Baroque

Conversion of St. Paul Caravaggio Italian 16th Century *******

DRAMA IN NATURALISM - Naturalism = a naturalistic artwork appears to record the visible world. "Reality effect" is created through: (1) Strong tonal contrast to create illusions of three-dimensionality. (2) Large figures in foreground of painting, expressive gestures. (3) Depiction of the climactic moment in the narrative. - Think of Caravaggio as breaking the rules. - Biblical story from the Acts of Apostles - Saul (Roman official) was traveling to Damascus to persecute Christians. He falls off his horse and Jesus comes to him and tells him "why are you persecuting my followers. He later converts to Jesus' teachings and become St. Paul. - Caravaggio reduces the moment to the essential elements. - Doesn't show landscape - scene emerges from mysterious darkness. - Paul has a serene look of acceptance. - Oddly, Jesus is not included as a human figure. Rather, he is symbolized by the light that shines on Saul. Saul raising his arm signifies his acceptance. Closed eyes represent his blindness for three days. - Tonal contrast - light shining on Paul - Placement of figures in foreground - Paul is front and center

Officers of the Haarlem Militia Company of Saint Adrian Frans Hals Dutch 17th Century *******

- A distinctively Dutch "type" of portraiture were "group portraits." Directors of professional organizations commissioned group portraits for display in board rooms. Because of this, the "sitters" are also the audience for the painting. - Most common commission was for civil militia companies (upper class male citizens). Original purpose was to patrol and defend their cities; by the 17th century fulfilled mostly social and ceremonial functions. It was a sign of social status to be in one of these militia companies. - Very large oil on canvas painting. - Each officer paid for their own portrait in the painting. Equal depiction of all of the members. - Hals seats the officers around a table, leading to a more lively painting to give impression that the officers are participating in an event. - This painting would hang in the boardroom of this organization.

The Night Watch Rembrandt Dutch 17th Century *******

- A distinctively Dutch "type" of portraiture were "group portraits." Directors of professional organizations commissioned group portraits for display in board rooms. Because of this, the "sitters" are also the audience for the painting. - Most common commission was for civil militia companies (upper class male citizens). Original purpose was to patrol and defend their cities; by the 17th century fulfilled mostly social and ceremonial functions. It was a sign of social status to be in one of these militia companies. - Very large oil on canvas painting. - How does Rembrandt transform this distinctively Dutch genre of group portraiture? He blends portraiture and narrative painting. - This is the most famous group portrait - incredibly innovative as Rembrandt does not stick to the regular formula for portraiture. He adds more drama to the narrative and each figure is not portrayed equally. - This painting does not depict a "night watch," but instead shows a militia company starting a procession. "Night watch" was given later by art history. - In the Hals group portrait, equal depiction is given to each of the members. Rembrandt puts in place a hierarchy of members. - Captain is dressed black with a red sash and raises his hand to gesture everyone to start the march (brightly lit). - Lieutenant is dressed in white close to the center of the composition (brightly lit). - Officers that surround them are participating in many different activities (they add to the story of the painting). - Some of the sitters in the background are obscured. However, we have no record that any of the sitters complained. - Another unique element is the inclusion of "extras" who are not officers. Specifically, the small female figure in a golden dress. One interpretation is that she is a symbolic mascot of the militia company.

Saint Carlo alle Quattro Fontane Borromini Italian 17th Century

- Commissioned by the Trinitarian monks. - Stands on a narrow patch of land with one corner cut off to accommodate one of the four fountains. - To fit the Church in the irregular patch of land, Borromini utilized a central plan. - Used a geometric scheme to build the building. Elongated octagonal plan composed of two triangles in a diamond shape. This is split into smaller triangular units. - The dome is supported by a massive entablature columns on pendentives and looks like it floats. - Coffers fill the oval dome getting smaller as it goes up into the highest point where an image of a dove presides. - The smallest point of the upper dome is a triangle symbolizing the trinity. Important symbolically for the monks as a symbol of their society. - Exterior of church is dominated by classical entablature.

David Bernini Italian 17th Century

- Response against Protestant Reformation. - Made for the nephew of Pope Paul V. - Introduced a new type of 3D composition that introduces viewers into the space. - By twisting the figure, he incorporates the surrounding space by implying the presence of the foe. - The viewer becomes part of the action. - David bends and twists in action ready to launch the rock at Goliath. - More mature David. - Shows tension, action and determination with his lean body and tightly clenched mouth.

