Counter-Reformation Baroque art and architecture - art history week 6

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

"di sotto in sù" means "from below to above" and can bethought of as "from below, looking up." Combined with "quadratura" illusionism, in which the architecture appears to extend vertically beyond the height of the actual walls, Pozzo has convincingly opened up the ceiling of the church to make it appear as if worshippers could look up to witness Christ receiving St. Ignatius himself, amidst crowds of angels, saints, and allegorical personifications of the four corners of the world. Such elaborate decorative programs were coordinated with acoustically designed interiors, so that impressive music combined with spectacular visual illusionism would create an overwhelming sensory experience for worshippers. ceiling fresco in the nave of Sant'Ignazio, Rome, Italy, 1691-1694. ultimate illusionistic baroque ceiling painting de soto ensue = from below looking up rome dedicated to saint ignatius various parts of world, africa, asia included in illusionistic scene illsuion: classical architecture appears as if it is opened up

English Baroque

(1720-90) Emphasis: portraits of aristocracy. Patron: upper class. Hogarth-Breakfast Scene (Satire against English aristocracy), Gainsborough-Mrs. Brinsley Sheridan, Reynolds-Jane, Countess of Harrington. Architecture: Wren-St. Paul's Cathedral. Emphasized additive masses, elements, and surfaces to create geometric complexity. King Chaarles I was executed in 1649. Oliver Cromwell, one leader of the Commonwealth of England, became "Lord Protector" of England, Scotland, Wales and Ireland in 1653. He died in 1658 of natural causes, but when Royalists restored the Constitutional Monarchy in 1660 they exhumed his body, hung it in chains, and beheaded it 17th cenbtury religous and political turmoil, not much building

Diego Velazquez Water Carrier of Seville

1619 [read textbook] humble genre subject of begger? light represented on surface of objects

Francisco di Zurburan St. Serapion

1628 [read textbook] read about impact of style of caravati 17th century, diplomats who were traveling in short amount of time between regions/nations in Europe increasing exchange of culture [painting styles such as this one would have been well known]

Claude Lorrain, Landscape with Cattle and Peasants

1629 landscape portrait atypical Poussin would generally put a mythological, religious or historical subject in landscape paintings like st. john almost as a justification because the great master painters were supposed to paint mythological, religious or historical subjects Claude Lorrain was another leading painter, he really focused on light through atmosphere, that's really the subject matter peasants and cattle in countryside is not mythological which makes this landscape different, he usually paint majestic landscapes or water scenes and includes historical/mythological figures

Judith Leyster, Self-Portrait

1630 Dutch Baroque/Northern Baroque female painter who achieved fair amount of success which is more possible in netherlands as they had a capitalist economy kind of like a calling card like katrina, showing that she is so good at doing what she does includes brush work like Velazquez and Franz Hals

Pieter Claez, Vanitas Still Life

1630s reflection of mirrored ball of artist himself making this painting (virtuousity of painter) musical instruments and other objects that have books and instruments of learning that have been put aside on table crystal gauntlet that's tipped over skull in back (reminder that all of this learning and rich and valueable possessions are fleeting they're not eternal) spirtual truth and understanding is what's eternal holland trompe lieul tradition

Franz Hals Archers of St. Hadrian

1633, 17th century netherlands influence of caravagio is strong city of utrect, there was a group of artists who called themselves by mid century the utrect's cervegisti [read about economic organization of netherlands in baroque period] netherlands unlike flanders and spain, they broke from the hapsbergs's rule and established independence as a protestant nation spain and flanders were catholic netherlands was protestant character of art in netherlands/dutch republic is different congregation/group portrait like last supper, it was a challenging scene for renaissance painters to depict in a way that wasn't just dull/boring portraits of groups of individuals (archers in the company of saint hadrian) local miltia company (each town had a militia company that would muster in defense if there was an external threat, sometimes gather to go through exercises and have banquets and feasts) this is Franz Hals' answer to the problem of this group portrait [read about unique brush work] just like Velazquez, he uses dabs of paint/ brush work that he doesn't blend fully to affect light as it reflects off surface and give feeling of spontaneity [shown in fabrics and white collars]

Rembrandt, Militia Company of Captain Frans Banning Cocq (The Night Watch),

1642 one of the more famous paintings shown in lecture Rembrandt is the most famous painter to come out of 17th century netherlands most netherland paintings of 17th century were secular subject manner (a lot of still-lifes, genres, group portraits) this is a group portrait Rembrandt is different because he was very religious, he was protestant, he would also paint religious scenes which was not very common hundred guilders print is an example of a print that he created of religious scene this is not religious glowing quality of light illuminates certain portions of the canvas, figures almost look as if they're glowing within several different phases of cleaning, preparing, and shooting a musquet that is shown like Franz Hals', Rembrandt has chosen a more formal set up for this group portrait, as if the company is mustering for one of their exercises little girl in middle is subject to a lot of debate, Rembrandt did not leave any explanation man playing drum to get everyone to get their act together and get in line dog barking indicates that the drum is making sound

