BAROQUE ART
Tronie
A tronie is a common type, or group of types, of works common in Dutch Golden Age painting and Flemish Baroque painting that shows an exaggerated facial expression or a stock character in costume. It is related to the French word "trogne" which is slang for "mug" or head.
CARRAVAGIO --A BAROQUE ARTIST.
Artists like Caravaggio turned to a powerful and dramatic realism, accentuated by bold contrasts of light and dark, and tightly-cropped compositions that enhance the physical and emotional immediacy of the depicted narrative.
Guido Reni. Painted Cieling
Aurora, 1613-14, ceiling fresco (Casino dell'Aurora, Rome) an example of how the Baroque period produced new pictorial modes of expression such as the painted cieling
Aurora
Aurora, goddess of the dawn, bringing forth a new day (detail), Guido Reni, Aurora, 1613-14, ceiling fresco (Casino dell'Aurora, Rome). Aurora is an example of Baroque classicism since it recalls elements of classic art of Greece and Rome
"Baroque" - the word, the style, the period
By the middle of the 19th century, the word had lost its pejorative implications and was used to describe the ornate and complex qualities present in many examples of 17th-century art, music and literature. Eventually, the term came to designate the historical period as a whole. In the context of the painting, for example, the stark realism of Zurbaran's altarpieces, the quiet intimacy of Vermeer's domestic interiors, and restrained classicism of Poussin's landscapes are all "Baroque" (now with a capital "B" to indicate the historical period), regardless of the absence of the stylistic traits originally associated with the term.
Chiaroscuro
Chiaroscuro This is an Italian term which literally means 'light-dark'. In paintings the description refers to clear tonal contrasts which are often used to suggest the volume and modelling of the subjects depicted. Artists who are famed for the use of chiaroscuro include Leonardo da Vinci and Caravaggio. Leonardo employed it to give a vivid impression of the three-dimensionality of his figures, while Caravaggio used such contrasts for the sake of drama. Both artists were also aware of the emotional impact of these effects.
Entablature
Definition of entablature. : a horizontal part in classical architecture that rests on the columns and consists of architrave, frieze, and cornice.
quadaratura
Illusionistic painting of walls or ceilings usually in fresco in which architectural or sculptural details are painted to give the illusion of reality.
Altar of the Kings (Altar de los Reyes), 1718 (Baroque in Spanish America)
Jerónimo de Balbás,
Judith Leyster, (Northern Baroque). DUTCH PAINTER
Judith Leyster, Self-Portrait, ca 1633
Diego Velasquez SPANISH BAROQUE ARTIST
Las Meninas. Las Meninas[a] (pronounced [laz meˈninas]; Spanish for 'The Ladies-in-waiting') is a 1656 painting in the Museo del Prado in Madrid, by Diego Velázquez, the leading artist of the Spanish Golden Age. Its complex and enigmatic composition raises questions about reality and illusion, and creates an uncertain relationship between the viewer and the figures depicted. Because of these complexities, Las Meninas has been one of the most widely analyzed works in Western painting.
di sotto in sú
Sotto in su, (Italian: "from below to above") in drawing and painting, extreme foreshortening of figures painted on a ceiling or other high surface so as to give the illusion that the figures are suspended in air above the viewer.
tenebrism
Tenebrism Tenebrism is a term derived from the Italian 'tenebroso' which means darkened and obscuring. It is used to describe a certain type of painting in which significant details such as faces and hands are illuminated by highlights which are contrasted with a predominantly dark setting. The late paintings of Caravaggio and those of many of his followers are often described as tenebrist.
Painting the Baroque --FRANCE. REGIONAL DIFFERENCES BETWEEN FRANCE AND ITALY
The Baroque in France exhibits many of the same characteristics we found in art of other regions in this period.Deep contrasts between light and shadow make the images visually interesting and also draw the viewer in to these intimate scenes. Nonetheless, artists in France tended to practice a more classicizing version of the Baroque style than their Italian counterparts. This means that compositions are more regular, gestures more restrained, and emotions more subdued.We do, however, find extravagance in the art and architecture associated with the reign of Louis XIV
Counter-Reformation culture and the Baroque style: What is the Counter-Reformation and how does art fit into the Catholic Church's response to the Reformation?
