APAH: Baroque

San Carlo

Borromini, San Carlo Alle Quattro Fontane, 1638-1641. Masonry, white stone (marble and travertine), gold on friezes Rome, Italy. Italian Baroque Patron: Cardinal Francesco Barberini Dedicated to Saint Charles Borromeo. Borromini believed that the church shouldn't have a flat face; he wanted to give the building motion and depth, this is what he did. Demonstrated enhanced 3D effect with deep inward facing spaces to fight statues and such, niches, with were made of smaller columns forming entablatures. Utilized concave and convex to give greater impression of depth. The main support of the structure, are the Corinthian columns. Statues here were of those such as Saint Charles Borromeo (central figure), and Saint John on Martha and Saint Felix of Valois.

Frontispiece of Codex Mendoza

1542-completed 20 years after the Spanish Conquest of the New World-various unknown Aztec artists; front piece is done by Charles V of the Holy Roman Empire. Spanish Baroque/ New Colonies The blue border serves as a hieroglyphic story line; it begins in the top left hand corner and ends in the top middle. Charles V of the Holy Roman Empire crafted the front piece as a way of understanding Aztec history. Codex of Mendoza illustrates the founding of Tenochtitian Rule after the conquest of the Colhauchan and the Tehayuchan; also, the layout shows Aztec rulers and their daily lives in Mexico. Templo Mayer is located in the center window formed by Tenoch and the Eagle: the gray man with bloodletting coming from his ear and ashes covering his face, the Eagle comes from the ancient Aztec myth that God told the Aztecs to settle in the land where they found an eagle perched on a cactus growing out of a rock.

Caravaggio

1573-1610 "Anti-Christ of painting". His goal as an artist was to shock and offend: often used beggars, prostitutes, thieves and other grimy people as his models for the Divine. Caravaggio also wanted to inject naturalism within his spiritual and religious paintings. "Dark realism" was an idea he worked hard to display in his paintings through the use of constroversial models, chiaroscuro, and tenebrism. Caravaggio often featured himself in his paintings.

Artemisia Gentileschi

1593-1653 Gentileschi is the (only) notable female painter from the Baroque period. She apprenticed with her father when she was young, and received much of her inspiration from Caravaggio. The conflict between men and women, and heroic women, were narratives she focused her paintings and career on. Gentileschi was a victim of rape and this is proven within her paintings; although the rapist was acquitted (after she was tortured with thumbscrews to ensure her truthfullness), Gentileschi is still famous for being a feminist painter and producing highly emotional and personal works of women rising above men and being the heroin of the story.

Gianlorenzo Bernini

1598-1680 Rape of Proserphina (Persephone), Bernini's David, Ecstasy of Saint Teressa, Saint Peter's. First notable Italian Baroque architect and sculptuer.

Frances Borromini

1599-1667 Innovated the emphasis upon a building embodying sculptural qualities (movement). Sought to see the facades' of buildings in movement; gave them 3D effects through recessed niches.

Rococo Art

18th Century This style of art followed Louis XIV's death. The power of Aristocrats increased during this period, along with their surge of commissioning vain projects; rococo was an excellent martyr for the reflection of the nobles' self absorption. 18th century Rococo art was done in soft pastel colors and has a softer more feminine quality to it. Most of the painting produced during this era were self portraits of the self indulged, vain, and wealthy Aristocrats who'd risen back to power. The Rococo period came to represent the corruption of the Old French Regime.

Ecstasy of Saint Teresa

Bernini, Ecstasy of Saint Teresa, 1645-1652. Marble, 11'6'' Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy. Italian Baroque Patron: Cardinal Frederico Cornaro (Cornaro Family) Saint Teressa is a notable profit and mediator for souls in purgatory. Bernini stylizes the idea that a spiritual experience may be similar to that of an orgasm. Teresa's flood of emotion is expressed in a sexual way while alongside the Angel Gabriel (possibly suggesting they are a couple and that they are sharing this sexual pleasure). The arrow in Gabriel's hand points toward Teressa's pelvis, not heart. Teressa's gown looks like breaking waves, yet again suggesting the flood of emotion-spiritual/sexual. Artificial sun behind them, and later addition of an actual light, serves as a spotlight for the show, with spectators (other statues) watching. The symbol of death in front of them gives the allusion that the ground is splitting and the dead are rising. Suggestion of sexual arousing and orgasm in a holy statue was shocking and challenged traditional religious art (Renaissance) values, all while preserving and renewing the Catholic Church during reformation.

