Baroque

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Baroque Painting Characteristics

1. Asymmetrical compositions 2. Powerful effects of movement 3. Strong lighting 4. Dramatic interpretations of subject matter

Ruben's Characteristics

1. Muscular Bodies 2. Bright Colors 3. Movement 4. Dramatic Use of Light 5. Allegory

Caravaggio Characteristics

1. Naturalistic Figures lower class—models were often beggars and prostitutes. 2. Dramatic use of Light (Tenebrism—sharp contrast between light and dark) creates drama 3. Dramatic portrayals of decisive moments 4. Unusual Perspective —brings the viewer into the action

Vocab- 1. Counter-Reformation 2. Baldachino 3. Tenebrism 4. Caravaggista

1. Program of renewal by Catholic Church intened to bring believers back to church 2. Canopy, for the high altar of Saint Peter's 3. The strong use of chiaroscuro and artificially illuminated areas to create a dramatic contrast of light and dark in a painting 4. Influenced by Caravaggio's techniques

Baroque Sculpture Characteristics

1. Same as painting 2. rich materials 3. surprising light sources

Date for Baroque Era

1600-1750 1600- a year of the first opera production

Art in the Netherlands

1609—Rebels from the north of Netherlands won independence from Spain. Country divided in two: 1. Netherlands—North—Protestant 2. Flanders—South--Catholic

Hall of Mirrors

240 feet long, barrel-vaulted painted ceiling, lights comes in from one side, ricochets back, flickering use of light, ceiling paintings

Poussinistes

Admirers and imitators of Poussin. Felt his mastery of drawing, composition, and emotional restraint were superior.

Rubenistes

Admirers and imitators of Rubens. Felt his use of color, rich textures, and highly charged emotions were superior.

Rubens: The Consequences of War

Allegory about the outbreak of war. 1. Mars 2. Venus 3. Monsters 4. Women with lute 5. Women with child 6. Architect 7. Book on ground 8. Women in black

Caravaggio: The Decapitation of Saint John the Baptist

Artist:

Caravaggio: Bacchus

Artist: Caravaggio Not afraid to use pagan Greek and Roman figures in art.

Bernini: The Rape of Proserpina

Artist: Gian Lorenzo Bernini Location: Galleria Borghese Created: 1621-1622 Media: Marble Context: Bernini depicts the peak moment of the story of the Rape of Proserpina, while the characters' are in mid-action. Proserpina is trying desperately to escape Pluto's grasp as he carries her to Hades, which is represented by Cereberus, the three-headed dog. Bernini crafted this piece to be viewed from the front because it is the "explosive energy" of the horrible event taking place and Proserpina's pathetic attempt to defend herself that is at show.

Colonnade of Saint Peter's

BERNINI, huge plaza, can hold half a million people, wanted transition between crowded Roman streets and giant Saint Peter's, acts as a gesture of embracing arms, skeleton keyhole for St. Peter, oval centered around obelisk

Ecstasy of Saint Theresa

BERNINI, marble, 1645-1652, sculptural interpretation of Theresa's visions of God, natural light redirected into sculpture from window, tactile handling to reveal textures, figures seem to float in space, rays of God's light illuminate the scene, pose suggests sexual exhaustion, stage-like setting

David

BERNINI, mid-action, swinging slingshot, harp at David's feet, idealized self-portrait, intense gaze, use of negative space animates it, seen from multiple angels

Baldacchino

BERNINI, over main altar of Saint Peter's, directs viewers vision down nave, acts as shrine and canopy over grave, bees and suns for Barberini's, symbol of Counter-Reformation

Sant'Agnese

BORROMINI, church dominates elliptical plaza, interplay of convex and concave forms on facade, framed by elaborate towers, dome rises dramatically, centrally planned building with rounded transept, flowing interior spaces

Saint Charles of the Four Fountains

BORROMINI, square in Rome with four fountains, 1638-1641, unusually small site, alternating convex and concave, facade higher than rest of building, interior side chapels, interior dome, walls treated sculpturally, shades of white

Bernini: St. Peter's Basilica

Bernini described the colonnade as a pare of arms spread out to embrace visitors to Saint Peter's Basilica. Question: How does the addition of the colonnade to St. Peter's reflect the historical time period?