The Baroque style emphasized emotionality and spirituality aligning with the Catholic Church's focus on re-affirming the devotion of the faithful.
solomonic columns
The Solomonic column, also called Barley-sugar column, is a helical column, characterized by a spiraling twisting shaft like a corkscrew.
Inside il Gesu, The Triumph of the Name of Jesus
The Triumph of the Name of Jesus, by il Baciccio, also known as Giovanni Battista Gaulli, 1672-1685).
Corinthian column
This type of column is the most complex, with carvings that looks like leaves at the top.
estipite column
Used in the Altar of the Kings, a column representative of the Baroque just as the solomonic collumn as seen in St Peters. The estipite column is a type of column or pilaster typical of the Churrigueresque Baroque style of Spain and Spanish America used in the 18th century.
Juan de Pareja
Velázquez most likely executed this portrait of his enslaved assistant in Rome during the early months of 1650. Diego Velasquez later freed his enslaved assisstant
trompe l'oeil
visual illusion in art, especially as used to trick the eye into perceiving a painted detail as a three-dimensional object.
Quadro riportato—painting taken elsewhere
Aurora, the cieling fresco, uses the technique of quadro riportato...Reni's use of a frame around his fresco is a pictorial device known as quadro riportato, or "painting taken elsewhere." The idea was to the trick the viewer into thinking that an easel painting, a framed painting we would normally expect to find hanging on a wall, had actually been placed on the ceiling (keep in mind that Aurora is a fresco, painted right on the ceiling).
THE CONSEQUENCES OF WAR. BAROQUE FLEMISH--PAINTED BY?
Peter Paul Rubens, The Consequences of War, 1638-39, oil on canvas (Palatine Gallery, Palazzo Pitti, Florence)
St Teresa
The Ecstasy of Saint Teresa is the central sculptural group in white marble set in an elevated ... of the High Roman Baroque. It depicts Teresa of Ávila. Medium: Marble Location: Santa Maria della Vittoria, Rome Year: 1647-1652 Artist: Gian Lorenzo Bernini
Baroque Architecture of the 17th Century
A complete departure from buildings of the Renaissance, Baroque structures are characterized by curving lines; large, imposing facades and features; and a sense of movement - new and unexpected features in the Western tradition.
Pilaster
A rectangular column that projects partially from the wall to which it is attached; it gives the appearance of a support, but is only for decoration.
dome
Dome, in architecture, hemispherical structure evolved from the arch, usually forming a ceiling or roof. ...
foreshortening
Foreshorten If an object or person is foreshortened it is depicted as though receding from the viewer into the picture space. To achieve this effect successfully requires knowledge of the laws of perspective. Notable examples of this illusion in the National Gallery include the fallen knight in Uccello's 'Battle of San Romano', and the arm of the disciple on the right in Caravaggio's 'Supper at Emmaus'.
Adoration of the Kings 1639-40---NOTICE THE BLACK MAGI
Francisco Zurbarán
engaged column
In architecture, an engaged column is a column embedded in a wall and partly projecting from the surface of the wall, sometimes defined as semi or three-quarter detached
Jules Hardoin-Mansart, Louis Le Vau, Charles Le Brun, FRENCH BAROQUE ARCHITECT
Palace of Versailles, 1678 (Hall of Mirrors)
Portraiture in Northern Europe and England (Baroque) HOW DID PORTRAITURE EXPAND?
The subject of portraits expanded to include kings, surgeons and local tavern goers. Quite an expanded range compared to portraits of the Renaissance where subjects were powerful or wealthy.
Still Life with a Silver Ewer and a Porcelain Bowl. DUTCH PAINTER SPECIALIZING IN STILL LIFES
Willem Kalf, Still Life with a Silver Ewer and a Porcelain Bowl, 1660
Post Reformation Art in Protestant Countries
the monarchy and the Church—were now gone. In their stead arose an increasingly prosperous middle class eager to express its status, and its new sense of national pride, through the purchase of art. Smaller scale paintings for display in private homes as well as smaller scale paintings suitable for display in private homes as well as religious contemplative paintings and portraits by Rembrant are examples of these
PETER PAUL RUBEN'S -THE ELEVATION OF THE CROSS
An enormous triptych The Elevation of the Cross altarpiece is a masterpiece of Baroque painting by the Flemish painter Peter Paul Rubens. The work was originally installed on the high altar of the Church of St. Walburga in Antwerp (since destroyed), and is now located in the Cathedral of Our Lady in Antwerp.