Rembrandt, Christ healing the sick (hundred gilders print)

1649 fetched such a high price during his lifetime which was weird because it shows christ healing the sick Technique of etching and engraving was widely used in this period printmaking was a way to create multiples for a market, netherlands had a market for art in the period that drives the subject matter of art in counter reformation italy and other catholic countries, church/aristocracy/political needs drives the production of art, the patrons (church or royalty) netherlands was not a state religion or dominant church, there was not an aristocracy in same way after hapsburgs more of a capitalist art market that drives the production of art

Nicholas Poussin Et in Arcadia, Ego

1655 French (Baroque) classicism one of the most influential painters in Europe french painter who became a master at the French royal academy (founded under Louis XIV in 1648) famous for promoting and pioneering French baroque classicism [similar to renaissance classicism] Poussin was a great admirer of Raphael Poussin wrote a treatise, he explained what was most important in painting which was what became so influential throughout rest of Europe Poussin said that rational balanced composition line and harmonies of shape were the most important thing in painting painting had to communicate not just through subject matter but through the way it was made through the form of the painting it had to communicate those lasting eternal values of universal harmony and stability Poussin at the royal academy was a master painter so he painted large scale historical, religious, and mythological scenes primarily he also found ways to paint landscapes this case it's the landscape of St. John on Patmas St. John is in foreground, rather insignificant classically ordered and controlled landscape looks like ruins of classical civilization balancing of shapes and lines, correspond across composition, bellowing clouds picking up shape of trees everything is harmonized even through color, not strictly symmetrical shows humans control over landscape, reflection of policies of Louis XIV the absolute monarch

Velazquez, Las Meninas

1656, Spanish Baroque includes self portrait of diego red cross was added after painting was completed [significant because he was submitted to the order of Santiago, noble order knight hood, not typical for artists in previous periods to achieve status of nobility, artists were artisans even if they were well liked in court or worked for Julius the second, they were still people who worked with their hands] Velazquez had a humble beginning yet attained ranking of nobility, he did that in service to king a queen of spain Las Meninas is debated to be commissioned by king and queen of spain, it features their young daughter, the princess/avanta margarita being waited on and attended to by maids, favorite dwarf, another small child and a dog, Velazquez is behind them with large canvas [the painting of avanta margarita that we are looking at], large paintings on back wall, a door that a man is exiting in paused to look back, unusual looking framed rectangle glowing (suggests it's a mirror) Van Eyck included a mirror, in wedding portrait (he extended the space of his painting by showing the reflection in the mirror, showing people who were not actually depicted in the painting) like what Van Eyck did, Velazquez was painting the avanta margarita, king and queen stepped into the room to take a look (shown in mirror) everything stops/everyone pauses in reaction Velazquez placed spectator between him and the action being taken placed and king and queen, like spectator is taken place of king and queen themselves [innovative approach to painting] interest of optical effects of light (mirror) rose in avanta margarita's dress and sleeves shows brush strokes, like the process of painting is unfinished Velazquez observed how light falls on surface of objects as sparkling white in color, he realized if you don't finish all the details and stand back it seems to look more alive and realistic to perception of reality [painterly technique] it aspires upcoming artists to innovate new styles

Bernini's Colonnade

1656-67 west from dome of st. peter's cathedral square of colonnade in front of facade is a trapezoid, which was intentional to make it seems larger than what it was to impress spectatators bring faithful back into fold of church looks like arms of church reaching

Jacob Ruisdael, View of Haarlem from the Dunes at Overveen

1670 the market is what drove the production artwork the dutch people liked to see scenes of things they recognized, they were nationalistic and proud of the country side after the hapsburgs, one of the first things the government did was initiate a major public work renovation program to rebuild cities and cultivate a landscape can see older medieval catholic church, spires of smaller churches, windmills, dutch countryside, cloudy sky, vistas the lesser types of paintings (secular painting) according to royal academies of catholic countries were what the public wanted in the Netherlands

Vermeer the art of painting

1670-75 suggested to be an allegory Vermeer delf painter in netherlands different because he was catholic but was quiet about it aligning self with catholic church in netherlands would not be a good political decision to make mother in law was the one who suggested that this was an allegory of vermeer's own art of painting and own practices he's painting a woman (possibly cleo) [read about what she's holding and why it's important, what's on her head, and map in background and how it reflects dutch republic, borque painting and vameers painting in the 17th century ] [read about camera obscura that he used and the light source coming in from the side ]

Sir Christopher Wren, St. Paul's Cathedral

1675-1710 English Baroque St Paul's Cathedral, London, is an Anglican cathedral that sits on Ludgate Hill, the highest point in London. Its construction, completed in the head constructor, Sir Christopher Wren's. lifetime, was part of a major rebuilding program in the City after the Great Fire of London.