El Greco: Christ Driving the Traders from the Temple

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Rembrandt - Protestant

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Mary Magdalen

Date: (Italian 1593-1651) Artist: Gentileschi, Artemisia

Caravaggio: The Calling of Saint Matthew

Date: 1599-1600 Medium: Oil on Canvas Location: Contarelli Chapel, Church of San Luigi dei Francesi *Subject: The moment Christ walks into a tavern and ask Matthew to be his apostle. Technique: tenebrism *For all his naturalism, Caravaggio also used antique and Renaissance sources

Bernini: David

Date: 1600 Artist: Bernini Medium: Marble Patron: Cardinal Borghese Influence: Hellenistic sclupture Note: Considered first Baroque sculpture Question: What is Baroque about this sculptue? (in moment of dramatic action, twisting, diagonal lines, emotion)

Caravaggio: The Conversion of St. Paul

Date: 1600's Artist: Caravaggio

Caravaggio: The Crucifixion of Saint Peter

Date: 1600's Artist: Caravaggio

Caravaggio: The Death of the Virgin

Date: 1600's Artist: Caravaggio

Bernini: Baldachino

Date: 1624-41 Location: Saint Peter's Material: Bronze (taken from the Pantheon) Baldachino=Canopy Commissioned by: Urban VIII Note: Located directly under Michelangelo's dome and over the tomb of St. Peter. Symbolism: Bees=Pope's Urban VIII's Barberini family. *Exemplifies the Baroque artists's desire to combine architecture and sculpture so that works no longer fit into one single category or medium. *Twisted columns symbolize the union of Old & Testament *Combines elements of Ionic & Corinthian

Bernini: The Ecstasy of St. Theresa

Date: 1645-52 Patron: Cardinal Cornaro Location: The Cornaro family chapel, Rome Subject: A vision experienced by St. Theresa, wherein a angel plunged into her breast a spear symbolizing Divine Love.

Artemesia Gentileschi: Judith Beheading Holofernes

Date: c. 1598 Artist: Gentileschi *Caravaggista—followers of Caravaggio's style. Subject: Judith saved her besieged town from the Assyrian army by seducing its general, Holofernes, getting him drunk, and then cutting off his head with his own sword.

Caravaggio: The Incredulity of St. Thomas

Date:1601-02 Medium: Oil on canvas Location: Rome *According to St John's Gospel, Thomas missed one of Christ's appearances to the Apostles after His resurrection. He therefore announced that, unless he could thrust his hand into Christ's side, he would not believe what he had been told. A week later Christ appeared, asked Thomas to reach out his hands to touch Him and said, 'Blessed are those who have not seen and yet have believed.'

Compare the Davids from different time periods

Donatello David Classical David Bernini David

Officers of the Haarlem Militia Company of Saint Adrian

Frans Hals ; 1627 ; Dutch ; Oil on canvas

French Baroque

French baroque painting included many "natural" landscapes, but the only thing you should care about here is Louis XIV building of Versailles.

Judith and Her Maidservant with the Head of Holofernes

GENTILESCHI, influence of Caravaggio in tenebrism and gory details, dramatic light, emotional pathos, Old Testament heroins, specialized in painted images of women triumphing

Chapel of the Holy Shroud

GUARINI, extremely complex space, diminishing hexagonal ribs cross one another, illusion of endless space, 12-point start, Shroud of Turin

Main Question 6- The reason Gentileschi is considered a Caravaggista

Her use of contrasting light, and naturalistic yet dramatic figures.

Main Question 5- How Borromini's Baroque buildings differed from Alberti's Renaissance buildings

His buildings had more movement, such as the San Carlo alle Quattro Fontane with an undulating front, deep niches that create dramatic effect of light and shadow, also gives it a windowed niche covered with a pointed canopy.

Main Question 3- 3 characteristics of Caravaggio's art

His pictures tended to be large, brightly lit (usually used tenebrism), and set close to the picture lane/ foreground

Rembrandt: Return of the Prodigal Son

How would you compare this to Italian Baroque religious paintings?

Banqueting House

INIGO JONES, London, inspired by Palladio, built for James I, modest emphasis on center of facade, central bay of six windows, flat pilasters, rusticated basement level, two stories of windows, balustraded roof

Baroque Patrons

In Catholic countries the church financed most art, in Protestant countries it was wealthy businessmen who financed art.

Protestant Netherlands: Context

It was a true republic—no traditional hereditary aristocracy. Netherlands was governed by merchants.

Embarkation of Queen of Sheba

LORRAIN, queen at left leaves palace to enter small boat, framing elements on left, relatively empty space, composition is backlit by sun, Roman ruins, medieval tower, Baroque palace, landscape dominates, proportions in fifth

Borromini: San Carlo alle Quattro Fontane

Loc: Rome Date: 1638-41 *Juxtaposes convex and concave surfaces to made the walls seem to ripple. *Robust pairs of columns support a massive entablature, over which an oval dome seems to foat. *Coffers (panels in geometric shapes) filling the interior of the dome form an eccentric honeycomb of crosses, elongated hexagons, & octagons *dome appears to be inflating due to increase in size of coffers as they approach appex. *To fit the irregular site, he created an elongated central plan interior space with indulating walls, whose powerful, sweeping curves create an unexpected feeling of movement.

