artid121 - baroque italy and spain

8/2/2019 ARTID121 - Baroque Italy and Spain

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Popes, Peasants, Monarchs, and Merchan

Baroque in Italy and SART ID 121 | Study of Western Art

Slide concept by William V. Ganis, PhD

NYIT Center for Teaching and Learning with Technology

With modifications by Arch. Edeliza V. Macalandag, UAP


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Baroque17TH-CENTURY EUROPE

The Shifting Geo-Political Landscape In EuropeThe term Baroque, originally used in a pejorative sense, isemployed today generally as a period designation. But nocommonalities can be ascribed to all of the art and cultures ofthis period.

More than 30 years of war:

Numerous geopolitical shifts occurred in Europe during theseventeenth and early eighteenth centuries. The Thirty Years'War was largely responsible for the political restructuring ofEurope. The religious conflicts that underlay the Thirty Years'War stimulated the movement toward the secularization of

government.


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BaroqueThe Development of a Worldwide Market

Worldwide mercantilism:

The coordination of long-distance trade and theexpansion of markets contributed to the intenseeconomic competition between European countries.Various changes promoted the growth of a worldwidemarketplace. Trade brought coffee and tea to Europe.The taste for sugar, tobacco, and rice, however,contributed to the expansion of the slave trade toprovide the labor force needed to produce thesecrops. The establishment of a worldwide mercantile

system permanently altered the face of Europe.


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Italian Baroque

Stimulated by the energy anddemands of the Catholic

Counter-Reformation, ItalianBaroque art developed a new

dynamic and spectacularstyle that is characterized by

dramatic theatricality,grandiose scale, andelaborate ornateness.


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Carlo Maderno

Santa Susana

Rome, Italy

1597-1603

Emphasizing verticality:

Carlo Maderno's design forSanta Susanna in Rome unitesthe lower and upper portions ofthe faade with an emphasis on

the vertical. The sculpturaltreatment of recessed niches

and projecting cornices createsdynamic patterns of light and

shadow over the whole design.


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Giacomo della Porta

faade of Il Ges

Rome, Italy

ca. 1575-1584


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Carlo Maderno

Santa Susana

Rome, Italy

1597-1603


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Carlo Maderno

Aerial view of Saint Peters

Vatican City, Rome, Italy

1506-1666

Welcoming the pious inRome:

The monumental piazza infront of Saint Peter's,

designed by GianlorenzoBernini, is in the form of a

vast oval embraced by two

colonnades of huge Tuscancolumns and joined to the

faade of the church by twodiverging wings. To

counteract the excessivewidth of the faade of Saint

Peter's, Bernini designedthe diverging wings tocounteract the natural

perspective of the view and

create the impression of thefaade being narrower and

taller.


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Carlo Maderno

faade of Saint Peters


1606-1612

Restoring SaintPeter's grandeur:

Carlo Maderno'splan for SaintPeter's added three

nave bays to theoriginal central plan

design. He also builtthe faade.


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Gianlorenzo Bernini

baldacchinoSaint Peters


1624-33gilded bronze

approximately 100 ft. high

A soaring bronze canopy:

The four spiral columns ofthe gigantic bronze

baldacchino erected byBernini over the main altarrecall those of the ancient

baldacchino over thesame spot in Old Saint

Peter's.


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Gianlorenzo Bernini

Scala Regia


1663-1666

A sophisticated stairway design:

The monumental Scala Regia builtby Bernini connects the papalapartments to the portico andnarthex of Saint Peter's. The

design illusionistically conceals theincreasing narrowness of thepassageway as the stairway

ascends.


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Gian Lorenzo Bernini (also spelledGianlorenzo or Giovanni Lorenzo)(Naples, 7 December 1598 Rome, 28November 1680) was an Italian artist wworked principally in Rome. He was theleading sculptor of his age and also a

prominent architect. In addition he painwrote plays, and designed metalwork astage sets.


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Gianlorenzo Bernini

David

1623marble

approximately 5 ft. 7 in. high

Decisive physical action:

Bernini's marble statue of David

catches the figure in a dramaticmoment of split-second action. Theviolent, pivoting motion gives the

figure a dynamic quality and acompelling sense of bursting

energy that moves out into andpartakes of the same physical

space as the observer.


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Gianlorenzo Bernini

David

1623marble



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Gianlorenzo Bernini

David

1623marble



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Gianlorenzo Bernini

interior of the Cornaro Chapel

Santa Maria della Vittoria, Rome, Italy

1645-1652

An ecstatic and radiantvision:

In the Cornaro Chapel,Bernini employed a

combination ofarchitecture, sculpture,

and painting to create anappropriate dramatic

tension for the mysticaldrama of the ecstasy of

Saint Theresa. The whitemarble group of swooning

saint and smiling angelappears to float as a

vision might in the cleverlyilluminated central niche.


