenced the tapestry's style. It is truly a tapestry of its own style, with a heightened narrative power that engages an audience and extravagant details/design that had never before been seen in a tapestry.  

Camille Corot, Hagar in the Wilderness, 1835

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This exhibit is an analysis of Camille Corot's 1835 painting Hagar in the Wilderness. It begins by exploring the narrative of the scene, moves to an examination of the style, and concludes with a video presentation regarding the overall atmosphere of the work.

Caravaggio, "The Denial of Saint Peter", ca. 1610

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This exhibition examines how Caravaggio's painting, "The Denial of St. Peter", re-interprets the Biblical description of St. Peter's betrayal of Christ. "The Denial", though firmly grounded in the Baroque period, lacks the exaggerated theatricality characteristic of 17th century religious art. Rather than emphasize material detail or divine intervention, Caravaggio distills the story to a single interaction. He manipulates light and shadow to highlight dramatic gestures and construct a scene of palpable emotional tension.           

Judith with the Head of Holofernes, David Teniers the Younger (1650s)

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This exhibit establishes David Teniers the Younger's Judith with the Head of Holofernes as a Flemish Baroque, allegorical painting. It analyzes the composition of the work in support of this identification. 

Jupiter, in the Guise of Diana, and Callisto

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A description and analysis of Ovid's Metamorphoses, Book II, and its relation to François Boucher's piece, Jupiter, in the Guise of Diana, and Callisto, as well as a discussion of its relationship with Rococo style painting. The Video Discussion examines Jupiter, in the Guise of Diana, and Callisto as an exemplary piece of Rococo art and how its placement within the Metropolitan Museum of Art emphasizes this.

Lucas Cranach the Elder "Judith and the Head of Holofernes", 1530

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This exhibition explores paintings associated with the Book of Judith. More specifically, paintings that depict the moment of and immediately after Judith's victory over the Assyrian general Holofernes. Her decapitation of the general leads to victory of the Isrealis and the fall of the Assyrian threat to them. We explore this narrative through analysis and comparison of Lucas Cranach the Elder's Judith Beheading Holofernes to other works of similiar subject matter or period style. 

Nicolas Poussin, "The Abduction of the Sabine Women", ca. 1633-34

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This exhibit examines Nicolas Poussin's The Abduction of the Sabine Women, featuring analyses of and comparisons with other artwork discussing the same subject, as well as other works from the French Baroque period. The exhibit is split into three sections: Narrative Style, which explores how The Abduction's subject matter informs its appearance, Period Style, which focuses upon determining The Abduction's place within its time period, and Video Presentation, which synthesizes the research of the first two sections into a broader look at the work as a whole. These three sections will demonstrate that The Abduction of the Sabine Women is the result of the marriage of a chaotic, multifaceted subject matter and the dramatic, intricate style of craftsmanship of the Baroque period.

Revelation at the Table: An Analysis of The Supper at Emmaus (Velázquez, 1622-23)

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How does Diego Rodríguez de Silva y Velázquez (1599-1660) express the revelation of the risen Christ? We explore the narrative behind Emmaus and the features of paintings in the Baroque period.

This exhibition is on The Supper at Emmaus, painted by Velázquez in 1622-23.

Velázquez's Supper deviates from traditional depictions of the Emmaus narrative. His experimentation with differing perspectives and his ability to draw the viewer into the drama of the artwork was unparalleled by his contemporaries. While his style falls under the Baroque period, Velázquez was a part of something greater: the Golden Age of Spanish art.

The Annunciation

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This exhibit contains a narrative examination of the biblical Annunciation, an analysis of Italian Renaissance painting, and a video presentation in reference to Botticelli's Annunciation painting.  

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