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Baroque Art in Europe
Europe in the 17th Century
Baroque: The Ornate Age
• Baroque Art (1600-1750) succeeded inmarrying the advance techniques andgrand scale of the Renaissance to theemotion, intensity and drama ofMannerism.
• Baroque art was the most ornate andsumptuous in the history of art.
• While the term Baroque is often usednegatively to mean over done andostentatious, the 17th century not onlyproduced such artistic geniuses asRembrandt and Velasquez, but expandedthe role of art into everyday life.
• Artists now called Baroque came from allover Europe to Rome to study themasterpieces of Classical antiquity and theHigh Renaissance then returned home tointerpret what they had learned in theirown unique way.
Baroque: The Style• Baroque styles varied widely, ranging from Italian realism to French
flamboyance.
• However, the common element throughout Baroque art was the
sensitivity to and the absolute mastery of Light in order to achieve
maximum impact.
• The Baroque era began in Rome around 1600 with Catholic popes financing
magnificent cathedrals to display the triumph of their faith over the
Protestant Reformation.
• From there., it traveled to France where absolute monarchs ruled by divine
right and spent amounts comparable to the pharaohs of Egypt to glorify
themselves.
• In Catholic countries, like Flanders, religious art flourished, while in
the Protestant lands of northern Europe, religious imagery was
forbidden.
• As a result art tended to be still life, portraits, landscapes and scenes from
everyday life.
• Louis XIV
• Rigaud
• 1701
• Oil on canvas
• C. 9’X7’
• Louvre
The Baroque in Italy
Painting and Architecture
Caravaggio
Gentileschi
Bernini
Boromini
Baroque Art in Italy• Artists in Rome pioneered the Baroque
style before it spread to the rest ofEurope.
• Art academies had been established inRome to train artists in the varioustechniques developed during theRenaissance.
• Artists could expertly represent thehuman body from any angle, portray themost complex perspective andrealistically reproduce almost anything.
• Italian Baroque art differs fromRenaissance art with its emphasis onemotion rather than rationality, ondynamic rather than staticcompositions.
• The most striking difference betweenItalian Baroque and Renaissancepainting was the use of light to dramatizea composition.
Michelangelo Merisi da Caravaggio
Caravaggio 1571-1610
• He was the first great
representative of the
Baroque style.
• Within his lifetime,
Caravaggio was
considered enigmatic,
fascinating, a rebel, and
dangerous.
• He burst upon the Rome
art scene in 1600, and
thereafter never lacked
for commissions or
patrons, yet handled his
success atrociously.
• An early published notice on him, dating
from 1604 and describing his lifestyle
some three years previously, tells how:
• "after a fortnight's work he will swagger
about for a month or two with a sword at
his side and a servant following him, from
one ball-court to the next, ever ready to
engage in a fight or an argument, so that it
is most awkward to get along with him.”
• In 1606 he killed a young man in a brawl
and fled from Rome with a price on his
head.
• In Malta in 1608 he was involved in
another brawl, and yet another in Naples
in 1609, possibly a deliberate attempt on
his life by unidentified enemies.
• By the next year, after a career of little
more than a decade, he was dead.
• Huge new churches and palaces were being built
in Rome in the decades of the late 16th and early
17th centuries, and paintings were needed to fill
them.
• The Counter-Reformation Church searched for
authentic religious art with which to counter the
threat of Protestantism, and for this task the
artificial conventions of Mannerism, which had
ruled art for almost a century, no longer seemed
adequate.
• Caravaggio's novelty was a radical naturalism
which combined close physical observation with
a dramatic, even theatrical, approach to
chiaroscuro, the use of light and shadow. In
Caravaggio's hands this new style was the vehicle
for authentic and moving spirituality.