Peter Paul Rubens: The Raising of the Cross

Location: Antwerp--Southern Netherlands (Flanders) Function: High Altarpiece triptych Influence: 1. Michelangelo 2. Caravaggio 3. Titian

Gaulli: Triumph in the Name of Jesus

Location: Il Gesu, one of the most important churches in Rome. Subject Matter: The Last Judgement. The elect rise to heaven, while the damned plummet to the ground. Function: Propaganda for the church during the Counter-Reformation

Saint Peter's Facade

MADERNO, facade, added to Michelangelo's design, made it a Latin cross plan, wide and low, emphasis on center of facade with pediment, pilasters gradually become rounded engaged columns

Versailles

MANSART, reorganizatiion and remodeling of a hunting lodge, center was LOUIS XIV's bedroom, all aspects of design radiate like rays from the sun, SUN KING, political and economic ambitions, centered in a vast garden, subdued exterior decoration, HALL OF MIRRORS

Portraits

Many baroque artists painted portraits for royalty and the wealthy. Velazquez's Las Meninas is a famous example.

Rembrandt: Revolutionizes the Group Portrait (The Nightwatch)

Patron: Amsterdam Civic Guard Subject: An imaginary moment—the civic guard, dressed for war, ready to march. Note: The dramatic use of light Why was this painting unusual: 1. Certain patrons were depicted in shadow. 2. Non civic guard members added in for drama.

Francisco de Zurbaran: Martyrdom of St. Serapion

Patron: Catholic Church Subject: Usually martyred saints Function: Emotionally involve worshippers and encourage greater religious devotion (Counter-Reformation

Frans Hals: Archers of St. Hadrian

Patron: Dutch Civic Militia Challenge: How to create a group portrait, where everyone who paid gets equal representation? Solution: Create a portrait that shows individuals in the group from different angles, all with unique expressions.

Diego Velazquez: las meninas

Patron: King Philip IV Subject: Princess Margarita or Velazquez? Why Important: A self-portrait of the artist at work Note the types of images: 1. Image on canvas 2. Mirror image 3. Two painted images

Rubens: Arrival of Marie de' Medici at Marseilles

Patron: Marie de' Medici Function: Series of 21 huge paintings that celebrate the life of Marie de Medici, who was married to Henry IV, the king of France Technique: Allegory 1. France 2. Fame (with trumpet) 3. Neptune

Rembrandt: The Anatomy Lesson

Patrons: The Surgeons Guild Why Revolutionary: Rembrandts depicts the guild not posing for a picture, but in action.

French Baroque (Begins "Neoclassical Era in Art History)

Poussin

Christ with the Sick, Receiving Children

REMBRANDT, Jesus feels pain of handicapped, touches and preaches, great contrasts of dark recession, 100 Guilder Print

Night Watch

REMBRANDT, eighteen men portrayed in commission, militia marching out on patrol, Captain Cocq holds a baton, wears a red sash, emphasis on glove, challenge or victory, Ruytenburgh holds partisan, central group comes forward, subordinate lateral groups, allegorical figure of girl in gold carrying chicken, painted for assembly hall, later cut down, misnamed painting

Anatomy Lesson of Dr. Tulp

REMBRANDT, first group portrait, specific anatomy lesson of 1632, Dr. Tulp is seated in place of honor, hands are prominently displayed, compares corpse with drawing, influenced by Caravaggio

Louis XIV

RIGAUD, every inch the Baroque absolute ruler, slow stately procession through Versailles, wigged, bedecked with elaborate robes, scepter in hand, crown at his side, proud of his legs

Marie de' Medici Cycle

RUBENS, heroic gestures, spiraling figures, mellow intensity of color, sumptuous full-fleshed women, historical paintings telling life of Marie de' Medici, Queen of France, splendid costumes suggest opulence, allegories assist in telling story

Raising of the Cross

RUBENS, triptych acts as continuous space, strong diagonals draw attention to Christ, heroic muscles, spontaneity of expression, dramatic use of lighting, intensely religious

The Baroque Period in Spain

The Baroque Period in Spain was really the Spanish Renaissance. Literature was dominated by Cervantes Art was a tool for the church during the Counter-Reformation

Main Question 1- Who was the main patron for Italian Baroque art?

