AH notes - Intro to Baroque Art PDF

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Intro to Baroque Art...

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Intro to Baroque Art Baroque - 1585-1730 - “Imperfect pearl” - Italy, N. Europe, Spain - Strong use of lights and darks (chiaroscuro) - Francisco de Zurbaran, Saint Francis of Assisi According to Pope Nicholas V’s Vision, c. 1640, oil on canvas, 71” x 43”

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Martin Luther’s 1517 protest which launched the Reformation transformed the political, religious and artistic landscape of Europe Treaty of Westphalia in 1648 put a stop to the bloody wars between Protestants and Catholics Gian Lorenzo Bernini, View to Cathedra Petri (or Chair of St. Peter), 1647-53, gilded bronze, gold, wood, stained glass (apse of Saint Peter’s Basilica, Vatican City, Rome)

Critique of Catholic Church’s greed and abuse of power Called Rome “the whore of Babylon” Church responded in 2 ways: - Internally addressed issue of corruption - Defending doctrines criticized by Protestants The Papacy decided to put money and effort into buildings and decorating churches which upheld its teachings Portrait of Martin Luther by Lucas Cranach 1529

The decorations of Catholic churches were intended to instruct, move and delight Protestants mistrusted art; Catholics saw its power as guiding the faithful - as important as the written word View of the Cerasi Chapel in Santa Maria del Popolo in Rome with Annibale Carracci’s altarpiece, The Assumption of the Virgin, 1600-01, oil on canvas, 96 x 62”, and paintings by Caravaggio on the side walls (The Crucifixion of St. Peter on the left, and the Conversion of Paulon the right

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They had to feel moved by the importance of Christ’s sacrifice and the suffering of martyrs As a result, artists experimented with ways to engage the viewer Here Caravaggio deploys powerful and dramatic realism, contrasts of dark and light, and tightly cropped composition Caravaggio, The Crowning with Thorns, 1602-04, oil on canvas, 5’4” x 4’ Undisputed master of Baroque Tightly cropped - hardly happened in general renaissance

Illusionism - blurs boundaries between painting, sculpture, and architecture: real and spiritual world Giovanni Battista Gaulli, also known as II Bacticio, The Triumph of the Name of Jesus, 1672-1685, II Gesu ceiling, tresco

Peter Paul Rubens, Elevation of the Cross, 1610, oil on wood, 15’ 1-⅞” x 11’ 1-½” Attempts to convey “truth” by impacting senses, emotions and activating space

Patronage impacted by Counter-Reformation in North; erasing monarchy and Church The rising middle class began to fund art

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Paintings were smaller intended for private viewing in homes Religious subjects Landscapes, portraits, genre, still life offered observed reality Judith Leyster, Self-Portrait, c. 1630, oil on canvas, (National Gallery of Art, Washington) - Less religious in subject matter - Genre - every day scene Artemisia Gentileschi - Baroque master Italian Baroque Art (c. 1585-1730) - Baroque derives from Portuguese and Spanish words for large irregularly-shaped pearl - Original implications of the word were pejorative - Over time used widely to describe traits and characteristics of artwork and architecture of 16th-17th period in Europe - Art style used by Catholic Church to teach and inspire faithful - Main artistic characteristics included: - Bold contrasts of light and dark - Emotional intensity - Foreshortening - Dynamism/instability - Diagonals - Energy and movement - Dramatic realism (not idealizes) Religious Subject - Gentileschi several versions of this Old Testament story - The Jewish heroine Judith, whose husband has been killed by a tyrant named Holofernes, plots to assassinate him - Her plan is successful as she gets him drunk and decapitates him with the assistance of her main - Artemisia Gentileschi, Judith beheading Holofernes, 1611-12, oil on canvas, 62.5 in x 50in (Museo Nazionale di Capodimonte, Naples) - First version of Judith and Holofernes by Artemisia - Possibly commissioned by Medici family -