• Famous and extremely influential while he lived,
Caravaggio was almost entirely forgotten in the
centuries after his death, and it was only in the
20th century that his importance to the
development of Western art was rediscovered.Chalk portrait of Caravaggio
by Ottavio Leoni,
• Boy with a Basket of
Fruit
• c. 1593
• Oil on canvas
• 70 x 67cm
• Galleria Borghese
Rome
• The Fortune Teller, 1596-97, Oil on canvas
• 99 x 131cm, Louvre, Paris
• The Cardsharps, c. 1594, Oil on canvas
• 94 131 cm, Kimbell Art Museum, Fort Worth
• Judith Beheading Holofernes, c. 1598, Oil on canvas
• 58 x 78 inches, Galleria Nazionale d'Arte Antica, Rome
• Narcissus
• 1598-99
• Oil on canvas
• 110 x 92 cm
• Galleria Nazionale d'Arte
Antica, Rome
• The Calling of Saint Matthew, 1599-1600, Oil on canvas
• C. 10 x 11 feet, Contarelli Chapel, San Luigi dei Francesi, Rome
• The Martyrdom of St
Matthew
• 1599-1600
• Oil on canvas
• 323 x 343 cm
• Contarelli Chapel
• San Luigi dei Francesi
Rome
• St. John the Baptist
(Youth with Ram)
• c. 1600
• Oil on canvas
• 129 x 94 cm
• Musei Capitolini,
Rome
• David
• 1600
• Oil on canvas,
• 110 x 91 cm
• The Incredulity of Saint Thomas, 1601-02, Oil on canvas
• 107 x 146 cm, Sanssouci, Potsdam
• Supper at Emmaus, 1601-02, Oil on canvas
• 139 x 195 cm, National Gallery, London
• Conversion of St Paul
• 1601
• The painting records the
moment when Saul of Tarsus,
on his way to Damascus to
annihilate the Christian
community there, is struck
blind by a brilliant light and
hears the voice of Christ
saying, "Saul, Saul, why
persecutest thou me?...And
they that were with me saw
indeed the light, and were
afraid, but they heard not the
voice..." (Acts 22:6-11).
• The Crucifixion of
Saint Peter
• 1600
• Oil on canvas
• 230 x 175 cm
• Cerasi Chapel
• Santa Maria del Popolo
• Rome
• This painting was
commissioned at the
same time as the
Conversion of St. Paul,
by Cardinal Cerasi.
• Entombment
• 1603-04
• Oil on canvas
• c. 10x7 feet
• Vatican Museum
• One of many paintingsconfiscated from Romanchurches and taken toParis during Napoleon'soccupation of Italy in1798.
• It was one of the fewpaintings returned to Italyin 1815.
• Madonna di Loreto
• 1603-05
• Oil on canvas
• 260 x 150 cm
• S. Agostino, Rome
• Caravaggio often used
everyday people as
models for his paintings.
• Death of the Virgin
• 1606
• Oil on canvas
• 369 245 cm
• Louvre, Paris
• Flagellation
• c. 1607
• Oil on canvas
• 390 x 260 cm
• Museo Nazionale di
Capodimonte
• Naples
• Beheading of Saint John the Baptist
• 1608, Oil on canvas, 361 x 520 cm, Saint John Museum, La Valletta
• The Raising of Lazarus
• 1608-09
• Oil on canvas
• 380 x 275 cm
• Museo Nazionale, Messina
• Some critics claimed that
Caravaggio used an actual
corpse as a model for the
figure of Lazarus.
• Burial of St Lucy
• 1608
• Oil on canvas
• 408 x 300cm
• Bellamo Museum,
Syracuse
• Salome with the Head of the Baptist
• c. 1609, Oil on canvas, 116 x 140 cm, Palazzo Real, Madrid
• David
• 1609-10
• Oil on canvas
• 125 x 101 cm
• Galleria Borghese
• Rome
David 1600 David 1610
• Caravaggio’s fame scarcely survived his death.
• His innovations inspired the Baroque, but the Baroque took the drama of his chiaroscuro
without the psychological realism.
• He directly influenced the style of his companion Orazio Gentileschi, and his daughter
Artemisia Gentileschi, and, at a distance, the Frenchmen Georges de La Tour and Simon
Vouet, and the Spaniard Giuseppe Ribera.
• Yet within a few decades his works were being ascribed to less scandalous artists, or simply
overlooked.
• Caravaggio never established a workshop and thus had no school to spread his techniques.
• Nor did he ever set out his underlying philosophical approach to art, the psychological
realism which can only be deduced from his surviving work.
• Thus his reputation was doubly vulnerable to the critical demolition-jobs done by two of his
earliest biographers, one, a rival painter with a personal vendetta, and the other an
influential 17th century critic, who had not known him but was under the influence of the
French artist, Poussin, who had not known him either but hated his work.
• In the 1920s art critic Roberto Longhi brought Caravaggio's name once more to public
attention, asserting that, “Ribera, Vermeer, La Tour and Rembrandt could never have
existed without him. And the art of Delacroix, Courbet and Manet would have been utterly
different.”
• The influential critic Bernard Berenson agreed: “With the exception of Michaelangelo, no
other Italian painter exercised so great an influence.”
The Gentlesechi Family
Orazio Gentileschi
and his daughter Artemisia Gentileschi,
Orazio Gentileschi
• 1563 - 1639
• Italian Baroque
painter
• one of more
important painters
influenced by
Caravaggio
• He was the father of
the painter Artemisia
Gentileschi.