Anthony van Dyck (Northern Baroque). FLEMISH PAINTER
Anthony van Dyck, Charles I at the Hunt, ca 1635
Antonio de Pereda, Still Life with Ebony Desk, 1652. Oil on canvas.
Antonio de Pereda, Still Life with Ebony Chest, 1652. In Still Life with Ebony Chest, Pereda visually elevates these seemingly insignificant objects, arranging them on a slightly tilted table so that they appear to tower over the viewer, while theatrical lighting adds drama to the scene. The table is covered with a red velvet cloth, a color associated with the monarchy and a staple of royal portraiture at the Spanish court. All of this contributes to the visual glorification of these objects—and by implication, of the social custom they illustrate.
Manila Galleons
Definition: They were Spanish trading ships that made round-trip sailing voyages once or twice per year across the Pacific Ocean from the port of Acapulco in New Spain to Manila in the Spanish East Indies.The Manila Galleon (Spanish trading ships) brought good like spices, silks, ceramics, and ivory to the Americas in exchange for silver.
THE COUNTER REFORMATION SPURRED BAROQUE ART
During the Counter-Reformation, art was made in the service of religion. As a result, new subject matter developed, which included depictions of the conversion of saints (ie, Caravaggio's Conversion of St Paul andThe Calling of St Matthew and Conversion of St. Paul); religious ecstasies (ie, Bernini's St Teresa); and martyrdoms (ie, Peter Paul Ruben's Raising of the Cross). THE EMOTIONALISM OF BAROQUE ART SERVED THE COUNTER REFORMATION AS THE CHURCH ATTEMPTED TO AIDE THE FAITHFUL TO ONCE AGAIN FEEL THEIR RELIGION
pronk
Dutch word meaning "showy" or "ostentatious," pronk still life paintings are known for their over-the-top display of lavish goods and exceptional illusionism
Nicholas Poussin, Et in Arcadia Ego, ca 1655. BAROQUE FRENCH
Et in Arcadia Ego, ca 1655. Baroque French painting--shows shepherds and a female based on ancient Greek Roman styling. In the center is a tomb and the words, The title "Et in Arcadia Ego" or "I too am in Arcadia" could refer to death being in Arcadia or the person who is buried having lived in Arcadia. The point appears to be that even death is to be found in Arcadia, which symbolizes a mythic ideal place to live
Baroque Architecture in France
France begins to look to its own artistist rather than to Italy. In the seventeenth century France began to take a turn inward, looking to French artists and craftsmen as sources of inspiration, rather than abroad to Italy. An example of this cultural turn, the French King Louis XIV solicited plans for the east facade of the Louvre (at the time, the French royal palace) from one of Italy's greatest architects, Gianlorenzo Bernini, only to reject them for being too over-the-top in favor of a more sober design by one of its own, frenchman Charles Perrault.
San Carlo alle Quattro Fontane
Francesco Borromini, San Carlo alle Quattro Fontane ("Carlino"), Rome. Commissioned by Cardinal Francesco Barberini in 1634 for the Holy Order of the Trinity; construction began in 1638 and the church was consecrated in 1646. Borromini used geometrical and integrating undulating lines requiring precise math and spatial reasoning for this architecture. The dynamism and movement of this architecure is typical of Baroque architecture
Frans Hals (Northern Baroque) DUTCH PAINTER
Frans Hals, Malle Babbe, ca 1630
Claude Perrault. FRENCH BAROQUE ARCHITECT
French; 1600s; east facade of the Louvre,
Il Gesu, Rome
Giacomo Barozzi da Vignola and Giacomo della Porta, Church of Il Gesù, Rome (consecrated 1584, ceiling fresco, The Triumph of the Name of Jesus, by il Baciccio, also known as Giovanni Battista Gaulli, 1672-1685).