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Gianlorenzo Bernini

Ecstasy of Saint Theresa

Cornaro Chapel,Santa Maria della Vittoria, Rome, Italy

1645-1652

An ecstatic and radiantvision:

In the Cornaro Chapel,Bernini employed a

combination ofarchitecture, sculpture,

and painting to create anappropriate dramatic

tension for the mysticaldrama of the ecstasy of

Saint Theresa. The whitemarble group of swooning

saint and smiling angelappears to float as a

vision might in the cleverlyilluminated central niche.


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I saw in his hand a long spear of gold,and at the iron's point there seemed tobe a little fire. He appeared to me to be

thrusting it at times into my heart, and topierce my very entrails; when he drew itout, he seemed to draw them out also,and to leave me all on fire with a great

love of God. The pain was so great, thatit made me moan; and yet so surpassing

was the sweetness of this excessivepain, that I could not wish to be rid of it.

The soul is satisfied now with nothingless than God. The pain is not bodily, butspiritual; though the body has its share in

it. It is a caressing of love so sweetwhich now takes place between the soul

and God, that I pray God of Hisgoodness to make him experience it who

may think that I am lying.

- episode described by Teresa of Avila, amystical cloistered Discalced Carmelite

reformer and nun, in her autobiography, The

Life of Teresa of Jesus (15151582)


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Francesco Borromini

plan ofSan Carlo alle Quattro Fontane

Rome, Italy

1665-1676

A church faade in motion:

The Italian Baroque architectFrancesco Borromini created a

dynamic counterpoint ofconcave and convex elements

in the faade of San Carlo alleQuattro Fontane in Rome. The

centrally planned interior spacemolds a Greek cross design

into an oval shape. Theundulating walls with projecting

columns support a deeplycoffered oval dome with hidden

windows around its base.


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Francesco Borromini

faade ofSan Carlo alle Quattro Fontane

Rome, Italy

1665-1676


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Francesco Borrominidome of

San Carlo alle Quattro Fontane

Rome, Italy

1665-1676


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Francesco Borromini, byname of FrancescSeptember 1599 3 August 1667) was an Ticino[1] who, with his contemporaries, GiaBernini and Pietro da Cortona, was a leadinemergence of Roman Baroque architecture

A keen student of the architecture of Miche

ruins of Antiquity, Borromini developed an idistinctive, if somewhat idiosyncratic, archiemploying manipulations of Classical archigeometrical rationales in his plans and symin his buildings.


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Francesco Borromini

plan of the Chapel of Saint IvoCollege of the Sapienza

Rome, Italy

begun 1642

Molding space:

Borromini employed concaveand convex forms in the design

of the faade of the Chapel ofSaint Ivo. The dome, which is

supported by a convex,

drumlike structure, is topped byan ornate, spiraling lantern.

The star shape of thecentralized plan rises throughthe interior elevation from the

floor into the dome to create asingle, dynamic, unified, and

cohesive space.


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Francesco Borromini

Chapel of Saint IvoCollege of the Sapienza

Rome, Italy

begun 1642

Molding space:

Borromini employed concaveand convex forms in the design

of the faade of the Chapel ofSaint Ivo. The dome, which is

supported by a convex,

drumlike structure, is topped byan ornate, spiraling lantern.

The star shape of thecentralized plan rises throughthe interior elevation from the

floor into the dome to create asingle, dynamic, unified, and

cohesive space.


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Francesco Borromini

dome of the Chapel of Saint IvoCollege of the Sapienza

Rome, Italy

begun 1642


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Francesco Borromini

dome of the Chapel of Saint IvoCollege of the Sapienza

Rome, Italy

begun 1642


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Guarino Gurichly textu

Guarino Guarini


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Guarino Guarini

Palazzo Carignano

Turin, Italy

1679-1692


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Guarino Guarini

Chapel of Santissima Sindone

Turin, Italy

1667-1694

A kaleidoscopic vision of heaven:

For the dome of the Chapel of the SantissimaSindone in Turin, Guarini devised a series ofsegmented intersecting arches.


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Chapel


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Naturalistic religious art:


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CaravaggioConversion of Saint Paul

Cerasi Chapel, Santa Maria del PopoloRome, Italy

ca. 1601oil on canvas

approximately 7 ft. 6 in. x 5 ft. 9 in.

The manipulation of space and the creation of theatricaleffects are also evident in Baroque painting, notably in

the work of Caravaggio. His unidealized figures andnaturalistic treatment of subject matter influenced many

later artists throughout Europe.