Saint Peter's in Vatican City

Bernini, Saint Peter's in Vatican City, 1656-1667. Travertine. Building-694' Dome-42 meters in diameter x 434' high. Vatican City, Rome, Italy Italian Baroque Patron: Julius II The square is decorated with 140 sculptures of saints, and there is an Egyptian obelisk (transported to Rome in 37 AD) at the center. Many fountains fill the square, and columns of 3 are crafted to appear as one. The dome, designed by Michelangelo, is made up of sixteen vaulted ribs supported by four columns. Saint Peter's is dedicated to the first Catholic pope of Rome, Saint Peter; He is buried here, and it serves as the shrine of the Catholic Church. renovated to reestablish the power of the church during reformation. The columns represent the open arms of the church, welcoming in and forgiving all of those who have been loyal or may have betrayed their faith momentarily.

Portrait of Sor Juana Ines de las Cruz

Cabrera, Portrait of Sor Juana Ines de las Cruz, 1750. Oil on canvas. Spanish Baroque/ New Colonies Juana Ines was a famous Mexican nun and writer many also believe that she was the first feministin the Americas. Juana's body faces towards the audience as she gazes directly and confidently at her viewers. The books on the shelves in the background represent the study of science and her success as a writer. Red curtains also fall in the background symbolizing wealth and knowledge. Juana wears a traditional nun outfit and rosary while seated demonstrating her dedication to faith and her humility to God.

Calling of Saint Matthew

Caravaggio, Calling of Saint Matthew, 1597-1601. Oil on canvas, 11'1'' x 11'5''. Contarelli Chapel, San Luigi dei Francesi, Rome, Italy. Italian Baroque Patron: Contarelli Chapel Christ points to Matthew as if to say, "Hey you, come with me". Matthew is a tax collector, sitting with other individuals of the profession when he is summoned by Christ. The men appear to be in a tavern, or some other unholy place, counting the money, they have illegally obtained, greedily. The Divine have been removed from the ideal beauty of the Renaissance during the Baroque period; figures of the Holy Family are depicted in a humane and relatable fashion. Through his pointed finger, Christ sends the light of God in Matthew's direction-illuminating him-and sets him as the subject of the painting. Although aspects of the painting, such as the location and the man holding a sword ready to fight, display a "dark realism", viewers and followers can still see how the light of God shines through the darkness and can convert the corrupted.

Death of the Virgin

Caravaggio, Death of the Virgin, 1604-1606. Oil on canvas, 12'1'' x 8' Louvre, Paris, France (Santa Maria della Scala, Trastevere, Rome, Italy). Italian Baroque Patron: Laezerio Cherubini. This painting notably represents Caravaggio's struggle with his own faith. The work is much darker than those seen before, and also challenges -the common misperception- that Mary is mortal more than she is divine. Hanging arm and swollen feet gives Mary a mortal demeanor and shows her in her raw humanity. Mary is reclined and wears a simple red dress, her halo has grown very dim. It is hard to differ the Apostles from one another due to the shadow haunting over their faces, and the hands covering their features. The divine are not depicted as so, they are shown realistically with the great sense of plainness and lifelessness. Mary is stripped of her divinity, holiness, and respect; Mother of God is simply a dead body in this painting and left with little clues to suggest otherwise.

Screen with the Siege of Belgrade

Circle of the Gonzalez Family, Screen of the Siege of Belgrade, 1697-1701. Oil on wood with mother of pearl, 7'5'' x 9' Mexican Colony (Spain) Spanish Baroque/ New Colonies Japan had the greatest influence on the Screen of the Siege of Belgrade; the Spanish copies the folding screens and use of shell inlay, they also used Japanese laquer for the wood finishing. This famous screen depicts the Battle of Belgrade, Habsburg Dynasty vs Ottoman Empire; the power of the Habsburg Dynasty is also illustrated. Lion heads help show the ferocity yet stunning beauty of the dynasty. Floral motifs decorating the edges of the frame may seem to be an odd border for a battle scene, but they are actually a symbol of respect and a tribute to those who fell dead in the battle. The screen was owned by Jose Sanmiento, the Count of Montezuma, and was placed in his palace. Screen of the Battle of Belgrade is more of allegory to the fallen soldiers than a story.

The Swing

Fragonard, The Swing, 1766. Oil on canvas, 2'8 5/8'' x 2'2''. Wallace Collection, London. Rococo Patron: Baron de St. Julien This painting was a gift from Baron de St. Julien to his wife, and it is meant to be a self portrait of her. In this painting, the patron stands in the bottom left corner, stretching out and watching his sweetheart swing. The man in the far right background is an old bishop who has been convinced to push the girl. The young woman kicks her shoes off as she flies back and forth. Her shoes are directed towards Cupid who is perched in statue form and providing the lovers (alongside the pastels and landscape as a whole) with ecstasy and sensuality.

