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Baroque 1600-1750. France & Holland. Poussin. French, worked in Rome to be among antiquities a man of the past & future (a Renaissance soul born into a Baroque-era body) works and writings articulate values of French Academic painting: serious, formal hated the works of Caravaggio.
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Baroque1600-1750 France & Holland
Poussin • French, worked in Rome to be among antiquities • a man of the past & future (a Renaissance soul born into a Baroque-era body) • works and writings articulate values of French Academic painting: serious, formal • hated the works of Caravaggio
Nicolas Poussin Saints Peter and John Healing the Lame Man, 1655Oil on canvas; 49 1/2 x 65 in.
Sortie of Capt Banning Cocq’s Company of the Civic Guard AKA “The Nightwatch” • “theatrical” lighting • group portrait genre
Rembrandt,Self-Portrait,1661 KEY IMAGE p 288
Rembrandt • begins to use impasto • realistic images need to be viewed from a distance
Vermeer • acute observer of life • LIGHT • little known in his time • reputation grows in the 19th Century • only about 35 works identified
Vermeer,The Milkmaid,c. 1658-60 KEY IMAGE p. 286
Vemeer Woman holding a balance 1664
Vanitas Still Life, 1603Jacques de Gheyn the Elder (Dutch, 1565–1629) Earliest known vanitas
dates in the Baroque c. 1600 Handel’s Messiah oratorio 1742
SUMMARY – BAROQUE ART POLITICS: emergence of The State ART: light, energy, motion, drama, complex, ornamented, convoluted, diagonal CHURCH still an active patron with the energy of the Counter-Reformation ROYAL patronage & PRIVATE patronage shape tastes too IDEAS: scientific method