Charles le Brun and Jules Hardouin-Mansart Hall of Mirrors, Versailles

1680 one things that louis XIV did to maintain control as absolute monarch, he found a way of controlling all of the lesser nobility, he moved the royal palace from blouve to paris to a hunting villa out a versai he rennovated and expanded his hunting villa to be the palace of versai then he would invite nobles who are getting to be a lesser nobility in an upperclass society within paris that sometimes can cause problems politically he would invite them for lengthy stays so he can keep his eyes on them hall of mirrors one side is in fact mirrors the other side are large windows that look out on his garden room where he would make orchestrated appearances mirrors would not only make room look larger than it was but would help him look more magnificent and larger than life

Hyacinthe Rigaud, Louis XIV

1701 French Baroque kings power, oil on canvas, absolute monarchy, textiles. under the direction of "The sun king". Jean-Baptise colbert founded the French Royal Academy in 1648: "History Painting" was the most important type of painting in the heirarchy of "genres" (or "types") then portrait, then genre (scenes of everyday life or common "types" of people doing everyday things) then landsacpe animal painting and last still life majestic louis XIV did many things to enhance stature and make him seem larger, he was called the sun king because he became a strong ruler of a region formerly ruled by various dukes and noblemen and territories he unified all of those territories and gained absolute control he was in charge of all aspects of life louis XIV had minister of culture (french royal academy of arts) genre in this sense is used as a "type"

Rachel Ruysch, Flower Still Life

1705 Dutch Baroque became one of the most sought after painters in Europe in late 17th century/early 18th century painted floral still lifes partly because that was what she was only able to do as she was a woman with limited access looks as if she has been neglectful as its wilting, there bugs [not because she was careless with subject matter] this kind of floral painting was popular in protestant region as vanitas, beauty is fleeting, mortality exists, flowers will die which is beauty vanitas humbled holland trompe lieul tradition

Habsburg Empire

17th century a powerful family of German nobles in control of Spain, the Netherlands, Germany, Italy, parts of eastern Europe, the Austrian Empire, and the Holy Roman Empire. Central European empire that lasted from the 1400s to the 1900s and at its height included the lands of the Holy Roman Empire and the Netherlands

How many paintings have we seen so far that are painted in the "di sotto in su" style?

2: Mantegna's ceiling in the Camera Picta, and Pozzo's Glorification of St. Ignatius.

Counter-Reformation

A time when the Catholic church banned books and used its courts to punish people who protested Catholic ways Catholic Church's attempt to stop the protestant movement and to strengthen the Catholic Church the reaction of the Roman Catholic Church to the Reformation reaffirming the veneration of saints and the authority of the Pope (to which Protestants objected) results of the efforts of the Catholic Church to bring people back into the fold.

Gianlorenzo Bernini, David, from the Villa Borghese, Rome, 1623. Marble, 5' 7" high. Galleria Borghese, Rome.

Bernini's David is not shown victorious, after defeating Goliath (like Donatello's David), nor is he shown in the moment of thoughtful concentration, determination and pent-up energy before his courageous act, as Michelangelo had depicted him. Bernini's David is caught in a single moment of a continuous action now: his hands hold the taught slingshot behind his left hip, poised to turn and powerfully release it with the force of his whole body. In comparison with Renaissance Classicism, this Baroque depiction of David 1. Implies an open instead of a self-contained composition (not only does he look outward, his stance indicates he is about to hurl the stone far off into the distance) 2. Instead of a stable, balanced and static pyramidal composition, this dynamic sculpture (organized around a spiral axis) seems about to explode with movement Bernini's sculptures are expensive and theatrical, and the element of time plays an important role in them. His emotion-packed David seems to be moving through both time and space.

St. Peter's Cathedral

Contains Michelangelo's most famous architectural design for its dome his plan consisted of a hemispherical dome begun in 1546 but left unfinished at time f his death in 1564 dome was redesigned and vaulted by Giacomo della Porta between 1585 and 1590 Bernini designed the piazza in front of Carlo Maderno's façade of St. Peter's completely with the experience of approaching visitors in mind: 1.Visitors initially enter an oval space defied by enclosing semi-circular double-colonnades on either side, with an obelisk in the center. 2.Beyond the oval pizza, a trapezoidal space leads to Maderno's monumental façade. Notice that the distance between the side colonnades grows wider as it approaches the façade - a deliberate design to reverse the normal effect of perspective (objects seem to diminish in size the farther away from the viewer they are). Bernini used illusionistic tricks even here - to make the already monumental façade seem that much more impressive!