Cornaro Chapel Bernini Italian 17th Century *******

- Direct Catholic response to Protestant rejection of religious art --> create an overwhelming sensual experience to aid spiritual devotion. - Overall, this chapel: (1) Emphasizes theatricality, drama, dynamism (2) Dramatic and spiritual quality of light (3) Goal of inspiring emotional or heightened response, often in the service of the Catholic Church (4) Emphasis on illusionism and artistic virtuosity (5) Crossing of media boundaries, with goal of "unity" in the visual arts - Showcases Bernini's "beautiful synthesis" = a unity of arts to create a singular experience. - Chapel belonged to powerful Cornaro family from Venice, who were merchants. Members were cardinals for the papacy. - The altarpiece is a dramatic presentation of St. Teresa's mystical vision - this sculpture is intended to elicit emotional response from the viewer. - The chapel focuses on: (1) mysticism and miracle, (2) a new saint, (3)the use of images to move the faithful. - All of these things were challenged by the Protestants who were spectacle of miracles, did not recognize new saints, and did not use images. - St. Theresa had a vision of an angel piercing her with an arrow as she felt religious ecstasy. Many religious mystics related this to a sensual experience. - The carving of the marble is masterful with sense of the different textures of their clothes and movement of their bodies. - Movement echo's the spiritual energy that St. Teresa is facing. - Eroticism is downplayed as St. Teresa is fully covered. - Their bodies are on top of a cloud. - Bernini uses dark marble in as a hidden stand - sculpture appears as a miracle as it magically floats on the air. - Bernini also brings light to this altar with a hidden skylight, that reflects off of a background of golden rods - highlights the spiritual. - The ceiling is decorated with frescos - it is difficult to tell where sculpture ends and painting begins. SAINT BECOMES MOVING MODEL FOR THE FAITHFUL TO EMULATE

Baldacchino Bernini Italian 17th Century *******

- Direct Catholic response to Protestant rejection of religious art --> create an overwhelming sensual experience to aid spiritual devotion. - Papal commission within new St. Peters. - Commissioned to create a vertical axis through the church to the altar (before this the church was too massive and there was no point that led you to altar). - Stands at transept of the church. - Made from gilt bronze, marble, stucco, glass. - 100 feet high - Takes the form of canopy - canopy has associations of honor across history. - Stands above the main church altar. - Here Bernini designed this structure to impress with scale, material, and technological feat. - Overall, it shows the power of the papacy.

View of Haarlem with Bleaching Grounds Jacob van Ruisdael Dutch 17th Century

- Excellent example of landscape painting. Emphases a cloud filled expanse of sky dominating a narrow horizontal band of earth below. Humans are seen laboring below, spreading white linen across broad fields. - Meant to depict an actual place. - This work celebrates the flatlands outside of Haarlem. - Represents God's restoration of the land. Reclaimed land with their new dredging technology. - Bleaching was an industry that Haarlem was known for. Celebrates the success of the city. - Appeals to a local market of patrons.

The Suitor's Visit Gerard ter Borch the Younger Dutch 17th Century

- Genre Painting = pictures showing scenes of subjects drawn from contemporary, ordinary life. However, they do not represent actual people, but types. - Composition shows a well dressed man bowing gracefully to an elegant women. They are in a well furnished room (luxury items). Women sits playing a lute with another man by the fireplace as turn to observe the newcomer. - Scholars still debate what this represents. - Some suggest it is a courtship scene (the most accepted theory). Dog as a symbol of fidelity. Music referring to the harmony of souls. - Others suggest this is a liaison. Dog sniffing = sexual prowess. Music = sensory pleasure.

Self-Portrait Rembrandt Dutch 17th Century *******

- Portraiture was not a new genre, but the Dutch devised new strategies and formats to portray upper-middle-class figures - including the artists themselves. - Focus of Dutch portraiture is showing prosperity. Differs from the portraiture of Popes and Kings that focuses on showing political/religious power. - This is one of many of Rembrandt's self-portraits, made in his old age.

Self-Portrait Judith Leyster Dutch 17th Century

- Portraiture was not a new genre, but the Dutch devised new strategies and formats to portray upper-middle-class figures - including the artists themselves. - Focus of Dutch portraiture is showing prosperity. Differs from the portraiture of Popes and Kings that focuses on showing political/religious power. - What is she trying to show us? Clothes and her profession as a painter. She also shows us one of her artworks.

