Chapter 24 Italy and Spain 1600 - 1700

Diego Velazquez, Water Carrier of Seville, 1619, Oil on Canvas,

A genre scene the seems to convey a deeper significance. Contrast of darks and lights and the plebeian nature reveal Caravaggio influence.

What Buildings did Maderno design?

Added to Michelangelo's St. Peter's facade, facade of Santa Susanna.

What did Bernini execute in his creation of Ecstasy of Saint Teresa?

An emotional experience for worshipers consistent with the Catholic Counter Reformation.

Bernini, David, Marble, 1623

Artist chose moment of combat, a bursting forth of energy, appears to be moving through time and space. Not self-sufficient, viewer must consider what is happening away from the statue. Facial expression of intense concentration.

Gianlorenzo Bernini, interior of the Cornaro Chapel, Santa Maria della Vittorio, Rome, Italy.

Artist drew on full capabilities of architecture, sculpture, and painting to create an emotional experience for worshipers.

Diego Velazquez, Las Meninas, 1656, Oil on Canvas

Artist in painting. Young princess appears in in foreground with two maids in waiting, her dwarfs and a large dog. In the middle are a woman in widow's garb and a male escort. In the background a chamberlain stands in a lit doorway. Artist wanted appointment in Order of Santiago, but lacked noble background. In picture he wears order's red cross. painting may be showing King visiting studio. This painting shows reality, mirror image, optical image, pictures within pictures, seems to be painted from a mirror reflection. Composition in both directions, open door and ascending stairway lead eye outside of studio, mirror devise and outward glances of several of the subjects incorporate the viewer's space as well. Inclusion of two Rubens.

Caravaggio, Conversion of Saint Paul, 1601, Oil on Canvas, Cerasi Chapel, Santa Maria del Popolo, Rome.

Artist used perspective, chiaroscuro, and dramatic lighting to bring viewers into the painting's space and action. The low horizon line augments the sense of inclusion. Sharply-lit figures emerge from the dark background as if lit by the light from the chapel's windows. Lighting similar to the rays in Bernini's Ecstasy of Saint Teresa. Shows saint at the moment of his conversion. The humanity he shows impressed many.

Guido Reni, Aurora, ceiling Fresco in the Casino Rospigliosi, Rome, Italy, 1613 - 1614.

Aurora leads Apollo's chariot, while the hours dance around it. Aurora is a quadro riportato. Illusionistic frame, fluid motion, soft modeling, can see Raphael's influence. Aurora is based on Roman reliefs and coins.

Who was the greatest Baroque sculptor and architect?

Bernini

Carlo Maderno, facade of St. Peter's Vatican City, Rome Italy, 1606-1602

Commissioned by Pope Paul V. Gigantic expansion of the elements of Santa Susanna but compactness and verticality are not as prominent because of the length of St. Peter's. The incomplete building hindered Maderno and the two bell towers were not in his plan, they too, hinder the verticality Maderno would have wanted.

Pietro Da Cortona, Triumph of the Barberini, ceiling fresco in the Gran Salone, Palazzo Barberini, Rome Italy, 1633 -1639.

Commissioned by Pope Urban VIII. Divine providence appears in a halo of radiant light directing Immortality, holding a crown of stars, to bestow eternal life on the family of Pope Urban VIII. Faith, Hope and Charity hold aloft a laurel wreath (symbol of immortality) which frames three bees (the family's symbol) Also includes the papal tiara and keys.

Artemisia Gentileschi, Judith Slaying Holofernes, 1614-1620, Oil on Canvas, Galleria degli Uffizi, Florence

Dark subject matter. Heroic female. Deliver of Israel from Holofernes. The Assyrian General falls to Judith's charms and she beheads him when he falls asleep. The tension and strain are obvious.

St. Peter's Piazza designed by Bernini

Design had to accommodate two existing structures on the site, an ancient obelisk the Romans brought from Egypt and a fountain Maderno designed. Four rows of huge Tuscan columns make up the two colonnades. The colonnades are a dramatic gesture f welcome the Roman Catholic Church extended to its members during the counter-revolution. The completed St. Peters filled the desire of the counter-reformation to present an awe-inspiring, authoritative vision of itself.

Italian Baroque Churches

Designed with acoustical effect in mind and with music and image, parishioners would have been moved to a trance-like stage.

