Baroque in Italy & Spain PDF

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Professor Michael Panbehchi...

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Baroque Style Introduction to Baroque: - Protestants and Catholics occupying the same world - Balancing act between them - Catholicism reacts towards Protestantism with Council of Trent and Baroque art - Council of Trent: - Art is an important part of our world - Supposed to communicated Catholic doctrine quickly - Religious figures clothed - Protestants didn’t like religious art because they thought it would lead to idolatry - 1540s-1560s - Catholic Church trying to bring people back into the religion with art - Inquisition used to police/scare people who wanted to break religious doctrine - Most victims were Catholics - Known for being in Spain, but more people killed in France Characteristics of Baroque Art: - Dramatic light - Bright, vivid colors - Corporality of Michelangelo - Diagonals (suggesting movement - Notion of “classical art” starts to get left behind (no longer mathematical, conservative, etc.) - Active viewer Bernini: - Theatrical - “In progress” - movement - Appeals to emotions, wants you to participate Cornaro Chapel: - Bernini (1598-1680) - Defines Baroque sculpture - Church of Santa Maria Della Vittoria, Rome - 1642-52 - Employs lots of theatrics, not meant to be measured like classical art - Different colored marble - Baldachin (baldacchino) - Relief sculpture - Coronaro family sculpted to look as if they are observing from box seats in a theater

St. Teresa of Avila in Ecstasy: - Bernini - Cornaro Chapel, Church of Santa Maria Della Vittoria, Rome - 1645-52 - Wanted people to see sculpture as something “otherworldly” - Gold rods (behind sculpture) pointing upward from window - Looks as though golden, heavenly light is shining down - Face of St. Teresa very erotic - supposed to be “religious ecstasy”

Baldacchino: - Bernini

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David: -

1634 Bronze Four columns, canopy, and capital - Underneath canopy = position of honor - Solomonic columns Putti (angels), lizards, bees on columns - coat of arms of family

Bernini 1623 Marble In the process of throwing rock at and defeating Goliath Can walk 360 degrees around sculpture Determined face; movement (not passive)

Daphne and Apollo: - Bernini - 1622 - 8 ft. marble - Myth: Apollo hit by arrow to ensure he would fall in love with Daphne; Daphne hit by lead arrow, making her repulsed by anything Apollo does - Prays to river god and changes her into Laurel tree so she doesn’t have to marry Apollo - Tree bark growing up her body, fingers turning into leaves as Apollo touches her

Saint Peter’s Basilica and Square: - Bernini - 1656-7 - Vatican, Rome - Colonnade, piazza, portico - Egyptian obelisk off center with church - Semi-circular walls surrounding plaza symbolize God’s arms wrapping around you (Baroque idea) - Columns 4-deep (280 total) - When you stand at gold disk in middle, you only see one column in every row

Church of San Carlo alle Quattro Fontane: - Francesco Borromini - 1638-1667 - Rome - Facade is wavy (suggests movement), not just flat walls - Corinthian columns - Angels and saints - Very busy - Inside plan also wavy, undulating - Coffers - Trinitarian Order

Triumph of the Name of Jesus and the Fall of the Damned: - Gaulli - 1672-85 - Fresco w/ stucco - Meant to appear as if you’re looking straight through roof into sky - Depicts Book of Revelation (when Jesus returns) - Windows allow light to shine on Christ - Architectural features painted, not carved - People invited to go into church and simply look at it - Idea that you would look up, get dizzy, and think you’re having a revelation or that God is communicating with you

Michelangelo Merisi (Caravaggio): - Caravaggio, Italy - 1571-1610 - Great Baroque painter - Made people angry - patrons had to harbor him - Drama - Painted religious subjects for wealthy people Bacchus: - Caravaggio - 1596 - Oil on canvas - Bacchus = god of wine - Started by painting still-lifes - People modeled from people he sees on the street (not a fan of idealism)

The Calling of St. Matthew: - Caravaggio

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1599-1600 Moment Jesus asks Matthew to follow him and be apostle Not idealized, except for diagonal light - Dramatic spotlight (tenebrism) - chiaroscuro enhanced Other people in room inspired by people he sketched on the street People not dressed biblically

Conversion of St. Paul: - Caravaggio - 1601 - 8 x 6 ft. - Saul of Tarsus on the road to Damascus to persecute Christians - Stable accident - not idealized at all

Judith Beheading Holofernes:

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Gentileschi 1612-21 Oil on canvas 6’6’’ x 5’4’’ Moment beheading occurs - Judith knows what she’s doing

Judith and the Maidservant with the Head of Holofernes: - Gentileschi - 1625 - Oil on canvas - Moment after Judith beheads Holofernes

Judith Beheading Holofernes:

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Spain: -

Caravaggio 1599 Oil on canvas 57’’ x 77’’ Judith looks unsure, like she’s cringing - Maid looks very interested Bright, vivid colors