The Churches

New Patrons=New Art

The religion of the Netherlands was Calvinism ( a sect of Protestantism ) which forbade representations of God or Christ. No aristocracy meant no mythological paintings. Middleclass merchants wanted landscapes, portraits, genre paintings for their home

Definiton of Baroque?

The term baroque was not a complement - it originally meant overdone It has come to include the following definitions: -Marked by elaborate ornamentation -Aims to create a dramatic effect -Appealing to the spirit through the senses -Enlarged space -Heightened sensuality combined with spirituality -Naturalistic rather than ideal, emotional rather than rational -Conflict, paradox and contrast, heightened spirituality, lively sensuality -Ornate

Main Question 2- What was the function of most Italian Baroque art?

To encourage the faithful to return to the Catholic Church (mostly as response to Counter-Reformation)

Blenheim Palace

VANBRUGH, given by British to Duke of Marlborough for winning Battle of Blenheim, emblem of might abound through trophies, cannonballs, etc., Baroque complexity of design, projecting pavilions, facade echoes patterns of advance and retreat, portholes

Las Meninas

VELAZQUEZ, 1656, group portrait of the artist in his studio at work, steps back from canvas and looks at the viwewer, central is Infanta Margharita of Spain with her attendants, two chaperones, dwarf and midget, king and queen appear in mirror, Velazquez's canvas in mirror? Alternating darks and lights draw us deeper in, dappled effect of light on shimmering surfaces

Surrender of Breda

VELAZQUEZ, depicts 1625 episode with Dutch surrendering to Spanish, stresses graciousness of Spanish victories, remain dignified, Dutch on left and scattered and not unified, Spanish weapons symbolized military might, Breda has imaginary landscape

Saint Paul's

WREN, designed after fire in LONDON, facade shows frontispiece, light/dark contrast in center, bell towers show Baroque composition, dome has three domes, inner wooden, structural second, exterior fills space

Main Question 4- Why Bernini's David is considered the first Baroque sculpture

Was a new type of 3-dimensional composition that intrudes forcefully on the viewers' space. It bends at waist and twists far to one side, ready to launch the lethal rock. Unlike Michelangelo's cool and self-confident lean, sinewy body, this more mature David is all tension and determination, a tightly clenched mouth, and straining muscles. Forces Viewers to take action in the scene. (Also, emotion and clothing)

Diego: The Water Carrier of Seville

Where do you see the influence of Caravaggio?

Baldacchino

a canopy placed over an altar or a shrine

Tenebroso/Tenebrism

a dramatic dark and light contrast in a painting.

Genre Painting

a painting in which scenes of everyday life are depicted. (Velazquez, Water Carrier or Seville)

Vanitas

a theme in still life painting that stresses the brevity of life and the folly of human vanity.

Impasto

a thick and very visible

Whereas Renaissance artists reveled in the precise, orderly rationality of classical models, Baroque artists embraced

dynamism, theatricality, and elaborate ornamentation, all used to spectacular effect, often on a grandiose scale, as in Bernini's Four Rivers Fountain.

View of Haarlem from the Dunes at Overveen

landscape portrays landfill project, flat land animated by alternating dark and light effects, bleached linen dries in sunlight, adds diagonal lines

Diego Velazquez, Water carrier of seville, 1619

man and boy with water and pitcher

Baroque Art

- Recognize the distinctive characteristics of the Baroque style - Identify representative Baroque artists and their works - Identify representative Baroque architects and their works - Compare and contrast the work of Italian and Spanish Baroque painters - Recognize and cite artistic terminology from this period

Goals

-Understand the influence of the Roman Catholic Church on art and architecture in 17th century Italy and Spain -Recall hallmark formal devices used by Baroque artists and architects -Identify representative Baroque artists and their works -Identify representative Baroque architects and their works -Recognize and cite artistic terminology from this period

Entombment

Christ's body placed in a grave, painting placed over an altar, Christ is symbolically being placed in altar, visualization of TRANSUBSTANTIATION, figures pushed forward into plane, stone slab comes forward

Baroque Architecture Characteristics

Classical orders continued to be used, but are arranged in energetic and dynamic ways.

Netherlands/Flanders and the Baroque

By 1609, northern rebels in Flanders won independence from Catholic Church. The north part of Flanders becomes the Netherlands—Protestant The south part of Flanders remains under the power of Catholic Church

Calling of Saint Matthew

CARAVAGGIO, light comes from two sources on right, tenebrous, diagonal shaft of light points to Matthew, unsure, Christ's hand is similar to Adam's foppishly dressed, narrow stage for figures to sit, only slight suggestion of halo, sensual figures, 1597-1601


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