Flower Still Life Rachel Ruysch Dutch 18th Century

- Protestant --> need to find nonreligious subject matter. - Demonstrates the development of new secular genres. - Female artist. - Still Life = a picture showing arrangements of inanimate objects. The objects are manipulated to show different perspectives of objects. - Theme: Flowers fade and die as reference to mortality. Further, art does what nature cannot (impossible arrangement).

Woman Holding a Balance Vermeer Dutch 17th Century *******

- Protestant --> need to find nonreligious subject matter. - Genre Painting = pictures showing scenes of subjects drawn from contemporary, ordinary life. However, they do not represent actual people, but types. - Looks like a snapshot of a Dutch home. - Ordinary anonymous women in contemporary setting. - Traditional Netherlandish attention to light. - Picture-within-picture conditions our interpretation of the painting. Shows the Last Judgement - why is this in the Dutch Republic which is Protestant? The Dutch Republic actually practiced religious tolerance (Catholics could practice in private, not public). - Act of judgement seems to be related to the woman's act of judging the scales. Coins and pearls are on the table, but the scales are empty and she seems to be balancing them. - Traditional reading: contrast between religious virtue and preoccupation with material riches. - More recent scholarship: woman is not weighing anything, it's about judgement or is about human fate and destiny.

Still Life with Taza Pieter Claesz Dutch 17th Century *******

- Protestant --> need to find nonreligious subject matter. - Still life = a picture showing arrangements of inanimate objects. The objects are manipulated to show different perspectives of the objects. - Very new and different type of painting! - What happens when objects become subject? Art historians have debated the meaning of still life. - Most art historians now perceive is a tension in Dutch culture between economic success/prosperity and Calvinist/Protestant values of piety and suppression of wealth. - Inherits northern attention to detail and use of symbolism. - Watch motif = possibly represents new technology, wealth, material pleasures don't last, passage of time, or time spent working on the painting. - Main thing to look for in still life paintings is the tension between prosperity and Protestant values.

Raising of the Cross Rubens Flemish? 17th Century

- Rubens traveled all over Europe, working for major aristocratic patrons and courts. - This is his first major commission in Antwerp, for the church of St. Walpurga. - Extended the scene into all three panels of the triptytic. - Transforms and reinterpreted technique of Italy. - Dramatic lighting, dynamic diagonal composition and intense emotions of the figures show Italian influence. - Rich colors and careful description of surface textures reflect his native northern tradition. - At the center, Herculean figures are straining to haul the cross upright with Jesus already on it. To the left are followers mourning. To the right are soldiers supervising the execution.

Bacchus Caravaggio Italian 16th Century

- The most polished of his early works. - It seems he painted what he saw as "reality effect." - Reproduced the 'farmers tan' from the model. - Dirt under the fingernails. - Androgynous figure with painted lips and smooth arching eyebrows. - He offers the viewer a goblet of wine. - The ambiguity of the scene and figure makes the image more provocative.

Henri IV Receives the Portrait of his Bride Maria de' Medici Rubens French 17th Century *******

COURT ART - Prior to this time, Europe is a more feudal society (where lords has autonomy in their own lands and pledge allegiance to a higher king). This completely changes in the 17th century. Specifically in France in the late 16th century, Henri IV transforms France to have a more unified power structure. - Henri IV married Marie de' Medici of Italy. - After the assassination of her husband, the Queen of France, Marie de' Medici, commissioned two cycles of 24 paintings from Rubens to adorn the palace. Once commemorating her life, the other the life of Henri IV. Only the first cycle was completed, which commemorates her life. - Rubens was a Flemish artist. - Rubens job was to take life of a princess --> queen --> queen mother into a monumental life cycle of 24 paintings. This was difficult because she did not have many of the political triumphs that the king would have. He chooses to draw from classical mythology to create these episodes. - In this specific painting Henri IV receives her portrait. - Betrothal portraits were very common in the ruling class. Rubens transforms a somewhat unromantic episode into a cosmic episode. Her image is presented by two gods - Hymen (god of marriage) and Cupid (god of love). A female personification of France holds onto the shoulder of Henri. Idea that the king is urged on by the nation to marry Marie. - Above the scene, Jupiter and Juno (king and queen of classical gods) approve the union. - Idea of divinely ordained union approved by France. - Rubens style is known for bright colors and flowing fabrics, making it lively and sensual

Charles I in the Hunting Field Anthony van Dyck England 17th Century

COURT ART - Dyck collaborated with Rubens for a short time. He helped him refine his brushwork. - Became court painter for Charles I king of England. - Through a clever manipulation of the setting he was able to portray the king "truthfully." He presents him as an imposing figure dressed casually for a hunt and standing on a bluff. - Very short in real life, but the vast expanse of the landscape below makes him look taller. - Horse emphasizes this with its head bowed to the king (almost as if he recognizes the kings status).

