Baroque
Baroque Painting Characteristics
1. Asymmetrical compositions 2. Powerful effects of movement 3. Strong lighting 4. Dramatic interpretations of subject matter
Ruben's Characteristics
1. Muscular Bodies 2. Bright Colors 3. Movement 4. Dramatic Use of Light 5. Allegory
Caravaggio Characteristics
1. Naturalistic Figures lower class—models were often beggars and prostitutes. 2. Dramatic use of Light (Tenebrism—sharp contrast between light and dark) creates drama 3. Dramatic portrayals of decisive moments 4. Unusual Perspective —brings the viewer into the action
Vocab- 1. Counter-Reformation 2. Baldachino 3. Tenebrism 4. Caravaggista
1. Program of renewal by Catholic Church intened to bring believers back to church 2. Canopy, for the high altar of Saint Peter's 3. The strong use of chiaroscuro and artificially illuminated areas to create a dramatic contrast of light and dark in a painting 4. Influenced by Caravaggio's techniques
Baroque Sculpture Characteristics
1. Same as painting 2. rich materials 3. surprising light sources
Date for Baroque Era
1600-1750 1600- a year of the first opera production
Art in the Netherlands
1609—Rebels from the north of Netherlands won independence from Spain. Country divided in two: 1. Netherlands—North—Protestant 2. Flanders—South--Catholic
Hall of Mirrors
240 feet long, barrel-vaulted painted ceiling, lights comes in from one side, ricochets back, flickering use of light, ceiling paintings
Poussinistes
Admirers and imitators of Poussin. Felt his mastery of drawing, composition, and emotional restraint were superior.
Rubenistes
Admirers and imitators of Rubens. Felt his use of color, rich textures, and highly charged emotions were superior.
Rubens: The Consequences of War
Allegory about the outbreak of war. 1. Mars 2. Venus 3. Monsters 4. Women with lute 5. Women with child 6. Architect 7. Book on ground 8. Women in black
Caravaggio: The Decapitation of Saint John the Baptist
Artist:
Caravaggio: Bacchus
Artist: Caravaggio Not afraid to use pagan Greek and Roman figures in art.
Bernini: The Rape of Proserpina
Artist: Gian Lorenzo Bernini Location: Galleria Borghese Created: 1621-1622 Media: Marble Context: Bernini depicts the peak moment of the story of the Rape of Proserpina, while the characters' are in mid-action. Proserpina is trying desperately to escape Pluto's grasp as he carries her to Hades, which is represented by Cereberus, the three-headed dog. Bernini crafted this piece to be viewed from the front because it is the "explosive energy" of the horrible event taking place and Proserpina's pathetic attempt to defend herself that is at show.
Colonnade of Saint Peter's
BERNINI, huge plaza, can hold half a million people, wanted transition between crowded Roman streets and giant Saint Peter's, acts as a gesture of embracing arms, skeleton keyhole for St. Peter, oval centered around obelisk
Ecstasy of Saint Theresa
BERNINI, marble, 1645-1652, sculptural interpretation of Theresa's visions of God, natural light redirected into sculpture from window, tactile handling to reveal textures, figures seem to float in space, rays of God's light illuminate the scene, pose suggests sexual exhaustion, stage-like setting
David
BERNINI, mid-action, swinging slingshot, harp at David's feet, idealized self-portrait, intense gaze, use of negative space animates it, seen from multiple angels
Baldacchino
BERNINI, over main altar of Saint Peter's, directs viewers vision down nave, acts as shrine and canopy over grave, bees and suns for Barberini's, symbol of Counter-Reformation
Sant'Agnese
BORROMINI, church dominates elliptical plaza, interplay of convex and concave forms on facade, framed by elaborate towers, dome rises dramatically, centrally planned building with rounded transept, flowing interior spaces
Saint Charles of the Four Fountains
BORROMINI, square in Rome with four fountains, 1638-1641, unusually small site, alternating convex and concave, facade higher than rest of building, interior side chapels, interior dome, walls treated sculpturally, shades of white
Bernini: St. Peter's Basilica
Bernini described the colonnade as a pare of arms spread out to embrace visitors to Saint Peter's Basilica. Question: How does the addition of the colonnade to St. Peter's reflect the historical time period?