Greatest Spanish Baroque painter

Diego Velazquez.

Greatest Spanish painter of Baroque era that painted for King Philip IV. Abound religious and genre subjects for Royal portraits and historical events.

Diego Velazuez

Brommini, View into Dome, Chapel of St. Ivo, College of the Sapienza, Rome, Italy, begun 1642

Dome is not a separate unit placed on a supporting block. It is organic that evolves out of the supporting walls.

Who gained power through the Treaty of Westphalia?

Dutch Republic, Sweden and France.

How did Italian and Spanish Baroque Architecture differ from Gothic?

Emphasis on sculptural qualities. Facades are undulating services that provide fluid transition from exterior to interior space. Domes grow organically fro curving walls.

Francesco Borromini, Plan of San Carlo alle Quattro Fontane, Rome Italy, 1638 -1641

Emphasized buildings structural qualities. Uses undulating motion, concave and convex elements on two levels. Three D effect of deeply recessed niches. Facade is not flat provides fluid transition between exterior and interior. Two entrances one turned away from main.

Baroque Sculpture

Expansive and theatrical. Motion and emotion.

Bolognese Academy

First institution based on assumption that art can be taught through the study of art from the past and applied study of anatomy and life drawing. It was founded by the members of the Carracci family in Bologna.

Giovanni Battista Gualli, Triumph of the Name of Jesus, ceiling fresco with stucco figures on the nave vault of Il Gesu, Rome, Italy, 1676 - 1679.

Guided architecture opens up to offer the faithful glimpse of Heaven. Th heighten the illusion, Gaulli painted figures on stucco extensions the project outside the painting's frame. Sinners descend back to earth.

Caravaggio

Had disdain for classical masters. Considered "anti-christ" of painting. Had enormous influence on later artists. He injected naturalism into religion and classics, reducing them to human dramas. Used figures from streets of Italy which made the paintings impactful because of the familiarity of the subjects. They are still heroic, but the contrast of light and dark obscures the traditional aspects of his work.

Spain prior to 1660

Hapsburg's kings built a dynastic state that included Spain, Portugal, part of Italy, the Netherlands and areas of the new world. Until the 30 years war which increased the tax burden who revolted in Catalonia and Portugal, but knowing the power of artworks and their ability to communicate both Phillip III and Phillip IV spent lavishly on art.

Francesco Borromini, Plan of San Carlo alle Quattro Fontane, Rome Italy, 1638 -1641

Hybrid of the Greek cross and an oval with a long axis between the entrance and the apse. The oval creates an interior unencumbered by segmentation so characteristic of Renaissance buildings.

What ceiling treatment was popular during Baroque period in Italy and what are two examples.

Illusionistic ceiling painting, Pozzo's Glorification of Saint Ignatius, at Sant'Ignazio in Rome and Gualli's Triumph in the Name of Jesus, at Il Gesu.

Jose De Ribera, Martyrdom of St. Phillip, 1639, Oil on Canvas, Museo del Prado, Madrid,

Imitated Caravaggio, using naturalism and drama and primary ingredients of painting. Often brutal themes Martyrdom and Death, reflecting the harsh times of the Counter-Reformation and Spanish taste of for courage and devotion. Philip's executioners hoist him into position to die on the cross. Philip's body shows a kinship with his tormentors.

Camara Obscura

In Latin means "dark room." Ancestor to modern camera in which tiny pinhole, acting as lense, projects an image on a screen, the wall of a room, or ground-glass wall of a box; used by artists in the 17th, 18th, and early 19th century as an aid in drawing from nature.

Council of Trent

Insisted that religious art informed the layman.

Artemisia Gentileschi

Italian Early Baroque painter, today considered one of the most accomplished painters in the generation influenced by Caravaggio. In an era when women painters were not easily accepted by the artistic community, she was the first female painter to become a member of the Accademia di Arte del Disegno in Florence.

Who were two Spanish painters influenced by Caravaggio during the Baroque era.

Jose de Ribera an Francisco de Zubaran using Caravaggio's lighting and realism.

Momento mori

Latin, "reminder of death." In painting, a reminder of human mortality, usually represented by a skull.