Bernini's David
Gian Lorenzo Bernini, David, 1623-24, marble, 170 cm (Galleria Borghese, Rome) (photo: Salvador Fornell CC BY-NC-ND 2.0). AN EXAMPLE OF BAROQUE ART IN ITS DYNAMIC MOVEMENT AND INTENSE DRAMA. ONE CAN FEEL DAVID'S ENERGY
BERNINI-THE CHAIR OF ST PETER
IN THE BAROQUE STYLE-Gian Lorenzo Bernini, View to Cathedra Petri (or Chair of St. Peter), 1647-53, gilded bronze, gold, wood, stained glass (Apse of Saint Peter's Basilica, Vatican City, Rome)
Collonade
In classical architecture, a colonnade is a long sequence of columns joined by their entablature, often free-standing, or part of a building. ... When in front of a building, screening the door (Latin porta), it is called a portico, when enclosing an open court, a peristyle.
Protestant Iconoclasm--destruction of religious icons
In the Spanish Netherlands, where sacred art had suffered terribly as a result of the Protestant iconoclasm (the destruction of art), civic and religious leaders prioritized the adornment of churches as the region reclaimed its Catholic identity. BAROQUE ART HAD THE PURPOSE OF RECREATING RELIGIOUS ART DESTROYED BY THE PROTESTANT REFORMATION
Diego Velasquez--the waterseller of seville- AN EXAMPLE OF BAROQUE PORTRAITURE WHOSE SUBJECTS INCLUDE CULTURAL AND MORE COMMONPLACE SUBJECTS--NOT JUST THOSE IN POWER
In the center of the compacted composition stands the monumental profile figure of the Waterseller, aged from the hot sun and donned in a humble brown cloak. He offers a boy a glass of water, freshened by a fig, which he has just poured from the large clay vessel in the immediate foreground. Although they are physically connected to one another as they both hold the glass, the boy and old man do not make eye contact but instead stare past one another. Perhaps their difference in age prevents a connection between the two, or perhaps it is their difference in social status. The face of a young man emerges from the shadows of the background between the old Waterseller and the boy. He stares out at the viewer while drinking from his mug. Within this painting we see three ages of man represented.
Baroque --1585 to 1700/1730--NOT A TERM OF PRAISE BY CRITICS
In the context of European history, the period from c. 1585 to c. 1700/1730 is often called the Baroque era. The word "baroque" derives from the Portuguese and Spanish words for a large, irregularly-shaped pearl ("barroco" and "barrueco," respectively). Eighteenth century critics were the first to apply the term to the art of the 17th century. It was not a term of praise. To the eyes of these critics, who favored the restraint and order of Neoclassicism, the works of Bernini, Borromini, and Pietro da Cortona appeared bizarre, absurd, even diseased—in other words, misshapen, like an imperfect pearl.
Artemesia Gentileschi. Judith and Holofernes, Rome, ca 1614-1620
Judith, a pious young widow from the Jewish city of Bethulia, beheads Holofernes, general of the Assyrian army that had besieged her city. Moved by the plight of her people and filled with trust in God, Judith took matters into her own hands. She coiffed her hair, donned her finest garments and entered the enemy camp under the pretense of bringing Holofernes information that would ensure his victory. Struck by her beauty, he invited her to dine, planning later to seduce her. As the biblical text recounts, "Holofernes was so enchanted with her that he drank far more wine than he had drunk on any other day in his life" (Judith 12:20). Judith saw her opportunity; with a prayer on her lips and a sword in her hand, she saved her people from destruction.
Christ Crucified, 17th century, ivory
Made from ivory from elephant tusk--see the arc of the arms outspread this ivory likely came from three continents.This ivory sculpture of Jesus traveled between three continents, demonstrating the global flow of materials, objects, and Christianity in the sixteenth and seventeenth centuries.An object like Christ Crucified also demonstrates the global reach of Catholicism in the sixteenth and seventeenth centuries.
Biombo with the Conquest of Mexico and View of Mexico City, (The Baroque in Spanish America)
Mexico City side, Biombo with the Conquest of Mexico and View of Mexico City, New Spain, late 17th century (Museo Franz Mayer, Mexico City)Created in the second half of the seventeenth century, the screen features a panoramic birds-eye map of Mexico City on one side and scenes from the Conquest of Mexico on the other.