Second version Both paintings convey hallmarks of Baroque era Bloodier Viewer steps back a bit

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Believed to be a self portrait Artemisia Gentileschi, Judith Slaying Holofernes, 1620-21, oil on canvas, 64 in 78 in (Uffizi Gallery, Florence) Baroque Contexts - Begins with Martin Luther and his 95 theses protesting Catholoc Church - Luther called Rome the “whore of Babylon” - Conflicts initiated by this would only be resolved in 1648 CE by signing of the Treaty of Westphalia - Protestants criticized art but the Catholic Church used it to their advantage to guide the faithful Artemisia Gentileschi - Born 1593 Rome, Died 1653 Naples - Most famous woman painter of the 17th century - Daughter of painter Orazio Gentuleschi - Raped 1712 by Agostino Tassi, her painting instructor - Tassi found guilty, but Artemisia tortured through a lengthy and painful trial and punishment was never enforced - After trial married a Medici duke; moved to Florence - First woman accepted into Florentine Academy of Fine Arts - Had 2 daughters with her husband - Both eventually became painters as well - Separated from her husband but remained the head of her own household - Artemisia Gentileschi, Self Portrait as Saint Catherine of Alexandria, 1615-17, oil on canvas, 28 in x 28 in (National Gallery, London) -

An earlier sculpture of Judith commissioned by Medici’s in 15th c Donatello, Judith and Holofernes, detail, 1460, bronze, 7.7”

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Caravaggio painted same scene in 1598-1599 Differences are clear: - The woman appear afraid - The servant is not helping - Holofernes more muscular - Less blood Caravaggio, Judith Beheading Holofernes, 1598-99, oil on canvas, 57” x 77”

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Bracelet may be insight into artemisia’s identification with Judith - During trial with Tassi, Artemisia describes how she attempted to attack him with a knife during the assault - The bracelet also appears to have a cameo depicting Artemis, the accident goddess of chastity and the hunt Bracelet (detail)

Rembrandt’s Jewish Bride - A couple featured in Hebre Bible, part of a story, representative of a faithful marriage - Rembrandt van Rijn, Portrait of a Couple as Issac and Rebecca, known as The Jewish Bride, 1665-69, oil on canvas, 3.9’ x 5.5’ (Rijksmuseum Amsterdam) - Brough Van Gough to tears - Nickname added in 19th c - Painted late in his life using impasto technique - Impasto - when you apply paint very thickly to canvas so it forms a surface on the wood or canvas, sometimes done with brush or knife - In the painting he leaves out the king which changes the focus of the narrative the same time, viewer becomes the observing king - Portrait historie - a popular practice in 17th c to paint portraits in the guise of historical, mythological, literary of biblical - Conveys messages of piety and fidelity as well as a happy and virtuous marriage Dutch Baroque art - Called “Dutch Golden Age of Painting” - Dramatically lit subjects - Strong chiaroscuro - Religious, historical, genre, landscapes, still life subjects Dutch Baroque Context - Holland in height of prosperity - Reformation Rembrandt bio - Born 1606 Netherlands to wealthy Catholic/Protestant family - Prolific painter and printmaker (famous for etchings) - Artcollector and dealer - Wide range of subject matter, including honest self-portraits throughout his life - Popular in his lifetime but his spending habits often left him in financial trouble

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Possessed tremendous empathy for the human condition Married, widowed, 3 of their 4 children died as babies; later a baby out of wedlock with a former maid Rembrandt, a young Rembrandt, (age 22) 1628, oil on canvas Rembrandts drawing seems to be based on Badallocio painting Old Testament protagonist sought refuge in kingdom of Abimelech Afraid his wife would be killed for her beauty Isaac claimed his Rebecca was his sister, King caught them in moment of intimacy Sisto Badalocchio, Isaac and Rebecca Spied upon by Abimelech, from a series of etchings of Biblical scenes, after frescoes by Raphael in the Vatican Loggia, 1607, etching, 13.1 x 17.9 c, (Fine Arts Museums of San Francisco) De Bray costumes his family members as members of the banquet of Cleopatra and Antony Jan de Bray, the Banquet of Cleopatra, 1652, oil on canvas, 5.5’ x 5.4’ (Royal Collection Trust)