Il Gesu

De Vignola, Il Gesu, 1584. Marble, travertine, 246' x 115' Piazza del Gesu, Rome, Italy. Italian Baroque Patron: Cardinal Alessandro Farnese Made up of two sections: the lower part is devised of six Corinthian columns, and the upper half is connected through the use of a volute (spiral scroll-shape ornament forming an ionic column) on either side. First Baroque facade. Home to the Superior General of the Society of Jesus. The church has no narthex (entrance hall leading to center of church, nave), however there is still frescoed barrel vaults living the ceiling.

Las Meninas

Diego Velazquez, Las Meninas (The Maids of Honor), 1656. Oil on canvas 10'5'' x 9' Museo del Prado, Madrid, Italy. Spanish Baroque/ New Colonies Patron: Spanish Ministry of Culture The painting consists of drama and tension. There's many different points of views, leaving the viewers the ability to interact freely with the painting. Diego's studio was in the main room of King's palace giving him a front row seat to observe the royal family's life at home. The portrait is of Margarita, the daughter of King Phillip the IV and his wife. In the mirror, you can see the reflections of the King and Queen.

Triumph of the Name of Jesus (Il Gesu Ceiling Fresco)

Gaulli, Triumph of the Name of Jesus (Il Gesu Ceiling Fresco), 1676-1679. Fresco with stucco figures. Nave vault of Il Gesu, Rome, Italy. Italian Baroque Patron: Ranuccio II Farnese Gualli utilized lantern (structure with glazed/open sides above an opening allowing light to come in) and pendentives (concave triangular structure that helps support a dome over a square space), central vaults, recessed windows, and the transept's ceilings. The Triumph of the Name of Jesus is a whirlwind of devotion to Christ and the holy trinity. There is both a dark and light aspect to the painting, depicting the light and joy of Heaven versus the dark and brutish "dark realism" of Earth. Viewers can also see the gray in between, where believers have both the hope of Heaven but the reality of Earth.

Judith Slaying Holofernes

Gentileschi, Judith Slaying Holofernes, 1614-1620. Oil on canvas, 6'6 1/3'' x 5'4''. Galleria degli Uffizi, Florence, Italy. Italian Baroque Patron: This painting is a key example of the tenebrism (most figures are darkened with shadows while some are dramatically illuminated by an unknown light source) Gentileschi adopted from Caravaggio. Gentileschi also favored narratives with courageous, strong, and heroic women. Judith has used her charm to lure Holofernes into a tent where her and her female partner use all their strength in a gory battle, with a great deal of blood, to end his miserable existence. Together the women over power the man and establish themselves as brave and heroic.

Susannah and the Elders

Gentileschi, Susannah and the Elders, 1610. Oil on canvas, 5'5 7/8'' x 3'8 7/8'' Pommersfelden, Germany. Italian Baroque Patron: UK (possibly her father) Susannah is shown with a scowl and turned away from her pursuers. She puts her hands up in defense, in such a way that it practically screams "NO!". There is no question that Susannah is shown as the influential one of the three: the two elders appear dopy and foolish (in my opinion) while Susannah seems more annoyed than afraid. This is another example of Gentileschi's use of the Caravggio's favored technique, tenebrism.

Angel with Arquebus

Jose Lopez de los Rios (Master of Calamarca), Angel with Arquebus, 1728. Oil on canvas, 5'3'' x 3'6''. Lake Titicaca region, Peru Spanish Baroque/ New Colonies This painting is one of the more obvious reactions to the Reformation. There is one subject, and it is an Angel holding a harquebus (gun), clearly a soldier of the church, protecting the church and its believers, also fighting to get back members and conquer new Catholics. Also, there are many obvious symbols of European influence. Our Angel wears a royal indigenous because he appears to have foreign descent but royal lineage: this is scene through his updated European style clothing, the feathers on his hat representing his association with the indigenous priest, and his large hat symbolizing wealth in Europe. The painting is meant to celebrate celestial, aristocratic, military, and prized people. Harquebuses were the first guns to rest on the shoulder when fired and represent technological advances. Alongside the being a demonstration of advancement, the gun (and fashion) show more of Europe's influence on the traditional nature of the indigenous peoples' lives. Many painting were done similar this one, illustrated the church as the army with angels as it's soldiers, and Europe's influence on their conquered territories and people.