Baroque

Means irregularly shaped, or odd, a negative word that evolved in the 18th Century to describe the Baroque's departure from the Renaissance. Covers a broad range of styles and genres. Artists embraced dynamism, theatricality, and elaborate ornamentation often on a grandiose scale. Renaissance subject matter continued.

Carracci and Caravaggio

Most important Baroque painters.

What does Baroque architecture depend on?

Movement. Facades undulate creating symmetrical cavities of shadow. Emphasis is on the center of with wavelike forms that accentuate the entrance.

Carlo Maderno, facade of Santa Susanna, Rome It, 1597 -1603

One of earliest manifestations of Baroque spirit. Resembles Giacomo della Port's design for Gesu Il, but has greater verticality and dramatic major features. The central section projects forward from the horizontal lower story and the scroll buttresses are smaller and set at sharp angle. The elimination of the arch framing the pediment accentuates the vertical thrust. Recessed niches heighten the sculptural effect.

Diego Velazquez, King Philip Iv of Spain, 1644, Oil on Canvas

Painted King during campaign to recapture Aragonese territory. Displayed what king wore when reviewing troops.

Diego Velazquez, Surrender of Breda, 1634-1635, Oil on Canvas

Painting celebrated recent Spanish military success over the Dutch at Breda in 1625. Spanish troops organized and well-armed on the right. Defeated Dutch on the left. In middle of painting Mayor of Breda hands city's keys to the Spanish General. Shows that Spinola was lenient.

Tenebrism

Painting in the "shadowy manner" using violent contrasts of light and dark as in the work of Caravaggio

Brommini, Plan of Chapel of St. Ivo, College of the Sapienza, Rome, Italy, begun 1642

Plan is that of a star having rounded points and apses on all sides. Reflects the elements of a highly complex plan.

Maderno's plan for St. Peter's.

Pope Paul V commissioned Moderno to add three nave bays because Church officials decided he central plan was too closely associated with pagan buildings such as the Pantheon. The lengthening pushed the dome farther back and destroys Michelangelo's effect.

Bernini

Quintessential Baroque artist, architect, painter and sculpture. Did Piazza and baldacchino for St. Peter's. Fame based on his sculptures.

Who lost power through the Treaty of Westphalia?

Spain and Denmark.

Bernini, Scala Rgia, Vatican, Rome Italy, 1663-1666

Staircase that connects papal apartments to St. Peter's. Trumpeting Angels and Papal Arms crown the entrance. The columns form aisles, by both reducing distance between columns and wall and narrowing the space between the colonnades he eliminates the aisles on the upper levels while creating illusion that stairway is uniform. He brought light in at the top as a nod to move from darkness toward the light. This also served as a mid-way resting point. Also speaks to processional sequence found in St. Peter's.

Bernini, baldacchino, St. Peter's Vatican City, Rome Italy 1624 -1633

Stands 100 ft. high (8 story bldg.) functional and symbolic. Marks high altar and tomb of St. Peter and visually bridges human scale to lofty vaults and the dome above. Provides presence at the crossing. Decorative elements speak to the power of the church and Pope Urban VIII. four columns reminiscent of those ancient previously over St. Peter's grave. Orb and cross at top the are symbols of the Church's triumph. Shows bees symbol of Barberini Family of Pope Urban. Required so much bronze the portico of the Pantheon was dismantled to provide, which also spoke to church's view of paganism.

Fra Andrea Pozzo, Glorification of Saint Ignacius, ceiling fresco in the nave of Sant' Ignazio, Rome, Italy, 1691-1694.

The illusion of Heaven opening up above viewers head by continuing the church's architecture into the painted vault. This fresco give the appearance that the roof has been lifted off. As Heaven and Earth commingle Christ receives St. Ignatius in the presence of figures personifying the four corners of the world.

Colonnades in Piazza at St. Peters.

They visually counteract the natural perspective and bring facade closer to the viewer compensating for the width.

What differs in Italian and Spanish Baroque Art versus Renaissance Art?

This art is dynamic, theatrical, and highly ornate.

Francisco De Zurbaran, Saint Serapion, 1628. Oil on Wood.

This is a devotional image for the funerary chapel of the monastic order of Mercy in Seville. The saint participated in the third crusade on 1196. Suffered martyrdom while preaching gospel to muslims. Monk emerges from a dark background. Bright light calls attention to saint's tragic death. Features identify him as common to evoke empathy from viewers.