Dutch Baroque - Rembrandt, Self Portrait Drawing at a Window, 1648, etching, drypoint and burn on ivory laid paper, 5,9” x 5.1” (Art Institute of Chicago) - Born in Leiden, 1606, Rembrandt foremost Dutch Baroque artist of 17th century - Relocated to Amsterdam in 1631, one of largest and wealthiest cities in Europe - Career lasted 40 years: 400 paintings, > 100 drawings, 300 engravings - His patrons were wealthy Protestants, part of an expanding middle class who sought after genre paintings, still lifes, landscapes, and prints, small enough and affordable for display in Dutch homes - Jacob van Ruisdael, View of Haarlem with Bleaching Grounds c. 1670-75, oil on canvas, 21” x 24” (Mauritshuis, The Hague, Netherlands)

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Thomas de Keyser, Syndics of the Amsterdam Goldsmiths Guild, 1627, oil on canvas, 5-” x 59.8” (toledo Museum of Art) Group portraiture also became popular in 17th century Holland Placed in public spaces to promote their organizations Rembrandt van Rijn, The Anatomy Lesson of Dr. Tulp, 1632, oil on canvas, 169.5 x 216.5 cm (mauritshuis, The Hague) A year after moving to Amsterdam, offered this commission by the Amsterdam Anatomy Guild Annual public lectures given; here the lecture given Jan. 16 1632 Focus on Dr. Tulp (hat), who displays flexors of cadaver’s arm 7 colleagues with various gazes and individual expressions Dr. Tulp displaying the flexors in a cadaver’s arm Cadaver recently executed thief Human dissections common at time, performed as human spectacles with food, wine, music, and conversation Thomas de Keyse or Nicolaes Eliaszoon Pickenoy, The Osteology Lesson of Dr. Sebastiaen Egbertsz, 1619, oil on canvas, 135 x 186 cm (amsterdam Historical Museum) The Latin inclusion of “Rembrandt made this” notes the beginning of his mature career The artwork made him famous

Thomas Eakins, Portrait of Dr. Samuel D. Gross (The Gross Clinic), 1875, oil on canvas, 244 x 198.2 cm (philadelphia Museum of Art) Without the Anatomy Lesson of Dr. Tulp, Rembrandt paves the way for Eakin’s surgical portrait in the 19th c

Judith Leyster’ The Proposition Dutch Baroque - Judith Leyster, Man Offering Money to a Women (the Proposition), 1632, oil on panel, 11-⅜ x 9-½ inches (Mauritschuis, The Hague) - Scale of painting small, intimate

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Male and female figures in dark shallow room with single candle as light source (note foot warmer) - Female absorbed in sewing - Make offering coins, touching her - Sense of unease; what is going on? - Ambiguous subject - Possibly a sexual proposition in which the subject has to make a choice - Since religious art was not prominent with Calvinist Dutch, other ways to express morality were created - Meant to “educate” the public in good morals - Can be seen as image of good, pious Protestant woman: a model of virtue - Woman as icon of domesticity, working in cold dark room Dutch Baroque - Called “Dutch Golden Age of Painting” - Dramatically lit subjects - Strong chiaroscuro - Rise in production of portraits, still life, genre scenes and landscapes - Sometimes with moralizing message - Scenes depict moment of action Northern Caravaggisti - Calvinism leads to decline of religious subjects Context - Northern Provinces unify and declare independence from Spanish rule in 1568 - Catholicism and calvinism coexist in northern provinces; Southern protestants flee to the North - Holland becomes major trade center leading to economic prosperity - Rise of the middle class - Known as the Dutch “golden age” - Colonialism, slavery, gender inequity - Dutch women expected to marry and be domestic Judith Leyster - Born in Haarlem; first female member of the Guild of St. Luke in Haarlem - Very successful during her life, owned a workshop and taught many students - Known for portraits and genre scenes of musicians and merrymakers - Painterly brushwork, bright color, and dramatic - Virtually forgotten after her death, most of her work was falsely attributed to Frans Hals - Dutch painter influenced by Caravaggio’s light and psychological drama - Caravaggio, The Cardsharps, c. 1595, oil on canvas, 37 1/16 x 51 9/16 inches (Kimbell Art Museum