Italy

Dates and places: • 1600-1700 • Power and influence focused in Rome (The "Papal State", now Vatican City) People: • Counter-Reformation had an enormous effect on every part of society • Transformation of Rome into proper setting for triumphant church • Popes and courtiers of papal court were most influential on Art and Culture

Rembrandt, Self-Portrait 1629

Dutch Baroque

Rembrandt, Self-Portrait 1659

Dutch Baroque

Rembrandt, Self-Portraits 1629, 1659, and 1959-60

Dutch Baroque the most reveaing psychology of light uses light to show inner person that he is depicting whom should he know better than himself he's painting self portraits throughout his entire life, sad life, made bad monetary decisions and went bankrupt his young wife died, his son died young, his house keeper became his wife then passed away 1659 self portrait shows him still working as a painter cuz he needed the money because that's what he did, even though he made a lot of bad decisions in how he managed his business (circles in back could be his demonstration that he can paint a perfect circle each self portrait shows a difference in his facial expression (gives sense of psychology of light)

tenebrisim

Extreme use of shading using impasto Carravaggio

Dutch Republic

Federation of provinces -- dominated by the bourgeoisie -- characterized by religious toleration to promote trade and protect traditional rights. Declared its independence from the Spanish Netherlands in the late 16th century. It established the Bank of Amsterdam and became the leading financial center on the Continent. declared its independence from the Spanish Netherlands in the late 16th century. It established the Bank of Amsterdam and became the leading financial center on the Continent United Provinces of the Netherlands-1st half of 17th century was golden age-govt. consisted of organized confederation of 7 provinces each w/ rep. govt.

Johannes Vermeer

Girl with a Pearl Earring, Woman Holding a Balance

Annibale Carracci, Loves of the Gods, ceiling frescoes in the gallery, Palazzo Farnese, Rome, Italy, 1597-1601

In reality, this ceiling is a completely flat, barrel-vault. Carracci has used illusionism to make it appear like multiple paintings, within three-dimensional frames. For the decoration of churches, such heightened, extravagant illusionism helped to underscore the spiritual experience offered by the Catholic Church(to win people back into its fold). Wealthy, aristocratic families (such as the Farnese) similarly employed leading artists to illusionistically decorate their private residences, as a mark of cultured knowledge and prestige. quadro riportato - is the name for illusionistically painted ceilings thatresemble separate framed scenes, all put together "quadro riportato" is the name for illusionistically painted ceilings that resemble separate framed scenes, all put together. In reality, this ceiling is a completely flat, barrel-vault. Carracci has used illusionism to make it appear like multiple paintings, within three-dimensional frames. For the decoration of churches, such heightened, extravagant illusionism helped to underscore the spiritual experience offered by the Catholic Church (to win people back into its fold). Wealthy, aristocratic families (such as the Farnese) similarly employed leading artists to illusionistically decorate their private residences, as a mark of cultured knowledge and prestige. Palazzo Farnese, Rome, Italy, 1597-1601. another kind of illusionistic ceiling, painted illsuionistic ceiling annibale carracci family members are leading painters of 17th century illusion of framed paintings, placed/fitted to roughly barrel vaulted ceiling of private/secular palace, not a religious building mythological scenes immitated the michelangelo's illusionism on ceiling of sistine chapel native Bologns

Bernini's Fountain of the Four Rivers (1648-51) in the Piazza Navona in Rome

In their use of real movement and sound, their dynamic compositions, their theatricality and overload of sensory experience, Bernini's fountains (and those of his rival, Borromini) represent the epitomy of the spirit of Counter-Reformation art.

Which countries were involved in the Thirty Years' War?

It began in the Holy Roman Empire, but soon became part of the long-standing feud between the Bourbons (the royal family of France) and the Habsburgs (The Royal family of Spain, the Holy Roman Empire, and Northern Territories including Modern Day Belgium and the Netherlands). Ultimately more than 16 European nation-states were involved.

Gianlorenzo Bernini, David, 1623

Italian Baroque Baroque period, three dimensional sculptures, energetic, IN THE ROUND [read about how different it is from michelangelo's david] can see characteristics that differentiate's renaissance from the baroque bernini's david exhibit's classical calm and composure, twisting emotionally, seems as if action is going to continue outside of the space of the sculpture ["Baroque" principles in michelangelo's version we know david is looking out, he got his sling shot and stone in his hands but we don't get a sense that the sculpture continues [heinrich wolfflin "classical"] wolfflin was a german art historian who was one of the first to differentiate between art history on the basis of stylistic characterizations, he wasn't looking at the iconography, the meaning or time period but rather identified a series of characteristics that you can associate thumb with what he called classical [renaissance classicism] and others would be baroque Bernini's David is caught in the single moment of a continuous action. The viewer imagines and almost experiences the "before" and the "after." Bernini's David is not shown victorious, after defeating Goliath (like Donatello's David), nor is he shown in the moment of thoughtful concentration, determination and pent-up energy before his courageous act, as Michelangelo had depicted him. Bernini's David is caught in a single moment of a continuous action now: his hands hold the taught slingshot behind his left hip, poised to turn and powerfully release it with the force of his whole body. In comparison with Renaissance Classicism, this Baroque depiction of David 1.Implies an open instead of a self-contained composition (not only does he look outward, his stance indicates he is about to hurl the stone far off into the distance) 2.Instead of a stable, balanced and static pyramidal composition, this dynamic sculpture (organized around a spiral axis) seems about to explode with movement