Aim of much of the Italian Baroque art.

To restore Catholicism's Predominance and centrality.

Bernini, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittorio, Rome Italy 1645 -1652

Used his background in theatre from writing plays to create this design. Shows St. Teresa the nun of Carmelite order and one of the great mystical saint of the Spanish Counter Reformation. Conversion after father's death. She attributed her persistent pain to the fire-tipped arrow of divine love that an angel repeatedly thrust into her heart. The church became the stage for this piece. The niche appears as a shallow proscenium (part of stage in front of curtain) On either side of the chapel portaits of members of the family watch. Different texture in clouds, monk's cloth, gauzy material, smooth flesh, and feathery wings. Theatricality and sensory impact useful vehicles for Counter Reformation goals.

Who painted Las Meninas

Velazquez.

Caravaggio, Entombment, Chapel of Pietro Vittrice, Sant Maria in Vallicella, Rome, Italy 1603 Oil on Canvas

Visual form given to doctrine of transubstantiation. The jutting stone slab makes it seem that the body will be laid on the actual altar of the chapel. Plebeian figures, stark use of dark and light, action in foreground. Gave visual form to transubstantiation body and blood to wine and bread. Central theme in Catholicism.

Baldacchino

a canopy on columns, frequently built over an altar.

Quadro riportato

a ceiling design in which painted scenes are arranged in panels resembling framed pictures transferred to the surface of a shallow, curved vault.

Fleur-de-lis

a three-petaled iris which was the symbol of the France royal flower.

Vanitas

describes paintings (particularly 17th century Dutch still life) that include references to death

Still-Life

the painting of everyday inanimate objects.

Tenebroso

"murky". extreme contrast between light and dark. introduced by Caravaggio

Caravaggio, Calling of St. Matthew, 1597-1601m Contarelli Chapel, San Luigig dei Francesi, Rome.

Christ cloaked in mysterious shadow and almost unseen, summons Levi the tax collector to a higher calling. Uses commonplace setting a tavern with unadorned walls. Christ is on right, his hand is similar to that of Michelangelo's Creation of Adam. Levi points to himself in disbelief. Levi becomes Matthew.

Ceiling Frescos

Church realized effectiveness to impress worshippers with the glory and power of the Catholic Church. In conjunction with the theatricality of the Baroque architecture and sculptures to accentuate Counter-Reformation in Rome.

Anibale Carracci, Flight int Egypt, 1603 -1604, Oil on Canvas

Classical landscape, pastoral scene; serene skied, shepherds with their flocks, unruffled foliage familiar in renaissance painting. No sense of deep space, used varying light and shadow to suggest depth. Included architectural structures spoke to idyllic life. Mary and Christ are small. Pastoral scene takes precedence over narrative of Mary, Christ and Joseph.

Anibale Carracci, Loves of the Gods, ceiling fresco in Pallazo Farnesse, Rome Italy, 1597-1601

Ceiling commissioned to celebrate the wedding of Cardinal Farnese's brother. Mythological scenes are arranged in quadro riportato format( fresco resembling easel paintings). On either side of paintings are nude youths that gaze at them and standing Atlas painted to resemble statues. Motifs derived from Sistine Chapal. Paintings have even light but figures appear to be lit from below. Interest in illusion begun in the renaissance continued into Baroque era. The middle panel "The triumph of Bacchus" is mixture of Raphael's drawing style and Titian's sensuous figures.

Who was greatest architect of Baroque style?

Borromini

Coffered Doma of San Carlo alle Quattro Fontane.

Borromini used deeply coffered oval dome that appears to float on the light entering through windows hidden in it's base.

Who was one of the most influential painters of Baroque style, and why?

Caravaggio used stark contrast between dark and light and by setting scenes in everyday life filled with rough, common looking people.

Brommini, Chapel of St. Ivo, College of the Sapienza, Rome, Italy, begun 1642

Carried unification of the interior even further. Played concave against convex on the upper level on chapel's exterior. Lower stories had already been built. Pilasters seem to restrain forces that push the bulging forms outward. Buttresses above the pilasters curve upward to brace the tall, ornate, lantern topped by a spiral, that screw like seems to fasten the structure to the sky.