The light of divine revelation:

In his naturalistic treatment of the Conversion of SaintPaul, Caravaggio employs dramatic chiaroscuro effects(called tenebrism) with sharply lit figures seen emergingfrom a dark background. The dramatic spotlight-like lightilluminates the figure of Saint Paul and at the same time

serves as the divine source of his conversion.

Michelangelo Merisi da Caravaggio (Italian pronunc


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Michelangelo Merisi da Caravaggio (Italian pronunc[karavaddo]; 29 September 1571 18 July 1610) artist active in Rome, Naples, Malta, and Sicily betw1610. His paintings, which combine a realistic obsehuman state, both physical and emotional, with a drlighting, had a formative influence on the Baroque s

Caravaggio trained as a painter in Milan under a mahimself trained under Titian. Caravaggio's novelty wnaturalism that combined close physical observatioeven theatrical, use of chiaroscuro. This came to beTenebrism, the shift from light to dark with little inter


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Caravaggio

Calling of Saint Matthew

Contarelli Chapel, San Luigi dei FrancesciRome, Italy

ca. 1597-1601oil on canvas

11 ft. 1 in. x 11 ft. 5 in.

From tax collector to disciple:

Light also carries this doublemeaning in the dramatically lit

commonplace setting of Caravaggio'sCalling of Saint Matthew.


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Caravaggio

David Victorious over Goliath

oil on canvas43 1/4 x 35 7/8 in.


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Caravaggio

Entombment

Chapel of Pietro Vittrice,Santa Maria in Vallicella

Rome, Italy


9 ft. 10 1/8 in. x 6 ft. 15/16 in.

Presenting Christs body:

In the Entombment, Caravaggioincludes plebian figure types and

dramatically contrasted darks andlights. The action takes place in the

foreground, and the impression isthat the men are laying the dead

body of Christ onto the real altar infront of the painting.


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Artemisia Gentileschi

Self-Portrait (Allegory of Painting)

1630oil on canvas

38 7/8 x 29 5/8 in.

In Caravaggios footsteps:

Influenced by Caravaggio's style,Artemisia Gentileschi employed

tenebrism and naturalism to heightenthe tension and dramatic effect in her

painting of Judith and Holofernes.


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Artemisia GentileschiSusannah and the Elders

1610oil on canvas

66 7/8 x 46 7/8 in.


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Judith Slaying Holofernes


6 ft. 6 1/3 in. x 5 ft. x 4 in.


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Judith and her Maidservant


44 7/8 x 36 13/16 in.


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Annibale Carracci

Flight into Egypt

1603-1604oil on canvas

4 ft. x 7 ft. x 6 in.

Drawn to

In contrast to Caravaggio, Annibale Carracci studied and masters of the Renaissance period and developed a classically oIn the Flight into Egypt, Carracci created an "ideal" or "classical"

which nature is shown ordered by divine law and hu


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Annibale Carracci

Loves of the Gods

Gallery, Palazzo FarneseRome, Italy

1597-1601fresco

A ceiling fit for the gods:

In his fresco on the theme of theLoves of the Gods on the ceiling of

the gallery in the Palazzo Farnese in

Rome, Annibale Carracci paintedsome scenes in a format that

simulates framed easel paintings(called quadri riportati) flanked by

polychrome, seated, nude youths andstanding Atlas figures painted to

resemble marble statues.


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Annibale Carracci

Loves of the Gods


1597-1601fresco


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Annibale CarracciLoves of the Gods, Triumph of Bacchus


1597-1601fresco


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Annibale Carracci

Loves of the GodsPolyphemus, Acis and Galatea


1597-1601fresco


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Guido ReniAuroraCeiling fresco in the Casino Rospigliosi, Rome, Italy1613-1614fresco

The suave figures in GuidoAurora in the Casino Rospig

influence of Raphael and


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Pietro da CortonaTriumph of the Barberini

ceiling fresco in the Gran SalonePalazzo Barberini, Rome, Italy

1633-1639fresco


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The glory of Barberini:


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Pietro da Cortona

Triumph of the Barberini

ceiling fresco in the Gran SalonePalazzo Barberini, Rome, Italy

1633-1639fresco

The glory of Barberini:

Pietro da Cortona's ceiling fresco forthe Gran Salone of the Palazzo

Barberini in Rome is a grandiosespectacle intended to glorify the

Barberini family. Cortona usessymbols and personifications to

represent the accomplishments andqualities of the Barberini and of Pope

Urban VIII in particular.


