Chapter 25: Baroque Art: Northern Europe

impasto

layer of thickly applied pigment

memento mori

object that serves as a reminder of death

Jan Vermeer. "Woman Holding a Balance." Baroque, 1660 [ca. 1664. Oil on canvas, 1' 3" x 1' 2". National Gallery of Art, Washington, D.C.]

orthogonals direct the viewer's attention to the hand in which she holds a balance for weighing gold -Empty scales in perfect balance represent balancing sins with virtuous behavior -mirror on wall may refer to self-knowledge or the sin of vanity -painting of last judgement behind her head -light masterfully rendered -believed to have used tools such as mirrors and the camera obscura to create composition -stability -classical serenity -colors and shadows are optically accurate -image slightly out of focus

Rembrandt van Rijn. "The Company of Captain Frans Banning Cocq (Night Watch)." Baroque, ca. 1650 [1642. oil on canvas, 11'11" x 14'4"]

-complexity and energy of group portrait -not nocturnal scene, not intended to be so dark, but varnish made it considerably darker -painting was trimmed on all sides -captures excitement and frenetic activity of men preparing for a parade -inventiveness in enlivening what was becoming a conventional format for dutch group portraits -people portrayed rushing about in the act of organizing themselves rather than staying still -recorded three most important stages of using a musket: loading, firing, and reloading

Judith Leyster. "Self-Portrait." Baroque, ca. 1630 [ca. 1630. oil on canvas, 29 3/8 x 25 5/8"]

-detailed, precise, and accurate -imbued with spontaneity -depicted herself as an artist and invites viewer to evaluate her skill -reveals self-assurance in quick smile and relaxed pose -elegant attire distinguishes her socially as a member of a well-to-do family

Nicolas Poussin. "Et in Arcadia Ego." Baroque, ca. 1655 [oil on canvas, 2' 10" x 4']

-exemplifies the "grand manner" of painting the artist advocated -lofty subject rooted in the classical world -emulated rational order and stability of Raphael's paintings -woman might be the spirit of death to remind mortals that death is found even in Arcadia (spot of paradisiacal bliss) -compact and balanced grouping -even light, and thoughtful and reserved mood

Rembrandt van Rijn. "Self-Portrait." Baroque, ca. 1650 [ca. 1659-1660. oil on canvas, 3' 8" x 3' 1"]

-light and dark are not in conflict, but merge softly to produce visual equivalent of quietness -tranquil meditation -artist depicted himself as possessing dignity and strength -portrait serves as summary of many stylistic and professional concerns that occupied him throughout his career -distinctive use of light, assertive brushwork -circles on wall behind him may allude to ability to draw a perfect circle freehand -interest in revealing human soul -nonspecific setting

Frans Hals. "Archers of Saint Hadrian." Baroque, ca. 1630 [ca. 1633. oil on canvas, 6' 9" x 11']

-one of many Dutch civic militia groups that claimed credit for liberating the dutch republic from spain -attacked problem of how to represent each militia member satisfactorily yet retain action and variety in the composition -earlier group portraits in the Netherlands were rather ordered and regimented images, Hals sounght to enliven the depictions -each member is both part of the troop and an individual -movements and moods vary -spontaneity in the work -lively rhythm throughout the composition

Jacob van Ruisdael. "View of Haarlem from the Dunes at Overveen." Baroque, 1670 [ca. 1670. oil on canvas, 32" x 25"]

-overreaching view of major dutch city -specificity of artist's image reflects pride Dutch painters took in recording their homeland and the activities of their fellow citizens -objects and people so small they blend into the land itself -horizon line is low so the sky fills almost three-quarters of the picture space -quiet serenity that is almost spiritual

Peter Paul Rubens. "Arrival of Marie de' Medici at Marseilles." Baroque, ca. 1620 [1622-25. Oil on canvas, 12' 11" x 9' 7"]

-painting of widow queen's life to convince people of her grace, elegance, and beauty (public hated her and thought she was ugly) -secular painting containing both portraiture and Greek mythology -movement and energy -sea and sky rejoice at the queen's safe arrival -ship commander is only immobile figure and provides shape contrast to swirls and movements -decorative details