El Greco: Christ Driving the Traders from the Temple
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Rembrandt - Protestant
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Mary Magdalen
Date: (Italian 1593-1651) Artist: Gentileschi, Artemisia
Caravaggio: The Calling of Saint Matthew
Date: 1599-1600 Medium: Oil on Canvas Location: Contarelli Chapel, Church of San Luigi dei Francesi *Subject: The moment Christ walks into a tavern and ask Matthew to be his apostle. Technique: tenebrism *For all his naturalism, Caravaggio also used antique and Renaissance sources
Bernini: David
Date: 1600 Artist: Bernini Medium: Marble Patron: Cardinal Borghese Influence: Hellenistic sclupture Note: Considered first Baroque sculpture Question: What is Baroque about this sculptue? (in moment of dramatic action, twisting, diagonal lines, emotion)
Caravaggio: The Conversion of St. Paul
Date: 1600's Artist: Caravaggio
Caravaggio: The Crucifixion of Saint Peter
Date: 1600's Artist: Caravaggio
Caravaggio: The Death of the Virgin
Date: 1600's Artist: Caravaggio
Bernini: Baldachino
Date: 1624-41 Location: Saint Peter's Material: Bronze (taken from the Pantheon) Baldachino=Canopy Commissioned by: Urban VIII Note: Located directly under Michelangelo's dome and over the tomb of St. Peter. Symbolism: Bees=Pope's Urban VIII's Barberini family. *Exemplifies the Baroque artists's desire to combine architecture and sculpture so that works no longer fit into one single category or medium. *Twisted columns symbolize the union of Old & Testament *Combines elements of Ionic & Corinthian
Bernini: The Ecstasy of St. Theresa
Date: 1645-52 Patron: Cardinal Cornaro Location: The Cornaro family chapel, Rome Subject: A vision experienced by St. Theresa, wherein a angel plunged into her breast a spear symbolizing Divine Love.
Artemesia Gentileschi: Judith Beheading Holofernes
Date: c. 1598 Artist: Gentileschi *Caravaggista—followers of Caravaggio's style. Subject: Judith saved her besieged town from the Assyrian army by seducing its general, Holofernes, getting him drunk, and then cutting off his head with his own sword.
Caravaggio: The Incredulity of St. Thomas
Date:1601-02 Medium: Oil on canvas Location: Rome *According to St John's Gospel, Thomas missed one of Christ's appearances to the Apostles after His resurrection. He therefore announced that, unless he could thrust his hand into Christ's side, he would not believe what he had been told. A week later Christ appeared, asked Thomas to reach out his hands to touch Him and said, 'Blessed are those who have not seen and yet have believed.'
Compare the Davids from different time periods
Donatello David Classical David Bernini David
Officers of the Haarlem Militia Company of Saint Adrian
Frans Hals ; 1627 ; Dutch ; Oil on canvas
French Baroque
French baroque painting included many "natural" landscapes, but the only thing you should care about here is Louis XIV building of Versailles.
Judith and Her Maidservant with the Head of Holofernes
GENTILESCHI, influence of Caravaggio in tenebrism and gory details, dramatic light, emotional pathos, Old Testament heroins, specialized in painted images of women triumphing
Chapel of the Holy Shroud
GUARINI, extremely complex space, diminishing hexagonal ribs cross one another, illusion of endless space, 12-point start, Shroud of Turin
Main Question 6- The reason Gentileschi is considered a Caravaggista
Her use of contrasting light, and naturalistic yet dramatic figures.
Main Question 5- How Borromini's Baroque buildings differed from Alberti's Renaissance buildings
His buildings had more movement, such as the San Carlo alle Quattro Fontane with an undulating front, deep niches that create dramatic effect of light and shadow, also gives it a windowed niche covered with a pointed canopy.
Main Question 3- 3 characteristics of Caravaggio's art
His pictures tended to be large, brightly lit (usually used tenebrism), and set close to the picture lane/ foreground
Rembrandt: Return of the Prodigal Son
How would you compare this to Italian Baroque religious paintings?
Banqueting House
INIGO JONES, London, inspired by Palladio, built for James I, modest emphasis on center of facade, central bay of six windows, flat pilasters, rusticated basement level, two stories of windows, balustraded roof
Baroque Patrons
In Catholic countries the church financed most art, in Protestant countries it was wealthy businessmen who financed art.
Protestant Netherlands: Context
It was a true republic—no traditional hereditary aristocracy. Netherlands was governed by merchants.
Embarkation of Queen of Sheba
LORRAIN, queen at left leaves palace to enter small boat, framing elements on left, relatively empty space, composition is backlit by sun, Roman ruins, medieval tower, Baroque palace, landscape dominates, proportions in fifth
Borromini: San Carlo alle Quattro Fontane
Loc: Rome Date: 1638-41 *Juxtaposes convex and concave surfaces to made the walls seem to ripple. *Robust pairs of columns support a massive entablature, over which an oval dome seems to foat. *Coffers (panels in geometric shapes) filling the interior of the dome form an eccentric honeycomb of crosses, elongated hexagons, & octagons *dome appears to be inflating due to increase in size of coffers as they approach appex. *To fit the irregular site, he created an elongated central plan interior space with indulating walls, whose powerful, sweeping curves create an unexpected feeling of movement.