• Lutenist
• c 1626.
• Oil on canvas
Artemisia Gentileschi• Artemisia Gentileschi (1593 -1652), was one of the first women artists to
achieve recognition in the male-dominated world of post-Renaissance art.
• In an era when female artists were limited to portrait painting, she was the firstwoman to paint major historical and religious scenes.
• Born in Rome in 1593, she received her early training from her father, but afterart academies rejected her, she continued study under a friend of her father,Agostino Tassi.
• In 1612, her father brought suit against Tassi for raping Artemisia.
• There followed a highly publicized seven-month trial.
• The trauma of the rape and trial had an enormous impact on Artemisia'spainting.
• Her graphic depictions were cathartic and symbolic attempts to deal with thephysical and psychic pain.
• The heroines of her art, especially Judith, are powerful women exactingrevenge on such male evildoers as the Assyrian general Holofernes.
• Her style was heavily influenced by dramatic realism and the markedchiaroscuro of Caravaggio.
• Susanna and the Elders(1610) was one of the firstworks of the young 17-year-old Artemisia.
• The painting depicts thebiblical story of Susanna, avirtuous young wife sexuallyharassed by the elders of hercommunity.
• Rather than showing Susannaas coyly or flirtatious (asmany male artists had paintedthe scene), Artemisia takesthe female perspective andportrays Susanna asvulnerable, frightened, andrepulsed by their demands,while the men loom large,leering, menacing, andconspiratorial in herdirection.
• Judith Beheading
Holofernes
• 1611-12
• Oil on canvas
• 158.8 x 125.5 cm
• Museo Nazionale di
Capodimonte, Naples
• Judith Beheading
Holofernes
• 1612-21
• Oil on canvas
• 199 x 162 cm
• Galleria degli Uffizi
• Florence
• Judith and her
Maidservant
• 1612-1613
• Oil on canvas
• 114 x 93.5 cm
• Galleria Palatina
(Palazzo Pitti),
Florence
• Self-Portrait as the Allegory
of Painting
• 1630s
• Oil on canvas,
• 96.5 x 73.7 cm
• Royal Collection, Windsor
• Judith and Her
Maidservant
• ca. 1625
• Detroit Institute of Arts
• After her death, she drifted into
obscurity, her works often attributed
to her father or other artists.
• Art historian and expert on
Artemisia, Mary D. Garrard notes
that Artemisia "has suffered a
scholarly neglect that is unthinkable
for an artist of her calibre."
• Renewed and overdue interest in
Artemisia in recent years has
recognized her as a talented
seventeenth-century painter and one
of the world's greatest female artists.
The Carracci Family
The Other Italian Baroque Painters
Agostino Carracci
Annibale Carracci
Ludovico Carracci
Carracci vs Caravaggio
• Unlike Caravaggio, theCarracci were more interestedin typically Florentine lineardraftsmanship, as exemplifiedby Raphael.
• Their style also derived fromVenetian painters with theiruse of glimmering colors andmistier edges.
• The family workshop inBologna was called upon topaint numerous frescos, whichthey completed with technicalmastery not seen since Michelangelo.
• Caravaggio on the other handnever painted in fresco.
Venus and Anchises, fresco detail
Galleria of the Palazzo Farnese, Rome
Annibale Carracci, 1597-1603
Palazzo Farnese• Based on the prolific and masterful
frescoes by the Carracci in Bologna,
Annibale was recommended by the
Duke of Parma, Ranuccio Farnese, to
his brother, the Cardinal Odoardo
Farnese, who wished to decorate the
piano nobile of the cavernous Roman
Palazzo Farnese in Rome
• In November-December of 1595,
Annibale and Agostino traveled to
Rome to begin decorating the
Camerino with stories of Hercules,
appropriate since the room housed
the famous Greco-Roman antique
sculpture of the super muscular
Farnese Hercules.
Legacy of the CarracciItalian Baroque Ceiling Painting
• PIETRO DA CORTONA, Glorification of the Papacy of Urban VIII
• Palazzo Barberini, 1633-3
• Giovanni Battista Gaulli
• Triumph of the Holy Name of Jesus
• 1672-85
• Church of Il Gesu, Rome
• Jesuit Church in Rome
• Gaulli’s work is the most extreme
example of over the top, super
illusionistic Baroque ceiling
painting.
• Detail of the Damned from
the Triumph of the Holy
Name of Jesus
• Note the twisting, contorted,
foreshortened figures.