Spain controls Flanders Silver coming from Peru spent before it even gets across the ocean Seville (southern Spain) Zurbaran (1598-1664)

Saint Serapion: - Zurbaran - 1628 - Oil on canvas - Very quiet compared to Caravaggio (hanging dead, rather than moment he is killed) - Attracted attention because Saint looks like a regular person - not idealized, even though he’s a religious figure

Martyrdom of St. Bartholomew: - Ribera “The Little Spaniard” - 1634 - Oil - Wanted Bartholomew and executioner to look very real and similar - more connection between art and viewer - Viewer can picture themselves as either person

Still Life with Quince, Cabbage, Melon, and Cucumber: - Cotan - 1602 - Oil on canvas - Extremely realistic - Shows influenced by Netherlands/Flanders (Spain controlled Flanders

Water Carrier of Seville: - Velasquez (1599-1660) - Known for loose brushwork - 1619 - Oil on canvas - Part of bodegones series - Velasquez showing his power and skill - Many different textures - Rough food - Dull jar v. polished jar - Glass

Philip IV:

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Velazquez (chamberlain of Philip) 1624 Oil on canvas Philip not attractive

Philip in Silver and Brown: - Velazquez - 1632 - Oil on canvas - Distracts from Philip’s face with ornate clothing

Las Meninas (The Maids of Honor): - Velazquez - 1656 - Oil on canvas - Daughter of Philip’s wedding - Velasquez depicted painting to the left - makes viewer feel like they could walk into the painting and through the open back door - Wearing the uniform of a knight in the Order of Santiago - Trying to elevate his profession (art schools formed during Baroque period = art now a profession) - Shows closeness to King of Spain - Mirror on back wall has reflection of King Philip and wife - Center: Infanta Margarita with her maids in waiting - Painting hung in Philip IV’s office (allows him to relive that moment, esp. because painting is very interactive)

Flanders and France: - Originally controlled by France - By 1648, Netherlands (Holland) independent - Belgium formed (Catholic) - Flanders: Catholic; Holland: not Catholic Self-Portrait: - Rubens (1577-1640) - Diplomat, very rich - Studies in Italy - 1628 - Oil on canvas

Raising of the Cross: - Rubens - Antwerp Cathedral - 1610-11 - Oil on canvas, 15 x 11 ft. - Can get a sense of Rubens’ Italian studies - Corporal, straining muscles (Michelangelo) - Vivid color (Titian) - Virgin Mary and St. John appearing out of darkness in corner - Spotlight on Christ (inspired by Caravaggio) - Composed on a diagonal - referencing movement - Fleshy, naked bodies (Rubens famous for it)

The Life of Marie de’ Medici: - Rubens - 1622-1626 - Louvre, Paris

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21 paintings Meant to legitimize her presence in France after becoming Queen

Henri IV Receiving the Portrait of Marie de Medici: - Rubens - 1621-25 - Oil on canvas - Diagonal composition - Cupid presenting Henri IV with portrait - she is in center - Rubens idealized her face - Coloration of Titian, muscles of Michelangelo - Meant to tell people Marie has been divinely appointed to be Queen of France

Marie de Medici Landing at Marseilles: - Rubens - 1623-25 - Oil on canvas - Fleur de lis on cloak symbolizes France

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Neptune, Poseidon and daughters to give blessing - Fleshy, naked Oranges to represent Medici family Red, gold, blues are decorative - indicative of royalty/beauty Marie being blessed to rule France Rubens famous for depicting climatic moments

Portrait of Marchesa Brigida Spinola-Doria: - Rubens - 1606 - Oil on canvas - 60 x 39 in.

Louis XIV: - Rigaud - 1701 - Oil on canvas - Louis XIV showing what an absolute monarchy should look like - Coronation robes, baton of rulership, crown, column represents stable government - Curtain/canopy above him = honor, rulership - Short, but wanted to be depicted as grand and larger than life

Palais de Versailles: - Le Vau and Mansart - France - 1668-85 - Louis XIV (“Sun King”) moves to Versailles - Royalty had no choice but to go with him because “common folk” loved Louis and would revolt - Threatened to expel royals if they disagreed - 20,000 people live in palace - Oriented east to west (sun sets over Louis XIV) - Three avenues point/lead to bedroom - Garden-Side: - Rustication = business - Palladian windows align center block and give texture - Middle level w/ Ionic columns (Ionic order) - Classical architecture, inspired by Italy - Gardens: - Le Notre

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Gardens = “parterres” Solid lines Shows king of France capable of controlling almost 2,000 acres of land

Hall of Mirrors: - Le Brun and Mansart - Versailles - Begun 1678 - Palladian windows reflect off of chandeliers - Louis XIV depicted as Apollo in paintings - Early Christians associated Jesus with Apollo/Hermes; makes Louis divine