Peter Paul Rubens: The Raising of the Cross
Location: Antwerp--Southern Netherlands (Flanders) Function: High Altarpiece triptych Influence: 1. Michelangelo 2. Caravaggio 3. Titian
Gaulli: Triumph in the Name of Jesus
Location: Il Gesu, one of the most important churches in Rome. Subject Matter: The Last Judgement. The elect rise to heaven, while the damned plummet to the ground. Function: Propaganda for the church during the Counter-Reformation
Saint Peter's Facade
MADERNO, facade, added to Michelangelo's design, made it a Latin cross plan, wide and low, emphasis on center of facade with pediment, pilasters gradually become rounded engaged columns
Versailles
MANSART, reorganizatiion and remodeling of a hunting lodge, center was LOUIS XIV's bedroom, all aspects of design radiate like rays from the sun, SUN KING, political and economic ambitions, centered in a vast garden, subdued exterior decoration, HALL OF MIRRORS
Portraits
Many baroque artists painted portraits for royalty and the wealthy. Velazquez's Las Meninas is a famous example.
Rembrandt: Revolutionizes the Group Portrait (The Nightwatch)
Patron: Amsterdam Civic Guard Subject: An imaginary moment—the civic guard, dressed for war, ready to march. Note: The dramatic use of light Why was this painting unusual: 1. Certain patrons were depicted in shadow. 2. Non civic guard members added in for drama.
Francisco de Zurbaran: Martyrdom of St. Serapion
Patron: Catholic Church Subject: Usually martyred saints Function: Emotionally involve worshippers and encourage greater religious devotion (Counter-Reformation
Frans Hals: Archers of St. Hadrian
Patron: Dutch Civic Militia Challenge: How to create a group portrait, where everyone who paid gets equal representation? Solution: Create a portrait that shows individuals in the group from different angles, all with unique expressions.
Diego Velazquez: las meninas
Patron: King Philip IV Subject: Princess Margarita or Velazquez? Why Important: A self-portrait of the artist at work Note the types of images: 1. Image on canvas 2. Mirror image 3. Two painted images
Rubens: Arrival of Marie de' Medici at Marseilles
Patron: Marie de' Medici Function: Series of 21 huge paintings that celebrate the life of Marie de Medici, who was married to Henry IV, the king of France Technique: Allegory 1. France 2. Fame (with trumpet) 3. Neptune
Rembrandt: The Anatomy Lesson
Patrons: The Surgeons Guild Why Revolutionary: Rembrandts depicts the guild not posing for a picture, but in action.
French Baroque (Begins "Neoclassical Era in Art History)
Poussin
Christ with the Sick, Receiving Children
REMBRANDT, Jesus feels pain of handicapped, touches and preaches, great contrasts of dark recession, 100 Guilder Print
Night Watch
REMBRANDT, eighteen men portrayed in commission, militia marching out on patrol, Captain Cocq holds a baton, wears a red sash, emphasis on glove, challenge or victory, Ruytenburgh holds partisan, central group comes forward, subordinate lateral groups, allegorical figure of girl in gold carrying chicken, painted for assembly hall, later cut down, misnamed painting
Anatomy Lesson of Dr. Tulp
REMBRANDT, first group portrait, specific anatomy lesson of 1632, Dr. Tulp is seated in place of honor, hands are prominently displayed, compares corpse with drawing, influenced by Caravaggio
Louis XIV
RIGAUD, every inch the Baroque absolute ruler, slow stately procession through Versailles, wigged, bedecked with elaborate robes, scepter in hand, crown at his side, proud of his legs
Marie de' Medici Cycle
RUBENS, heroic gestures, spiraling figures, mellow intensity of color, sumptuous full-fleshed women, historical paintings telling life of Marie de' Medici, Queen of France, splendid costumes suggest opulence, allegories assist in telling story
Raising of the Cross
RUBENS, triptych acts as continuous space, strong diagonals draw attention to Christ, heroic muscles, spontaneity of expression, dramatic use of lighting, intensely religious
The Baroque Period in Spain
The Baroque Period in Spain was really the Spanish Renaissance. Literature was dominated by Cervantes Art was a tool for the church during the Counter-Reformation
Main Question 1- Who was the main patron for Italian Baroque art?