Palace of Versailles

Le Vau and Hardouin-Mansart, Palace of Versailles, 1667-1670. Versailles, France. French Baroque Patron: Louis XIV and Louis XIII In 1669 Louis XIV had his architects turn the former hunting lodge (commissioned by Louis XIII) into a grand palace. Overlooking the park of the Sun King's palace is the Hall of Mirrors. The room was once filled with jewels and expensive future, but all the remains today are the yards of mirrors filling the room's length and width. Outside in the gardens, there is a famous sculpture known as Apollo Attended by the Nymphs of Thetis. The narrative is based off Greek mythology and establishes Louis XIV as the Sun King. From his chamber, Louis XIV could access the royal pew, located in the interior of the Royal Chapel, easily. The Royal Chapel is more rounded and had traded in the dramatics of the Italian Baroque for the poise of the French Baroque. Louis XIV ordered such a large and grandois palace in Versailles as a way of showing his absolute authority; he was a supporter of the arts and saw them as a vehicle for political propaganda, in 1648 Louis opened the Royal Academy of Painting and Sculpture. The Sun King would bring Dukes and other members of his court down the Hall of Mirrors to show them that he was wealthier than them, more powerful than them, and above all, his decision was final above theirs.

The Virgin of Guadalupe

Miguel Gonzalez, The Virgin of Guadalupe, 1698. Oil on canvas with mother of pearl. Spanish Baroque/ New Colonies The Virgin is surrounded by light and places her hands in prayer-piety. While it is unsure whether she is meant to be Mary of not, the Virgin wear traditional clothing of the Madonna. Paintings of this same style and narrative were very popular in Mexican Colony culture and graced the churches/chapels and homes.

Anatomy Lessons of Doctor Tulp

Rembrandt, Anatomy Lessons of Doctor Tulp, 1632. Oil on canvas, 5'3 3/4'' x 7'1 1/4''. Mauritshuis, the Hague. Northern European Baroque Patron: Doctor Tulp How does a painting of a human dissection fight into the post Reformation era, Baroque? It i especially confusing, seeing as cadavers were banned with the Catholic Church. However, if you look at the painting more closely, it is evident that the configuration of the piece forms a three sided figure- a triangle. The three sides of triangle represent the three parts of the holy trinity: the father, the son, and the holy spirit. Lying on the table, is the body of a "criminal", Adrienne Adrienncene, who was hung shortly before the anatomy lesson. Conclusions have been made, regarding the position in which the cadaver's body is positioned and the way in which the light hits it, suggesting that Adrienncene is Christ. Rubens makes a point of demonstrating to the viewers, who also double as the audience of the show, that death is the diction and fate of the mortal human beings future. Traditionally, body's were opened first in the stomach, however Tulp is shown opening the subject's arm to start. With his left hand finger, Doctor Tulp forms the Priest Blessing Congregation because that is what would happen if the muscles in the body's arm still worked. Many of Ruben's paintings show the parallel between sacrificed animals/ humans for the great good of science, and Christ, the lamb of God, being sacrificed for human sins. Doctor Tulp's Anatomy Lesson is what established Rubens as one of the best and led to many more commissions his way.

Spaniard and the Indian Produce a Mestizo

Rodriquez Juarez, Spaniard and the Indian Produce a Mestizo, 1715. Oil on canvas, 2'6'' x 3'4''. Spanish Colony, Mexico Spanish Baroque1 New Colonies We as viewers can automatically see there are four subjects in the painting: one man, one woman, and two children. The woman is native from Mexico and wears a huipi, a traditional garment worn by indigenous woman, with lace sleeves. The father wears a traditional French coat and wig. Mestizo's are a product of one indigenous person and one European, the man (father) and woman (mother) have, as the title suggests, produced a Mestizo that is being held by a servant child. The painting illustrates the racism and prejudice against the conquered and illuminates the wealth and superiority of the Europeans.

Arrival of Marie de'Medici

Rubens, Arrival of Marie de' Medici, 1622-1625. Oil on canvas, 12'11 1/2'' x 9'7''. Luxembourg Palace, Paris, France (Musee du Louvre, Paris, France). Northern European Baroque Patron: Marie de' Medici For Marie, Rubens completed a series of 24 canvas paintings; 21 of the 24 canvases were historical allegories and 3 of them were self portraits of the Queen. This particular painting, The Arrival of Marie de' Medici, is said to be the best of the series. Marie's safe return home-to a Southern France port-from Italy is rejoiced by the entire population, the sea, and the sky. Neptune and Nereids are the daughters of the Sea God and they personally welcome her home. Marie's gown is covered with the "fleur-de-lis"- the French floral symbol of royalty. Rather than using linear perspective to give the painting distance, Rubens uses levels to give the canvas different levels; Marie is placed on the top level and is still made the focal point even though she's not been placed dead center. Each of the canvases were created to glorify The Queen, but it is the Arrival of Marie de' Medici that illuminates the queen's love for her country and the country's/ the Divine's approval and praise of her rule.