Family of Philip IV Diego Valásquez Spanish 17th Century

COURT ART - He emerged from the Caravaggesque school of Seville. Became Court painter for Philip IV in Madrid. - This painting was created at the end of his life. - The purpose/meaning is still debated today. - In one interpretation the viewer stands in the very space occupied by the king and queen. You can see them in the mirror. - Velazquez himself is seen in the scene next to a large canvas holding a paintbrush and palette. - The central focus is the kings young daughter.

Hall of Mirrors at Versailles Mansart (Architect); Le Brun (Ceiling Painting) French 17th Century *******

COURT ART - Louis XIV (1638-1715) went further than Henri and Marie - he initiated reforms to reduce the power of the aristocracy. Power was concentrated in the hands of the king. - He had the longest reign in European History (1643-1715). - Louis XIV is most known for his commission of Versallies. He wanted to move his empire from Louvre in Paris to Versailles. - Alla antica style, with emphasis on symmetry. Gives sense of authority and gravitas to the palace. - 5,000 aristocrats lived in the palace. - Hall of Mirrors is a spectacular example of these elements. - Large glass windows/mirrors show wealth and innovation. - Ceiling paintings glorify Louis XIV with the classical gods. - Each morning the King would parade through this hall and the aristocrats would be here. - Parties were also held in this room - Theme: Louis XIV asserted his power and authority through architecture and art.

Landscape with St. John on Patmos Poussin Italian/French 17th Century

DRAMA IN CLASSICISM - Classicism = combines elements of Greek/Roman and High Renaissance art to create ideal forms (upholds tradition). Dignity above all else. High value placed on the intellectual process of making art (drawing, design, composition). - Poussin was trained in France, and spent most of his career in Rome studying ancient sculpture, anatomy and perspective, and Raphael. - He followed the idea of "creative imitation "- artists don't just copy nature, they should improve on it. - Chose the dignified subject of St. John the Evangilist, an apostle of Jesus. He was the author of Book of John and Revelations. He was exiled to Patmos. - There is even, bright light throughout the painting. - Carefully framed, balanced composition (trees and clouds frame his composition). - Clear and logical progression through depth. - St. John is seated in the foreground. - Depicts an imaginary landscape. - Classical references in architectural ruins that surround St. John - Poussin shows his knowledge of classical buildings, but they are all thrown together in this imaginary landscape. These elements give sense of antiquity. Art historians interpret the ruins as representing how worldly/pagan empires fall, but God's kingdom is everlasting.

Farnese Palace Carracci Italian 16th Century

DRAMA IN CLASSICISM - Classicism = combines elements of Greek/Roman and High Renaissance art to create ideal forms (upholds tradition). Dignity above all else. High value placed on the intellectual process of making art (drawing, design, composition). - View of gallery ceiling. - Scene about love of the gods. - Borrowing from Sistine Chapel, but also changing it. - Barrel vault broken into framed paintings, creating a painting gallery. - Fake "painted" sculptures. - Selectively imitate but not just copying, transforming and "improving" it.

Judith and Holofernes Artemisia Gentileschi Italian 17th Century *******

DRAMA IN NATURALISM - Naturalism = a naturalistic artwork appears to record the visible world. "Reality effect" is created through: (1) Strong tonal contrast to create illusions of three-dimensionality. (2) Large figures in foreground of painting, expressive gestures. (3) Depiction of the climactic moment in the narrative. - One of Caravaggio's followers; follows him in breaking the rules. - Female artist. - Old Testament story of Judith, a widow, who saves her town from the siege of the Assyrian army. She offers to go to the Assyrian army camp and used her wit to kill the officer Holofernes. - Artemisia emulates Caravaggio's with the same dramatic climactic moment of story, use of spotlight, lack of landscape, and placement of dramatic moment in foreground.