Gianlorenzo Bernini
Italian Baroque Sculpture
Bernini
• 1598- 1680
• Greatest sculptor of the Baroque period
• Also an architect, painter, playwright,
composer and theater designer.
• More than any other artist, with his
public fountains, religious art, and
designs for St Peter’s, he left his mark
on the city of Rome
• Aeneas, Anchises, and Ascanius
• 1618-19
• Marble
• height: c. 95 inches
• Galleria Borghese, Rome.
• Apollo and Daphne
• 1622-25
• Marble
• height c. 100 inches
• Galleria Borghese
• Rome
• David
• 1623-24
• Marble
• height 170 cm
• Galleria Borghese,
Rome
Renaissance David Baroque David
Bernini at the Vatican
• The Baldachin
• 1624
• Bronze, partly gilt
• St. Peter’s Basilica
• Vatican
• A focal point of the
church’s interior, is the
canopy and altar beneath
the central dome,
marking the burial place
of St. Peter.
• It is over 100 feet high
• The Throne of Saint Peter
• 1657-66
• Marble, bronze, white and golden
stucco
• St. Peter’s, The Vatican
• Wooden chair
• The crowning achievement of
Bernini's design for the
decoration of St. Peter's can be
found in his later work Cathedra
Petri (Chair of St. Peter) located
in the apse of the basilica.
• This large reliquary was designed
to house the original of St.
Peter's.
• Above the chair is what is
commonly known as the
Glory.
• This is a combination of stucco
putti and angels surrounding a
stained glass window that is
the actual light source for the
apse.
• The window and dove act as
the light and word of God and
the Holy Spirit.
• Bernini diffused the light by
using colored glass and
reduced the harsh glare he so
detested.
• The Ecstasy of Saint Therese
• 1647-52
• Marble, stucco, gilt bronze
• Cappella Cornaro
• Santa Maria della Vittoria
Rome
St Peter’s Square and Colonnade
• Outside Saint Peter’s Basilica Bernini designed and enormous piazza andsurrounded it with two curving covered colonnades supported by rows of fourcolumns abreast.
• Bernini intended the two arcades to be like the Church’s maternal armswelcoming pilgrims to Saint Peter’s.
• Bernini
• Tritone Fountain
• Rome
• Fountain of the Four Rivers
• The Ganges
• 1648-51
• Piazza Navona
Borromini
Dynamic Architecture
1599-1667
Francesco Borromini• What Caravaggio did for painting
Borromini did for architecture.
• Just as Caravaggio’s figures seem toleap out at the viewer, Borromini’sundulating walls also to come life withdramatic light and shadow.
• He was a rebellious, emotionallydisturbed genius who died by suicide.
• He first worked as a stone cutter forBernini, who became his arch rival.
• His buildings often displayed an oddjuxtaposition of shapes.
• Convex surfaces beside concavesurface made his walls seem to ripple.
• Even though his buildings seem to bea random mix of shapes and surfaces,they are unified and cohesive,
San Carlo alle Quattro Fontane, 1638-41
• Borromini
• Façade of San Carlo alle
Quartro Fontane
• Rome
• Borromini’s trademark
was alternating convex
and concave surfaces to
create the illusion of
movement.
• FRANCESCO BORROMINI
• Plan of San Carlo alle Quattro
Fontane
• Rome, Italy
• 1638–1641.
• Not exactly a basilica plan.
• Painting of the cupola
on the Church of St
Agnes designed by
Borromini in Rome
Dome interior, San Carlo dalle Quatrro Fontane
Piazza Navona
• Original site of a stadiumbuilt by the EmperorDomitian in 86 CE.
• The ruins of the stadiumhad been used in theMiddle Ages for festivalsand as a marketplace.
• The family of PopeInnocent X, the Pamphilis,had a palace facing thepiazza.
• The piazza became acenter of urban renewal in1652 when Pope InnocentX and the Pamphillisdecided to rebuild theirpalace and the Church ofSaint Agnese who wasmartyred here.
• Both Bernini and Borominiworked on the piazza.
• Four Rivers Fountain by Bernini
• Piazza Navona, Rome
Façade of Sant Agnese in Agone by Borromini
very Baroque, why?
• Works referenced:
• Janson, History of Art, Abrams 2001
• Marilyn Stockstad’s Art History: Second Edition (Volumes one and two)
• Metropolitan Museum of Art’s “Timeline of Art History.” Available onlineat http://www.metmuseum.org/toah/splash.htm
• Strickland, Carol. The Annotated Mona Lisa. 1992
• “The Web Gallery of Art.” Available online at http://www.wga.hu
• http://www.artchive.com/artchive/E/el_greco.html
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