Introduction to Rococo Art and age of Enlightenment - Early 1700s French court moved from Versailles to Paris. Spread through Europe - Palace of Versailles was rural chateau as center of political power - A shift away from the monarchy toward the aristocracy characterizes the art of this period - The aristocracy had wealth and political power and lead lives of leisure and romantic intrigues as result of their excess of luxury - Owned >90% of the country's wealth. This in contrast to most citizens who were poor - This led to French revolution in late 18th century (1789) Hyacinthe Rigaud, Louis XIV, 1701, oil on canvas, 114” x 62 ⅝” (The J. Paul Getty Museum) Contexts of Rococo and Enlightenment - Music: Vivaldi, Bach, Haydn, Mozart - Science - calculus, discovery of oxygen, Haley’s comet - Technology - mechanized spinning, steam engine - Literature - Jonathan Swift (Gulliver’s Travels) & Voltaire - Politics - 7 years war (Prussia against France/Austria), England took lead in industrialization - Womens fashion - long, elegant, floral, tight corsets, panniers, plunging necklines, Pagoda sleeves (tight from shoulder to elbow, then flared with lace) - Mens fashion - coat, waistcoat, breeches - coats were tigherm unlike those in Baroque period, powdered wings, Cadogan style of hair, lower class did not wear breeches, just long pants Rococo art style - From the French for “rock” and “shell” - 1700-1775: the primary artistic style of French 18th c - Began in courtly atmosphere of Versailles - Driven by patronage of aristocracy as part of pursuit of leisure lifestyle - An expression of wit and frivolity with serious, somber and satirical undercurrents - A world of fantasy and romance - Jean-Honore Fragonard, the Swing, 1767, oil on canvas, 2.6’ x 2.1’ (Wallace Collection, London)

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A scene of sly erotic play (upskirting) in lush, overgrown garden References to Cupid in sculpture of garden Lakes seriousness of Baroque style Condemned by Enlightenment philosophers; they believed art should be serious, noble and moral Hallmarks of Rococo Style in art: - Soft colors, curvy lines, asymmetry, elegance - Loose brushstrokes - Scenes of love, nature, youth The Enlightenment (Age of Reason) 1715-1789 - Used reason and intellect to back arguments - Ex. Philosopher Rousseau questioned idea of divine right of kings - Encouraged criticism of monarchy - Contributes to rise of democratic ideals and opposition to traditional Catholicism - Philosophy, science, and religion were main aspects which stemmed from the Enlightenment - Desecrates, Kant, Hobbes, and Diderot Locke argued about reason and logic - Copernicus, Galileo, Kepler, Newton made significant contributions to science The Age of the Enlightenment - A shift in thinking (“enlightened”) influenced by scientific revolutions in 17th century that challenged traditions, superstitions and religious beliefs - Empiricism - the belief that all knowledge of matters of fact derives from experience - Certain philosophical ideas translated into political movements: “I think therefore I am” (Descartes) - Art by Enlightenment artists stressed morality vs immorality; right action from wrong - A philosopher lecturing with mechanical planetary, Joseph Wright, 1765, oil on canvas - Features mechanical model of solar system with a gas light representing the sun; the arcs represent the orbits of planets - This is new subject for painting: experiments and machinery - Influenced by Baroque art -