Bernini, Baldacchino, 1624-33

Italian Baroque Historical: St. Peter's, Rome Stylistic: Canopy; 100ft tall, Gilded bronze. High altar over St. Peter's tomb. Twisted columns topped with angels bronze and gold looted from pantheon Vatican City, Rome, Italy, 1624-1633. Bernini's crowning achievement is the program of decoration for the interior of St.Peter's Cathedral in Rome: 1. Pope Urban VIII commissioned Bernini to design a monumental canopy to mark the spot of St. Peter's tomb, beneath the floor and under the crossing of the Cathedral. The bronze for the Balduccino had been removed from the 1st century CE decorations of the Pantheon. 2. Looking from the nave, through the Balduccino, visitors can see Bernini's Throne of St. Peter, supported by the four "Doctors of the Church:" St. Ambrose, St. Anthanasius (left); and St. John Chrysostom, St. Augustine (right). This monument is actually a reliquary that houses a wooden chair believed to belong to St. Peter.

Artemisia Gentileschi, Judith Slaying Holofernes, ca. 1614-1620. Oil on canvas,6' 6 1/3" x 5' 4". Galleria degli Uffizi, Florence

Like Sophonisba Anguissola (who we studied under "Mannerism"), Artemesia Gentilleschi achieved acclaim asa painter despite numerous obstacles that she faced as a woman in early 17-century Italy. Her father Orazio Gentilleschi, a painter in the manner of Caravaggio, provided her preliminary training. When the young artist apprenticed with another established painter (the usual next-step for becoming a professional), AgostinoTassi, he raped her. Gentilleschi pressed charges and Tassi was convicted, although she was tortured and her reputation was ruined in the process. She became known for dramatic paintings of courageous women such as the Biblical heroine Judith. In this scene, the figure of Judith is most likely a self-portrait, and the face of the Assyrian General Holifernes bears a striking resemblance to Agostino Tassi. Oil on canvas, 6' 6 1/3" x 5' 4". Galleria degli Uffizi, Florence. series of paintings of biblical heroin of judith who saved her people by seducing and then murdering the general holiferenes who was holding her people captive caravagio characteristics: close-up view/setting, intense tenerbrism, dramatic one attraction is that it represented a strong woman who stood up against oppression in a heroic way which mirrored Gentilleschi's life

Francesco Borromini, San Carlo alle Quattro Fontane (looking south), Rome, Italy, 1638-1641. with 10-7 view up, into the dome

Looking up into the dome on the inside, Borromini borrowed an illusionistic trick from the Pantheon: the coffers inside the center of the dome actually become smaller as they near the top (exaggerating the natural optical effect, making it appear even taller than it is). This forced recession of the coffers recalls Bernini's reversed perspective in the Piazza before St. Peter's. The Baroque classicism of the façade moves with the curves and counter-curves of the entablatures and cornices. Whereas Renaissance classicism featured static balance and stability, BaroqueClassicism explodes with dynamic and dramatic movement. Looking up into the dome on the inside, Borromini borrowed an illusionistic trick from the Pantheon: the coffers inside the center of the dome actually become smaller as they near the top (exaggerating the natural optical effect, making it appear even taller than it is). This forced recession of the coffers recalls Bernini's reversed perspective in the Piazza before St. Peter's. The Baroque classicism of the façade moves with the curves and counter-curves of the entablatures and cornices. San Carlo alle Quattro Fontane (looking south), Rome, Italy, 1638-1641 can see characteristics of counter-reformation baroque architecture very clearly curves and counter curves, plastic malleable play of surface in service of creating dramatic impact for spectator oval forms, curves and counter curves in dome of ceiling clerestory illuminate the dome classical style, he borrowed an illusionistic trick from the pantheon hydran's designers force the recession of the coffers in the dome of the pantheon to make it look deeper and larger than it was if variety of different geometric shapes were measured, can see one coffer is smaller than the other just like bernini when he used trapezoidal space in front of St. peter's to intensify the illusion and make the facade look larger Borromini is using theatrical tricks to intensify the illusion and make the ceiling look deeper rejected the notion that a church should have a flat frontispiece. He set San Carlo's facade in undulating motion, creating a dynamic counterpoint of concave and convex elements.

Caravaggio, Calling of Saint Matthew, ca. 1597-1601. Oil on canvas, 11' 1" x 11' 5". Contarelli chapel, San Luigi dei Francesi, Rome