Carravaggio's The conversion of St Paul
Paul then traveled to Damascus to further persecute early Christians. On the road to Damascus Saul had an encounter with the Risen Jesus Christ (Acts of the Apostles 9:1-19, Galatians 1: 13-14). Jesus asked, "Saul, Saul, why are you persecuting me?" Paul replied, "Who are you, sir?" Jesus responded, "I am Jesus whom you are persecuting" (Acts 9: 4 - 5). Jesus then sent Saul into Damascus to wait for further instructions. Saul was shaken and blinded by the experience. When a Christian named Ananias came and baptized Saul, his blindness went away. As a result of this encounter Saul became a follower of Christ. He was now convinced that fellowship with the risen Jesus Christ, not the observance of the Law, was all that was needed to receive God's promise of salvation. (Galatians 1:11-12; 3:1-5)
pediment
Pediment, in architecture, triangular gable forming the end of the roof slope over a portico (the area, with a roof supported by columns, leading to the entrance of a building); or a similar form used decoratively over a doorway or window. The pediment was the crowning feature of the Greek temple front.
Georges de la Tour, BAROQUE FRENCH
Penitent Magdalene, ca 1640. The quiet atmosphere of this painting perfectly fits the subject, Mary Magdalen, a witness of Christ who renounced the pleasures of the flesh for a life of penance and contemplation. She is shown with a mirror, symbol of vanity; a skull, emblem of mortality; and a candle that probably stands for her spiritual enlightenment.
Hyacinthe Rigaud, Portrait of Louis XIV, 1701. FRENCH BAROQUE
Portrait of Louis XIV, 1701. Louis became known as le Roi Soleil, the Sun King, furthering his claim of divine lineage by recalling the ancient Greek god Apollo and declaring himself, in his usual modest manner, to be the center of the universe.
The Story of the Black King Among the Magi
Recent studies have revealed the roots of colorism and racism in the medieval period, and it is within this cultural context that we notice shifts in the depiction of Balthazar in the late Middle Ages. Medievalist Cord Whitaker has worked extensively on the perception of the three magi. He explains that "the discomfort with black goodness is palpable" in medieval works addressing the black king. Whitaker argues, "While the black king is righteous and holy, his people, also black, are heretical and wicked ... The black king is little more than a one-off, an exception to the rule, a token." Balthazar does not represent an inclusive, positive standard for viewing Blackness. Rather, he serves as a metaphor for the spread of Christianity.
Rembrandt (Northern Baroque). DUTCH PAINTER
Rembrandt van Rijn, Anatomy Lesson of Dr Tulp, 1631
Rembrandt (Northern Baroque). DUTCH PAINTER
Rembrandt, Self-Portrait with Two Circles
Quadro Riportato as an example of trompe l'oeil
Reni's use of quadro riportato was not the first. Annibale Carracci also used frames in her Farnese Gallery Cieling but these were painted illusions--painted illusions—a technique known as trompe l'oeil (literally to "trick the eye").
Peter Paul Rubens
Rubens was a beneficiary of protestant iconoclasm as he created art anew to replace much that had been destroyed previously. Refurnishing the altars of Antwerp's churches kept Peter Paul Rubens' workshop busy for many years. Rubens Elevation of the Cross seen here
Di Sotto in su
Sotto in su, (Italian: "from below to above") in drawing and painting, extreme foreshortening of figures painted on a ceiling or other high surface so as to give the illusion that the figures are suspended in air above the viewer. It is an approach that was developed during the Renaissance, and it was especially favoured by Baroque and Rococo painters, particularly in Italy. Andrea Mantegna, Giulio Romano, Correggio, and Giovanni Battista Tiepolo were outstanding exponents of the technique.
GIOVANNI BATTISTA GAULLI--BAROQUE ARTIST
Still others, like Giovanni Battista Gaulli, turned to daring feats of illusionism that blurred not only the boundaries between painting, sculpture, and architecture, but also those between the real and depicted worlds. He made the divine world seem present in the here and now
Baroque is a response to Renaissance rationalism.
The Baroque, by contrast, is more a style that is characterized by emotionalism. Features of the Baroque style include: dramatic, theatrical, emotive imagery dramatic lighting use of chiaroscuro and tenebrism (extreme contrasts of light and shadow) lots of movement diagonal compositions figures and objects extending close to viewer's space closely cropped compositions
The Counter-Reformation
The Counter-Reformation served to solidify doctrine that many Protestants were opposed to, such as the authority of the pope and the veneration of saints, and eliminated many of the abuses and problems that had initially inspired the Reformation, such as the sale of indulgences for the remission of sin.