Thinkers of Enlightenment influenced by scientific revolutions wanted t question tradition and superstitions and promoted rational thinking and foundations of democracy

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Enlightenment thinkers were optimistic for improvements in society Jean-Antoine Houdon, Volatile, 1778, life size marble (National Gallery of Art, Washington D.C.) - Enlightenment thinkers encouraged criticism of the monarchy and aristocracy, condemning Rococo art as immoral and indecent - Diderot was Enlightenment philosopher believed artists had a responsibility to this ethical command - This along with France’s financial crisis, poor harvests, hunger would launch the French Revolution, leading to execution of King and Queen of France and thousands of aristocrats - Louis-Michel van Loo, Diderot, 1767, oil on canvas, 2.6’ x 2.1’ (Louvre) - Rococo art is very light, decorative and airy, which the Baroque was more serious, dramatic, and heavy Elisabeth Louise Vigee Le Brun - Art Historical Period: French Rococo: art of and for the French rich and wealthy before the French Revolution - Elisabeth Louis Vigee-Lebrun, Self-Portrait, 1790, oil on canvas, 3.2’ x 2.6’ (Galleria degli Uffizi, Florence) - Official court painter - Bio: born in Paris. Wrote an autobiography that her father (a portraitist) doted on her and encouraged her to draw and paint from an early age. Her mother was not so nice, she thought her daughter ugly and awkward. Would grow up to be successful and popular in society, as working painter, wife, and mother - This is one of her best known pictures in Late Rococo - Elisabeth Louis Vigee-Lebrun, Archduchess Marie Antoinetter, Queen of France, 1778, oil on canvas, 8.9’ x 6.3’ (Kunsthistorisches Museum, Vienna) - Queen Marie Antoinetter never said, “let them eat cake” - Most of her portraits painted by Vigee-Le Brun - Painted the first year after they met, the queen is wearing a golden-white hoop skirt in a display of power - She doesn't look at us - Surrounded by accoutrements on her station: majestic columns, marble bust of husband (Louis XIV), and crown - Originally intended for her brother Emperor Joseph II of Austria - But she liked it so much she had copies made for Catherine the Great of Russia and her own apartments in Versailles

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Her studio was seized because she was painting without a license Her self-portrait was a scandal because she showed her teeth After the French Revolution she fled in exile for 10 years, forced to leave France in disguise and in the dark - Her former boss taken to the guillotine - Painted this self portrait in Rome and shows no sign of the stress she experienced - Wants her viewer to see her as happy and carefree Neoclassicism - A product of The Age of Reason or Enlightenment - 18th c shift of thinking due to scientific discoveries (empirical) over 100 years - Shook grip of religious beliefs and long-held superstitions - Connected to ideals behind the Classical World (Ancient Greeks and Romans) at a time of political turmoil in France French Revolution (political Context) - 1789: storming of Bastille - 1793: Louis XVI and wife Marie Antoinetter beheaded - 1795-9: Rule by middle class - 1804: Napoleon crowned Emperor - Napoleon abdicated and monarch restored under Louis XVII -

“Official art style of French Revolution” Anti-frivolity and decadence in favor of moral messages and straightforward drawing - Artists looked to 17th c French painter Poussin for inspiration - Nicolas Poussin, Et in Arcadia Ego, 1637-38, oil on canvas, 72.8in x 47.6in - Style of smooth surface (no impasto - laying paint on surface thickly) and careful modeling of forms (not painterly) - Drawing more important than painting - Emphasis on rationally and seriousness - Oath of Horatii with a Roman legend that transmitted idea of support for therebels and self-sacrifice: the same ideals for supporters of French Revolution - Jacques-Louis David, Oath of the Horatii, 1784 (salon of 1785) oil on canvas, 3.3 x 4.25m Hallmarks of Neoclassical style - Clarity of for...