Michelangelo Merisi, a.k.a. "Caravaggio," was notoriously in trouble with the law for most of his adult life and disdained by leading critics of academic art (as you can read in your textbook). His close-up focus on individuals, as if the viewer is standing in the same space; his depiction of a single light source (like a theatrical spotlight) to starkly illuminate his subject against a deep, dark background, and his depiction of Biblical figures as common, every-day people in recognizable contemporary (early 17th century) settings, created scenes that made spectators feel as if they were part of them. This is what his critics referred to as the "realism" that Caravaggio preferred to academic" classicism. "His heightened chiaroscuro with deep dark shadows and brilliant lighting is known as"tenebrism" or "tenebroso" (and also called "cellar lighting") Contarelli chapel, San Luigi dei Francesi, Rome. caravaggio had distinctive style, different from human classicalism, distintive light source, shallow space created due to darkness of background, figures are illuminated artists imitated caravaggio his style is characterized as vernacular because he depicted religious scenes context isn't obvious to title, seems like everyday people in 1600 in Italy dressed in contemporary clothes seems that something is happening next door emphasis of counter-reformation in italy, making religious experience seem almost tangible and palpable for the spectator dramatic effect that cravaggio created by intensifying chiarscuro tenebrism/cellar lighting: intensifying contrast of light and dark, looks as if scene s taken place in cellar with a single light source coming in from one direction jesus emerging from shadows, doesn't look heavenly, tiny trace of halo st. matthew was a tax collector/money changer which wasn't considered holy/sacred, hard to identify st. matthew indentification through pointing gesture to himself as if he's saying "who? me?" jesus's hand is based on adam's limp hand in michelangelo's sistine ceiling fresco

Gianlorenzo Bernini, Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 1645-1652.Left: general view. Right: Ecstasy of Saint Teresa, marble, 11' 6" high

Note the heightened illusionism; Berniniused techniques he had learned in his work as a set designer for the contemporary theater, including "miraculous" light from a concealed source, and painted terracotta relief to suggest the clouds of Heaven billowing forth above...The viewer stands in between members of the Cornaro family, who watch this Holy spectacle as if seated in theater boxes on either side, watching a play. Together they witness the miraculous event unfolding before them.Bernini's ability to illusionistically transform marble ad bronze into apparent flowing drapery, delicate skin, billowing clouds and beams of light enhances the effect of"being there" to witness the moment thatSt. Teresa recounted, when an angel of the Lord pierced he heart multiple times with the flaming hot arrow of Divine Love.Note the Baroque emphasis on theatricality and the viewers' experience (which was very much in line with the Catholic Church's efforts to "Counter" the Protestant Reformation!

Europe in the 17th Century

Present-day Belgium, Luxembourg and the Netherlands were part of the Holy Roman Empire (ruled byCharles V of Spain) through most of the 16th century. In 1568several provinces of theNetherlands revolted againstSpanish rule (under Phillip II, son and successor of Charles V), and the Eighty Years War ensued. In1579 the union of Utrecht was formed with several northern provinces (essentially the forerunner of today's Kingdom of the Netherlands) whose independence was not recognized by Spain until the Peace (Treaty)of Westphalia in 1648 Note that today's nation ofItaly was still divided into several smaller republics, duchies and kingdoms, and city-states.

Charles V and Philip II

Spain's Rulers [absolute] During 1500s

Gianlorenzo Bernini, Fountain of the Four Rivers, Piazza Navona, Rome, Italy, 1648-1651

Spectacle - captures the underlying experience of Baroque Art in Italy, dominated by the efforts of the Catholic Church to counter the 16th century Protestant Reformation (hence the title "Counter-Reformation"!) [Four rivers: Danube (Europe), Nile (Africa), Ganges (Asia), and Plata (Americas)] Bernini had worked in theatrical stage and set design for the contemporary theater, and he fully understood the impact of sensory experience on the spectator. The Rio de la Plata has its hand up to show subservience, since the Americas were becoming colonial territories The Nile's face is covered by a veil, since the source of the Nile was a mystery Typical of Baroque sensibilities, especially in Italy during the Counter-Reformation, was the emphasis placed on providing a spectacular, sensory experience for viewers. As water flows into the fountain from a travertine grotto supporting an ancient Egyptian obelisk, Bernini's marble personifications of major rivers of four continents twist and gesticulate emphatically. Italian name: "San Carlo alle Quattro Fontane"

Caravaggio, Calling of St. Matthew, ca. 1597-1601. Oil on canvas, Contarelli chapel, San Luigi dei Francesi, Rome

The stark contrast of light and dark is a key feature of caravaggio's style. Here, Christ, cloaked in mysterious shadow, summons Levi the tax collector (Saint Matthew) to a higher calling. christ: indistinct halo, commanding gesture, Reminiscent of the lords creation of adam but position of his hand and wrist is similar to adam's levi: points to self in disbelief

Visual Art and Architecture in Italy

Themes: • Life of Christ, Virgin Mary, Lives of Saints • Classical Mythology • Allegories Forms: • Dramatic chiaroscuro, tenebrism • Dynamic illusionism (different types of ceiling painting and trompe l'oeil illusion) • Theatricality, spectacle, influence of contemporary theater • Unity of arts for dramatic effect (generally is the service of the Church)

Dutch Reformed Church

United Provinces of the Netherlands. The rise of Calvinism here set the stage for a revolt against the Inquisition of King Philip II of Spain

camera obscura

a darkened enclosure in which images of outside objects are projected through a small aperture or lens onto a facing surface a darkened box with a convex lens or aperture for projecting the image of an external object onto a screen inside. It is important historically in the development of photography.