The Churches
New Patrons=New Art
The religion of the Netherlands was Calvinism ( a sect of Protestantism ) which forbade representations of God or Christ. No aristocracy meant no mythological paintings. Middleclass merchants wanted landscapes, portraits, genre paintings for their home
Definiton of Baroque?
The term baroque was not a complement - it originally meant overdone It has come to include the following definitions: -Marked by elaborate ornamentation -Aims to create a dramatic effect -Appealing to the spirit through the senses -Enlarged space -Heightened sensuality combined with spirituality -Naturalistic rather than ideal, emotional rather than rational -Conflict, paradox and contrast, heightened spirituality, lively sensuality -Ornate
Main Question 2- What was the function of most Italian Baroque art?
To encourage the faithful to return to the Catholic Church (mostly as response to Counter-Reformation)
Blenheim Palace
VANBRUGH, given by British to Duke of Marlborough for winning Battle of Blenheim, emblem of might abound through trophies, cannonballs, etc., Baroque complexity of design, projecting pavilions, facade echoes patterns of advance and retreat, portholes
Las Meninas
VELAZQUEZ, 1656, group portrait of the artist in his studio at work, steps back from canvas and looks at the viwewer, central is Infanta Margharita of Spain with her attendants, two chaperones, dwarf and midget, king and queen appear in mirror, Velazquez's canvas in mirror? Alternating darks and lights draw us deeper in, dappled effect of light on shimmering surfaces
Surrender of Breda
VELAZQUEZ, depicts 1625 episode with Dutch surrendering to Spanish, stresses graciousness of Spanish victories, remain dignified, Dutch on left and scattered and not unified, Spanish weapons symbolized military might, Breda has imaginary landscape
Saint Paul's
WREN, designed after fire in LONDON, facade shows frontispiece, light/dark contrast in center, bell towers show Baroque composition, dome has three domes, inner wooden, structural second, exterior fills space
Main Question 4- Why Bernini's David is considered the first Baroque sculpture
Was a new type of 3-dimensional composition that intrudes forcefully on the viewers' space. It bends at waist and twists far to one side, ready to launch the lethal rock. Unlike Michelangelo's cool and self-confident lean, sinewy body, this more mature David is all tension and determination, a tightly clenched mouth, and straining muscles. Forces Viewers to take action in the scene. (Also, emotion and clothing)
Diego: The Water Carrier of Seville
Where do you see the influence of Caravaggio?
Baldacchino
a canopy placed over an altar or a shrine
Tenebroso/Tenebrism
a dramatic dark and light contrast in a painting.
Genre Painting
a painting in which scenes of everyday life are depicted. (Velazquez, Water Carrier or Seville)
Vanitas
a theme in still life painting that stresses the brevity of life and the folly of human vanity.
Impasto
a thick and very visible
Whereas Renaissance artists reveled in the precise, orderly rationality of classical models, Baroque artists embraced
dynamism, theatricality, and elaborate ornamentation, all used to spectacular effect, often on a grandiose scale, as in Bernini's Four Rivers Fountain.
View of Haarlem from the Dunes at Overveen
landscape portrays landfill project, flat land animated by alternating dark and light effects, bleached linen dries in sunlight, adds diagonal lines
Diego Velazquez, Water carrier of seville, 1619
man and boy with water and pitcher
Baroque Art
- Recognize the distinctive characteristics of the Baroque style - Identify representative Baroque artists and their works - Identify representative Baroque architects and their works - Compare and contrast the work of Italian and Spanish Baroque painters - Recognize and cite artistic terminology from this period
Goals
-Understand the influence of the Roman Catholic Church on art and architecture in 17th century Italy and Spain -Recall hallmark formal devices used by Baroque artists and architects -Identify representative Baroque artists and their works -Identify representative Baroque architects and their works -Recognize and cite artistic terminology from this period
Entombment
Christ's body placed in a grave, painting placed over an altar, Christ is symbolically being placed in altar, visualization of TRANSUBSTANTIATION, figures pushed forward into plane, stone slab comes forward
Baroque Architecture Characteristics
Classical orders continued to be used, but are arranged in energetic and dynamic ways.
Netherlands/Flanders and the Baroque
By 1609, northern rebels in Flanders won independence from Catholic Church. The north part of Flanders becomes the Netherlands—Protestant The south part of Flanders remains under the power of Catholic Church
Calling of Saint Matthew
CARAVAGGIO, light comes from two sources on right, tenebrous, diagonal shaft of light points to Matthew, unsure, Christ's hand is similar to Adam's foppishly dressed, narrow stage for figures to sit, only slight suggestion of halo, sensual figures, 1597-1601