David and Goliath---HAS TO DO WITH THE STORY BEHIND BERNINI'S STATUTE OF DAVID
The David and Goliath Story The story centers on David, a shepherd-turned-musician that gained immense popularity after accepting a challenge from the giant Goliath, who asked champions of the Israelite army to fight him one-on-one. According to the tale, David killed the towering Goliath using only a staff, a sling, and five stones from a brook. After the crushing defeat, David later became king of Israel and Judah himself, and took over Jerusalem, reigning between 1010-970 BC. The outcome of this unlikely pairing has come to represent both perfection and justice, and has also come to epitomize the classic underdog. Given the inspiring nature of the subject matter, the king and conqueror has since been the honorable subject of myriad works of art. After all, David was also a symbol of the Catholic Church, the Italian people during the Renaissance, and the Republic of Florence.
Bernini's the ecstacy of st teresa.
The Ecstasy of Saint Teresa (alternatively Saint Teresa in Ecstasy or Transverberation of Saint Teresa; in Italian: L'Estasi di Santa Teresa or Santa Teresa in estasi) is the central sculptural group in white marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome. It was designed and completed by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the Chapel in marble, stucco and paint. It is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. It depicts Teresa of Ávila.
PAINTED BY RUBENS WHO IS FLEMISH--. BAROQUE FLEMISH AND SO STYLISTICALLY LIKE SOUTHERN EUROPEAN PAINTINGS THAT PORTRAY RELGIOUS THEMES
The Elevation of the Cross altarpiece is a masterpiece of Baroque painting by the Flemish painter Peter Paul Rubens.
cochineal
The bug that had the world seeing red---nce there was a color so valuable that emperors and conquistadors coveted it, and so did kings and cardinals. Artists went wild over it. Pirates ransacked ships for it. Poets from Donne to Dickinson sang its praises. Scientists vied with each other to probe its mysteries. Desperate men even risked their lives to obtain it. This highly prized commodity was the secret to the color of desire—a tiny dried insect that produced the perfect red. Red dye made from the Mexican cochineal bug, for example, was all the rage in European textiles and painting in the 17th century.
scroll
The scroll in art is an element of ornament and graphic design featuring spirals and rolling incomplete circle motifs, some of which resemble the edge-on view of a book or document in scroll form, though many types are plant-scrolls, which loosely represent plant forms such as vines, with leaves or flowers attached. Scrollwork is a term for some forms of decoration dominated by spiralling scrolls, today used in popular language for two-dimensional decorative flourishes and arabesques of all kinds, especially those with circular or spiralling shapes.Scrollwork (in the popular definition) is most commonly associated with Baroque architecture,
Painting the Baroque in Spain--The 17th Century (that means 1600's)
The seventeenth century in Spain is often called its Golden Age. Though a bit more subtle and subdued than Italian art, Spanish painting employs many of the same techniques we discussed in the previous sections and for similar purposes. THIS IS AN EXAMPLE OF REGIONAL DIFFERENCE IN BAROQUE ART
The Baroque in Northern Europe and England--COUNTRIES UNDER SPANISH CONTROL AND THEREFORE CATHOLIC INFLUENCE HAD ART THAT LOOKED LIKE THAT OF SOUTHERN EUROPE (ITALY) WHILE INDEPENDENT STATES LIKE THE DUTCH REPUBLIC DEVELOPED A DIFFERENT STYLE OF BAROQUE ART...BAROQUE ART IS INFLUENCED BY REGIONALISM AND THE COUNTRY AND RELIGIOUS INFLUENCES ON THAT COUNTRY
The term 'Baroque' is inadequate in many ways, especially when it comes to describing the style of Northern European paintings. Because parts of Northern Europe, like Flanders, were under Spanish control, works from these regions aligned stylistically with southern European painting and portray religious themes. But in other parts of Northern Europe, like the independent Dutch Republic, we see a slightly different style and new content develop in works of art. THE BAROQUE IN NORTHER EUROPE AND ENGLAND LOOKED VERY DIFFERENT DEPENDING ON WHICH COUNTRY THE ART CAME FROM.