Vanitas

a still-life painting of a 17th-century Dutch genre containing symbols of death or change as a reminder of their inevitability. a theme in still life painting that stresses the brevity of life and the folly of human vanity an artwork in which the objects remind the viewer of the transience of life Audrey Flack re-invented the Vanitas theme in her photorealistic still lives, such as Marilyn (Vanitas) (1977)

CARLO MADERNO, facade of Saint Peter's, Vatican City, Rome, Italy, 1606-1612

added during baroque period hides part of dome

Etching

an intaglio printmaking technique [along with drypoint and engraving. Woodcut, on the other hand, is a relief process.] in which a metal plate is covered with an acid-resistant ground and worked with an etching needle to create an image. Process of cutting into a surface with the use of an acid product an imprinted drawing or design

memento mori

an object serving as a warning or reminder of death, such as a skull reminder of death Latin language a reminder of human mortality sometimes signified by a skull

caravaggio conversion of st. paul

artist from northern italy Italian Baroque 1601 teneberism oor celar lighting context isn't obvious to title man is common everyday person horse seems to be subject according to biblical story, paul who was a roman centurian was riding on his horse and he was knocked from his horse by a burst of light coming from the heavens blinding him simultaneous with a booming voice of god telling him to follow his and become one of jesus's disciples can see figure blinded by light, about to be stepped on by horse horseman is holding horse aside dramatic as if being acted out on a shallow stage, influence of contemporary theatre

Jules harbouin mansart, charles le brun and andre le notre, versailles palace

begun 1669 hall of mirrors on second floor

throne of st. peter's

bernini bronze and marble radiating heavenly glow coming out of clouds throne being held up by four fathers of the church since in bernini's day there was no electricity, he sealed light sources to give illusion of radiance

Artemisia Gentileschi, self-portrait as the allegory of painting la pittura 1638-39

cesare ripa iconologia 1593 Gentileschi was a woman who was a follower of caravagio depicted self as allegory based on a lyrical description of pain by cesare ripa as a beautiful woman she actually dressed up and depicted herself with medallion hanging from her neck lighting and up-close figuration: charateristic of the style of caravaggio as a woman there were several obstacles to become a painter her father was a painter, he arranged for her to apprentice with a painter he respected, but the man ended up raping her she had to courage to bring him to court to prosecute him for his crime she was subjected to all kinds of cruel and humiliating investigations the man was persecuted

Gianlorenzo Bernini cornaro chapel in santa maria delle vittoria, rome, 1645-54

church in rome paid for by cornaro family can see high relief: 3d marble sculpture portraits of cornaro family, looks as if they're in theatrical boxes observing what's taking place in altar the family members is 3d, the background is a relief sculpture master of illusionism bronze rays of light comes from concealed light source above is stained glass window with 3d clouds above, illusionism he made stucco shapes of clouds and illusionistically painted them to make the spectator feel as if the ceiling is opening up central scene: st. teresa of avala, she was a nun who was a follower of sandicnacious and practiced the excercises of sandicnacious and wrote about an experience wear in the height of practicing the excercises that were meant to bring you closer to knowing god, she experienced a mystical union with god we see angle with flaming hot arrow as if the lord was piercing her heart representing his divine love to her it was not pain it was extiscy the angle is smiling as it is a messenger of the lord marble is cut rough to represent clouds powerpoint notes: Note the heightened illusionism; Bernini used techniques he had learned in his work as a set designer for the contemporary theater, including "miraculous" light from a concealed source, ans painted tera cotta relief to suggest the clouds of Heaven billowing forth above The viewer finds herself in between members of the Cornaro family, who watch this Holy spectacle as if seated in theater boxes watching a play, and the miraculous event unfolding before them... Bernini's ability to illusionistically transform marble ad bronze into apparent flowing drapery, delicate skin, billowing clouds and beams of light enhances the effect of "being there" to witness the moment that St. Teresa recounted, when an angel of the Lord pierced he heart multiple times with the flaming hot arrow of Divine Love. Note the Baroque emphasis on theatricality and the viewers' experience (which was very much in line with the Catholic Church's efforts to "Counter" the Protestant Reformation Note the painted terracotta details that enable the illusionistically rendered spectacle to literally spill into the actual space of the viewer... Note the heightened illusionism; Bernini used techniques he had learned in his work as a set designer for the contemporary theater, including "miraculous" light from a concealed source, and painted terracotta relief to suggest the clouds of Heaven billowing forth above... The viewer stands in between members of the Cornaro family, who watch this Holy spectacle as if seated in theater boxes on either side, watching a play. Together they witness the miraculous event unfolding before them. Bernini's ability to illusionistically transform marble ad bronze into apparent flowing drapery, delicate skin, billowing clouds and beams of light enhances the effect of "being there" to witness the moment that St. Teresa recounted, when an angel of the Lord pierced he heart multiple times with the flaming hot arrow of Divine Love. Note the Baroque emphasis on theatricality and the viewers' experience (which was very much in line with the Catholic Church's efforts to "Counter" the Protestant Reformation! Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 1645-1652.