Fruit and Insects

Ruysch, Fruit and insects, 1711. Uffizi Gallery, Florence, Italy. Northern European Baroque Ruysch's still lives were not done using an actual, physical representation. Her father was one of the most famous scientists of his era, and inspired his daughter to study her subjects then paint what she'd learned and formed with her imagination, rather than mindlessly copying a real life set onto paper. In Fruit and Insects, Ruysch connects the scientific revolution to the post Reformation Baroque movement. The grapes and wheat are an obvious reference to Eucharist (body and blood of Christ).

Self Portrait with Saskia

Self Portrait with Saskia, Rembrandt, 1636. Etching, 3'4'' x 3' Fitzwilliam Museum Northern European Baroque Patron: UK (probably himself) Rembrandt was notorious for his self portraits; he completed over 75 images of himself throughout his career. In each of his portraits, Rembrandt liked to show himself in a different fashion than he truly appears. Some show him as a soldier, rugged beggar, a wealthy noble, etc. In his 1636 portrait with his wife Saskia, Rembrandt shows himself as a "contemporary Amsterdam gentleman". This is the only etching done of the couple, and it is believed to be their wedding portrait. It is also the first time Rembrandt shows himself working, in one of his works, while his wife sits their as either his model and/or silent support. How to Etch: metal, copper plate coated with waxy and acid-resilient coating. The artist then uses an etching needle and draws through the wax layer. Then, the plate is dipped in acid and "bites" into the exposed metal- the amount of time spent in the acid dictates the characteristics of the lines. Once the coat is removed, the plate is put through a high pressure printing press and copies the print onto paper. Each metal plate can make hundreds of copies of each etched image.

Italian Baroque

This period emphasized the formation of Catholic Propaganda during the Counter Reformation. Embraced new patronage in response to Protestant criticism; became a tool for spiritual instruction. Characteristics include dramatic, overly emotional, detail, and focus on movement in all aspects of art. Diagonal planes-continuous overlapping and placement of figures on different planes-replace linear perspective. Chiaroscuro, the strong difference between dark and light (colors), became far more popular. Art was ornamented, attractive and decorated, and very detailed. The papacy was keen on making Rome the showcase of the Catholic Church's spiritual power.

Woman Holding a Balance

Vermeer, Woman Holding a Balance, 1664. Oil on canvas, 1'3 7/8'' x 1'2''. National Gallery of Art, Washington, D.C., America. Northern European Baroque Patron: UK Vermeer is famous for his paintings of women in domestic scenarios and his use of pictorial light (design and direction used to create mood and atmosphere, creates hightened sense and shows dramatic psychology of characters). The woman in this painting is a walking symbol of wealth from head to toe: fur trimmed jacket, pearl necklaces, gold chains. The jewels and gold reflect the sunlight streaming in through the window onto her face, illuminating her; Vermeer is also famous for utilizing a single light source. The balance in the woman's hand represents the perfect balance she wishes to have in her life: a temperate and self aware life in which she experiences virtue with sin. Her balance helps her stay consistent in leading a life that will help her make it to heaven and be in God's favor on judgement day. In the mirror, alongside light, the woman's balance between self knowledge/awareness meets her vanity. Vermeer favored the use of mirrors to display techniques such as camera obscura and pictorial light to help position his figures and configurations.

Pilgrimage to Cythera

Watteau, Pilgrimage to Cythera, 1717. Oil on Canvas, 4'3'' x 6'4''. Musee du Louvre, Paris, France. Rococo Patron: UK Cythera is the island of eternal youth and and love; it is dedicated to the Greek goddess of Love, Aphrodite, we is visible in the right hand side bushes. Although pilgrimage is typically to go to one place to another (i.e. France to Cythera as the painting title suggests), there is common belief that this painting is just the opposite: the Aristocrats graceful return home from the island. The painting displays the vain of nobles, and the privillages of the Upper Echelons. Not only are the wealthy and powerful disembarking from their voyage to the island of love and eternal youth, they are partaking in une fete de galante, or an amorous festival/ outdoor amusement for High French Society. The French Aristocrats are painted in soft and feminine pastels, highlighting Watteau's specialty of giving paintings elegance and a sweetness.