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Giovanni Battista Gaulli

Triumph in the Name of Jesus

ceiling fresco with stucco figuresin the vault of Il Gesu, Rome, Italy

1676-1679fresco

In the presence of Jesus:

Giovanni Battista Gaulli's stunninglygrand and dazzlingly illusionistic

fresco of the Triumph in the Name ofJesus in the Church of Il Ges in

Rome served to impress and aweviewers with the glory and power of

the Catholic Church.


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Fra Andrea Pozzo

Glorification of Saint Ignatius

ceiling fresco with stucco figuresin the nave of SantIgnazio, Rome, Italy

1691-1694fresco

In the huge ceiling fresco of the Glorification oPozzo used perspective to create a dramatic a

ceiling of the nave has opened to reveal a vision oamid saints and angels on clouds, ascends


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Fra Andrea Pozzo

Glorification of Saint Ignatius

ceiling fresco with stucco figuresin the nave of SantIgnazio, Rome, Italy

1691-1694fresco


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Spanish Baroque

Spains decline:

At the beginning of the seventeenth century,Spain's status as an international power was in

decline. The Hapsburg monarchs, however,remained avid art patrons. As a predominantly

Catholic country, Counter-Reformationimperatives encouraged Spanish Baroque

artists to produce art that moved viewerstowards greater devotion and piety.

The flaying of a saint:


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Jos de Ribera

Martyrdomof Saint Philip

(Bartholomew)


7 ft. 8 in. x 7 ft. 8 in.

Influenced by Caravaggio, Jusepe deRibera imbued his work with both anaturalism and compelling drama.

The brutal theme of martyrdomsatisfied Counter-Reformation and

Spanish taste for the representationof courageous resistance to pain.

Ribera's Martyrdom of SaintBartholomew shows unidealized,

plebeian figures.


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Francisco de Zurbarn

Saint Serapion

1628oil on canvas

3 ft. 11 1/2 in. x 3 ft. 4 3/4 in.

A martyr at peace:

Francisco de Zurbarn was alsoinfluenced by Caravaggio'snaturalism and dramatic lighting

effects. In his painting of SaintSerapion, he shows the coarse-

featured saint emerging in bright lightfrom a dark background.


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Francisco de Zurbarn

Still Life with Pottery Jars

oil on canvas18 1/8 x 33 1/8 in.


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Francisco de ZurbarnAgnus Deioil on canvas15 x 24 3/8 in.


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Alonso Cano

Saint Bernard and the Virginoil on canvas

105 1/8 x 72 7/8 in.


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Bartolom Esteban Murillo

The Immaculate Virgin of Soult

c. 1678oil on canvas107 7/8 x 74 3/4 in.


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Diego Velzquez

Water Carrier of Seville


3 ft. 5 1/2 in. x 2 ft. 7 1/2 in.

An influential court painter:

The influence of Caravaggio is alsoseen in the dramatic contrast of darks

and lights in Diego Velzquez'sWater Carrier of Seville, which alsoincludes plebeian figures and finely

painted, naturalistic detail.

Diego Rodrguez de Silva y Velzquez; JuAugust 6, 1660) was a Spanish painter wleading artist in the court of King Philip IV


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individualistic artist of the contemporary Bimportant as a portrait artist. In addition torenditions of scenes of historical and cultuhe painted scores of portraits of the Spanother notable European figures, and comm

culminating in the production of his masteMeninas (1656).


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Diego Velzquez

Los Borrachos


64 3/8 x 87 7/8 in.


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Diego Velzquez

Surrender of Breda

1634-1635oil on canvas

10 ft. 1 in. x 12 ft. 1/2 in.

Celebrating a Spanish victory:

After he became official court

painter to Philip IV, Velzquezpainted the Surrender of

Breda in a style that reliesless on Caravaggio and more

on Titian and Rubens.


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Diego Velzquez

King Philip IV of Spain(Fraga Philip)

1644oil on canvas

4 ft. 3 1/8 in. x 3 ft. 1/8 in.

Of art and royal life:


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Diego Velzquez

Las Meninas

1656oil on canvas

approximately 10 ft. 9 in. x 9 ft.

Of art and royal life:

Velzquez's greatmasterpiece Las Meninas

shows the painter at work on

a portrait with the King andQueen and members of theroyal court present. His style

is now more "painterly" and isconcerned with producing

more purely opticalsensations through the

manipulation of light and colortones.


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Diego Velzquez

Las Meninas

1656oil on canvas



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Diego Velzquez

Las Meninas

1656oil on canvas



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Diego Velzquez

Las Meninas

1656oil on canvas


Sources

http://websites.swlearning.com/cgi-


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wadsworth/course_products_wp.pl?fid=M20b&product_isbn_issn050907&discipline_number=436

http://en.wikipedia.org/wiki/Renaissance_art

Art Through the Ages, 12th/11th ed., Gardner

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