Heinrich Wöllflin "Classical" vs. "Baroque" ("Style")

classical: - linear - closed - multiplicity - planar - absolute clarity Baroque: - painterly - open - unity - recessional - relative clarity

Aerial view of Saint Peter's (looking northwest), Vatican City,Rome, Italy. Facade by Carlo Maderno, 1606-1612. Piazza by Gianlorenzo Bernini, 1656-1667

commision to construct a grand volonnade-framed piazza in front of maderno's facade catholic church Bernini designed the piazza in front of Carlo Maderno's façade of St. Peter's completely with the experience of approaching visitors in mind: 1. Visitors initially enter an oval space defied by enclosing semi-circular double-colonnades on either side, with an obelisk in the center. 2. Beyond the oval pizza, a trapezoidal space leads to Maderno's monumental façade. Notice that the distance between the side colonnades grows wider as it approaches the façade - adeliberate design to reverse the normal effect of perspective (objects seem to diminish in size the farther away from the viewer they are). Bernini use dillusionistic tricks even here - to make the already monumental façade seem that much more impressive!

versailles palace garden facade

designed by andre le notre begun 1669 Architecture continues Renaissance classicism but more spectacular and larger various places that were created so that illusion made look louis bigger than he was

san carlo alle quattro dome

instead of using a traditional round dome, Borromini capped the interior of San Carlo with a deeply coffered oval dome that seems to float on the light entering through windows hidden in its base

Bernini Fountain of the Four Rivers, 1648-1651

sensory experience in piazza navonna in rome [read about allegorical significance of earth and bernini's use of water and sound as being characteristic of the counter-reformation] "Spectacle" captures the underlying experience of Baroque Art in Italy, dominated by the efforts of the Catholic Church to counter the 16th century Protestant Reformation (hence the title "Counter-Reformation"!) Bernini had worked in theatrical stage and set design for the contemporary theater, and he fully understood the impact of sensory experience on the spectator. The Rio de la Plata has its hand up to show subservience, since the Americas were becoming colonial terriroties The Nile's face is covered by a veil, since the source of the Nile was a mystery Typical of Baroque sensibilities, especially in Italy during the Counter-Reformation, was the emphasis placed on providing a spectacular, sensory experience for viewers.

Judith and Maidservant 1618

series of paintings of biblical heroin of judith

Gianlorenzo Bernini, baldacchino, Saint Peter's, Vatican City,Rome, Italy, 1624-1633

serves both functional and symbolic purposes. It marks Saint Peter's tomb and the high altar, it visually bridges the marble floor and the loftly vaults and dome above. commission Bernini's crowning achievement is the program of decoration forth interior of St.Peter's Cathedral in Rome: 1. Pope Urban VIII commissioned Bernini to design a monumental canopy to mark the spot of St. Peter's tomb, beneath the floor and under the crossing of the Cathedral.The bronze for the Balduccino had been removed from the 1st century CE decorations of the Pantheon. 2. Looking from the nave, through the Balduccino, visitors can see Bernini's Throne of St. Peter, supported by the four"Doctors of the Church:" St. Ambrose, St. Anthanasius (left);and St. John Chrysostom, St. Augustine (right). This monument is actually a reliquary that houses a wooden chair believed to belong to St. Peter.

Apollo fountain in the garden at versailles

significant to affiliation with sun king

Calvinism

t- total depravity, all men through original sin are totally evil and incapable of good u- unconditional election, god chose a certain number of people to be saved, chose them from beginning of time L- limited atonement, only limited number of people will be atoned I - irresistible grace, god's grace can not be resisted or denied p- perseverance of saints, once in grace you cannot fall from the numbers of the elect (every letters stands for different belief) god knows who you are before you are saved A body of religious teachings based on the ideas of the reformer John Calvin. Protestant sect founded by John Calvin. Emphasized a strong moral code and believed in predestination (the idea that God decided whether or not a person would be saved as soon as they were born). Calvinists supported constitutional representative government and the separation of church and state.

intaglio process

techniques in which the image is incised into a surface, and the incised line or sunken area holds the ink. areas to be printed are below the surface created by using metal plates into which lines have been incised

quadro riportato

the Italian phrase for "carried picture". It is used in art to describe gold-framed easel paintings or framed paintings that are seen in a normal perspective and painted into a fresco. A ceiling design in which painted scenes are arranged in panels that resemble framed pictures transferred to the surface of a shallow, curved vault. compare this to di sotto in su: is the name for illusionistically painted ceilings that resemble separate framed scenes, all put together.

vernacular

the language or dialect spoken by the ordinary people in a particular country or region. Everyday language of ordinary people he way that Caravaggio depicts people

Peace of Westphalia

the peace treaty that ended the Thirty Years' War in 1648