Corinithian column
The word "Corinthian" describes an ornate column style developed in ancient Greece and classified as one of the Classical Orders of Architecture. The Corinthian style is more complex and elaborate than the earlier Doric and Ionic Orders. The capital or top part of a Corinthian style column has lavish ornamentation carved to resemble leaves and flowers.
altar/retablo
The word retablo comes from the Latin retro-tabula, literally meaning "behind the altar," and originally it referred to paintings placed behind the altar of churches
Carravaggisti
These followers, whether Italian, Spanish, French, or Netherlandish, were especially attracted to Caravaggio's tenebrism - the use of dark shadows to obscure parts of the composition. Caravaggio's employment of tenebrism and chiaroscuro, the strong contrast of light and dark, lends his paintings a dramatic effect that has been likened to a spotlit stage. These followers, whether Italian, Spanish, French, or Netherlandish, were especially attracted to Caravaggio's tenebrism - the use of dark shadows to obscure parts of the composition. Caravaggio's employment of tenebrism and chiaroscuro, the strong contrast of light and dark, lends his paintings a dramatic effect that has been likened to a spotlit stage.
St Joseph and the Christ Child (Baroque in Spanish America) REGIONALISM IN BAROUQE ART IS SEEN IN THE CUZCO SCHOOL OF SOUTH AMERICA
This image of St. Joseph differs from saints' images elsewhere in the Spanish Empire. It exhibits several of the distinctive features of the regional "Cusco School" of painting (Cusco is the name of this region—in the Central Peruvian Andes of South America). The Cuzco-School style developed as indigenous Andean artists adopted techniques imported by artists from Spain and Flanders. For example, they embraced the Flemish interest in detailed landscapes and atmospheric perspective, seen here in the use of light blue tones to suggest distant hills. Cuzqueño artists also incorporated local details, such as regional flora and tropical birds.
Bernini's The ecstacy of St Theresa
This is Saint Teresa's description of the event that Bernini depicts: Beside me, on the left, appeared an angel in bodily form.... He was not tall but short, and very beautiful; and his face was so aflame that he appeared to be one of the highest rank of angels, who seem to be all on fire.... In his hands I saw a great golden spear, and at the iron tip there appeared to be a point of fire. This he plunged into my heart several times so that it penetrated to my entrails. When he pulled it out I felt that he took them with it, and left me utterly consumed by the great love of God. The pain was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one's soul content with anything but God. This is not a physical but a spiritual pain, though the body has some share in it—even a considerable share.
Pope Urban VIII. THE POPE WHO SUPPORTS RELIGIOUS ART IN THE BAROQUE PERIOD AND ARTISTS SUCH AS BERNINI
Urban VIII and his family patronized art on a grand scale.[1] He expended vast sums bringing polymaths like Athanasius Kircher to Rome and funding various substantial works by the sculptor and architect Bernini, from whom he had already commissioned Boy with a Dragon around 1617 and who was particularly favored during Urban VIII's reign. As well as several portrait busts of Urban, Urban commissioned Bernini to work on the family palace in Rome, the Palazzo Barberini, the College of the Propaganda Fide, the Fontana del Tritone in the Piazza Barberini, the baldacchino and cathedra in St Peter's Basilica and other prominent structures in the city. Urban the 8th persecuted Galilleo and was an opponent of Copernicanism--the sun as the center of the solar system.
The Assumption of the Virgin, 1600-01, oil on canvas, 96 × 61″, and paintings by Caravaggio on the side walls (The Crucifixion of St. Peter...
View of the Cerasi Chapel in Santa Maria del Popolo in Rome with Annibale Carracci's altarpiece, The Assumption of the Virgin, 1600-01, oil on canvas, 96 × 61″, and paintings by Caravaggio on the side walls (The Crucifixion of St. Peter on th
Gian Lorenzo Bernini, St. Peter's Square
an example of Counter Reformation architecture's goal of inspiring the faithful and defending against the Protestant Reformation's blasting of the Church as corrupt
bon gout
good taste. French for tasteful"
Gian Lorenzo Bernini, Baldacchino, 1624-33, 100′ high, gilded bronze (Saint Peter's Basilica, Vatican City, Rome)
marks the tomb of St Peter the first pope of Catholic Church. Baldacchino is sculpture and architecture there is a long tradition of a baldacchino of marking an important spot but not on a scale such as of that of Bernini's Baldacchino
Hierarchy of Painting
set up by Le Brun at the French Academy of Painting and Sculpture. 1 Historical Painting. 2 Portraiture. 3 Genre Scenes. 4 Landscapes. 5 Still life