Anthony Van Dyck. "Charles I Dismounted." Baroque, ca. 1630 [ca. 1635. oil on canvas, 8' 11" x 6' 11"]

-revolutionized portraiture with courtly elegance -started grande manner portraiture -portraiture used for propaganda purposes -conveys courtly elegance and learning -low horizon line makes figure appear to be very large and looking down upon the viewer -

Jan Steen. "The Feast of Saint Nicholas.", ca.1670 Baroque [ca. 1660-1665. oil on canvas, 2' 8" x 2' 3"]

-scene of chaos and disruption rather than a tidy, calm Dutch household -children in uproar as they search shoes for Christmas gifts -variety of emotions -festive atmosphere (different) -could be a use of children's activities as satirical comments on foolish adult behavior

Nicolas Poussin. "Burial of Phocion." Baroque, ca. 1650 [1648. oil on canvas, 3' 11" x 5' 10" *** this is now a small insert in the 14th edition]

-serene classical landscape beneath a sunny sky -zig-zag to move throughout painting -repoussoir (framing of trees) -naturalistic, but very idealized

Pieter Claesz. "Vanitas Still Life." Baroque, ca. 1630 [1630s. oil on panel, 1' 2" x 1' 11"]

-still life paintings (particularly of accumulated goods) reflected pride of Dutch -Dutch still lifes were suited to the Protestant ethic rejecting most religious art -scientific in optical accuracy and poetic in beauty and lyricism -material possessions of a prosperous household -also reminded the viewer of life's transience by incorporating references to death -vanitas painting- reference to death -memento mori - specific object that is reminder of death -memento mori: skull, timepiece, tipped glass, and cracked walnut -time is emphasized by including self-portrait reflected in the glass ball ; immortalizes the artist

Peter Paul Rubens. "Elevation of the Cross." Baroque ca. 1600[1610. oil on canvas, center panel 15'1" x 11'1" wings 15'1" x 4'11"]

-theatrical, dramatic lighting -movement, emotion, dramatic gestures -dynamic angels and shapes in the composition -appealing to emotions to bring people back to the Catholic Church (counter-reformation) -triptych altarpiece -interest in anatomy -artwork created by large workshop

Rachel Ruysch, "Flower Still Life," ca. 1700 [after 1700, 2'5" x 24"]

-use of diagonals -flower painting were popular in the Dutch Republic -Ruysch achieved international renown for her flower paintings -careful composition -variety of both budding, full bloom, and dying flowers (could be reference to circle of life; death)

Charles Le Brun, Louis Le-Vau and Jules Hardouin-Mansart. Palace of Versailles, Versailles, France. Baroque. know aerial view, Hall of Mirrors, Royal Chapel, begun 1670 [begun 1669

-used to be a royal hunting lodge -city for court and government officials, military, courtiers, and servants intersect in the king's spacious bedroom as a symbolic assertion of ruler's power -Hall of Mirrors overlooks the park from the second floor and extends along most of the width of the central block -hundreds of mirrors illusionistically extend the width of the room -mirror was favorite element of Baroque interior design -extravagance -Royal chapel's interior is rectangular Apse is as high as the nave -clerestory windows lack dramatic lighting -corinthian columns -illusionistic ceiling paintings suggest drama and complexity of baroque art -majestic and rational design of Versailles proclaims the mastery of human intelligence over the disorderliness of nature

Claude Lorrain. "Landscape with Cattle and Peasants." Baroque [1629. oil on canvas, 3' 6" x 4' 10"]

-well defined foreground, distinct middle ground, and dim background recede in serence orderliness -atmospheric and linear perspective -studied light and realities of nature -recorded hundreds of sketches of Roman countryside and used them for his compositions Infusion of nature with human feeling

genre scene

a style or category of art; realistically depicts scenes from everyday life

still life

picture depicting an arrangement of inanimate objects

landscape

picture showing scenery without narrative content

vanitas

term describing paintings that include references to death

"Grand Manner" painting

type of 18th century portrait painting designed to communicate a person's grace and class through certain standardized conventions such as the large scale of the figure relative to the canvas, the controlled pose, the landscape setting, and the low horizon line.