Landscape with Saint John on Patmos: - Nicolas Poussin

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1640 Oil on canvas Significance: beginning of Baroque landscape - Appeal: you could measure it (foreground, middleground, background) St. John writing book of revelation - Buildings can crumble to ground, but Jesus will still be with us

A Pastoral Landscape: - Claude Lorrain - 1648 - Oil on copper - Uses people and animals sparingly to entice people and move their eyes around the painting - French Baroque: Catholic, with return to classical measurement

The Netherlands and Britain: - Protestant Northern Europe - 1648: Netherlands independent - No single leader at first - Gets taken over by wealthy merchant class - Portraits and things - not religious

Self-Portrait: - Judith Leyster - 1635 - Oil on canvas - Showing audience that she can paint - Clothes show she’s successful - wouldn’t actually wear them while painting - Her pose matches figure she’s painting; happy

A Boy and a Girl with a Cat and an Eel: - Leyster - 1635 - Oil on panel - 59 x 49 cm. - Message: if you play with a cat like this you’re going to get scratched/bitten - Nationalistic: shows what people of Holland look like - what people want to buy

Self-Portrait:

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Rembrandt (1606-1669) - Devout Protestant - Created 80 self portraits in lifetime - to him, greatest way to examine faith, was to examine yourself in all moods 1659 Oil on canvas Impasto technique (very thick layers of paint = tactile) Very powerful look on face - inner life, realism

The Anatomy Lesson of Dr. Nicolaes Tulp: - Rembrandt - 1632 - Oil on canvas - 5 x 7 ft. - Academic and business groups typical of Netherlandish group paintings - Every figure appears to be doing something and paying attention to different degrees - Each person has a different face/personality - Unusual because cutting arm first, not chest - Referencing first anatomy book Vesali - Thumbs what set humans apart - God’s gift to man - Tenebrism, but muted pallette

The Company of Captain Frans Banning Cocq (The Night Watch): - Rembrandt - 1642 - 12 x 14 ft. - Oil - Militia comprised of cloth merchants (ceremonial) - Banning in center, next to his Lieutenant - Hand foreshortened - Spotlight on Banning - Light also on woman to left - why her? - Commissioned for musketeer hall in Amsterdam - Action painting (look like they’re mobilizing to fight someone, which would never happen because not really soldiers) - Not actualy night scene - called “Night’s Watch” because painting was dirty when discovered

The Breakfast Table with Blackberry Pie: - Willem Claesz Heda - 1631

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Oil on canvas Dutch nationalism - Silver cup - Glass - Pie Watch reminds people that time on Earth is limited (vanitas) - Even though we have wonderful opulence, be good - Reminder of own mortality

Woman Holding a Balance: - Vermeer (1632-1675) - Painter, paint dealer - Depicting women in contemplative scenes - Soft light (light and dark comprised of color) - looks fuzzy when close, far away looks softly illuminated - Living in Holland, but Catholic - 1664 - Oil on canvas - Painting of Jesus in background - Catholicism - Woman weighing pearls = good v. bad - Genre scene

View of Delft: - Jan Vermeer - 1662 - Oil on canvas - Dutch nationalism (port with boats = reference to maritime wealth) - Camera Obscura - allows painter to trace, gives perspective - White dots on painting a product of camera obscura

Flower Still Life: - Rachel Ruysch - 1700 - Oil - Paintings of flowers popular among middle-class - Naitonalistic - Holland exports lots of flowers - Even though tulips a symbol of greed

England: - 1603: England and Scotland joined - James I and Charles I rule Britain, but both born in Scotland - Have to find a way to make reign legitimized - Charles I marries Catholic queen - makes people suspicious - Anglican Church Charles I at the Hunt: - Van Dyck (Flemish = Catholic) - 1599-1641 - 1635 - Oil on canvas - Meant to legitimize rule in non-overbearing way - Dressed down to hunt, but still regal (hat, hand on hip) - Still has servants, standing on hill (looking down on you)

Charles I on Horseback: - Van Dyck - 1635 - Oil on canvas - Equestrian - Horse and armor legitimize rule

Exterior of Banqueting House, Whitehall Palace: - Inigo Jones (studied in Italy) - 1619-22 - London - Jutting forward = Baroque - Rustication on first floor (interior actually only one floor) - Follows hierarchy of orders - Architectural Orders: ionic and corinthian

Interior of the Banqueting House: - Jones - Whitehall Palace

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1619-22 Ceiling paintings by Rubens (1630-5); oil Interior only one floor, not two as depicted on outside - Follows classical style with fancy, corinthian columns on “second floor”

St. Paul’s Cathedral: - Christopher Wren - 1673-1710 - London - Inspired by Italy, but no hierarchy of orders - Plays with light and shadow...