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Baroque Art 1600-1700 / 17 th Century

Baroque Art 1600-1700 / 17 th Century. Europe in the 17 th Century. The Peace of Westphalia in 1648 ended the religious wars. European trade and financial markets span the globe.

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Baroque Art 1600-1700 / 17 th Century

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  1. Baroque Art 1600-1700 / 17th Century

  2. Europe in the 17th Century. The Peace of Westphalia in 1648 ended the religious wars. European trade and financial markets span the globe.

  3. A great source of wealth for Europe was Latin America, the main destination of the millions of people enslaved and taken out of Africa between 1500 and 1850. The U.S. received about 523,000 enslaved immigrants. Cuba alone got more than the U.S. Spanish America absorbed around 1.5 million and Brazil at least 3.5 million.

  4. Bernini was influenced by Hellenistic sculpture like this one, The Dying Gaul, c. 200 BC. (Roman copy) GIANLORENZO BERNINI (Italian, 1598-1680), David, 1623. Marble, approx. 5’ 7” high. Galleria Borghese, Rome.

  5. GIANLORENZO BERNINI, Self-Portrait, about 1625

  6. Diskobolos, 5th c. Roman copy of Greek original Michelangelo, Bound Slave, c. 1513 GIANLORENZO BERNINI (Italian, 1598-1680), David, 1623. Marble, approx. 5’ 7” high. Galleria Borghese, Rome.

  7. DONATELLO, David, 1420s-1450s, bronze, 5’ 2” high. First freestanding nude since antiquity MICHELANGELO, David, 1501–1504. Marble, 13’ 5” high. BERNINI (Italian, 1598-1680), David, 1623. Marble, approx. 5’ 7” high. Galleria Borghese, Rome.

  8. Detail: face of Teresa BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”.

  9. Cornaro family busts in niches on sides, praying devoutly and acting as witnesses to the holy drama.Teresa is experiencing a transfiguring coma, the so-called “Sleep of God,” described by mystics, in which a glimpse of Heaven’s glory is received. Mystics like Teresa would pray for days, often unfed, to achieve such visions.

  10. FRANCESCO BORROMINI, Chapel of Saint Ivo, College of the Sapienza, Rome, Italy, begun 1642. Italian Baroque

  11. Francesco Borromini, San Carlo alle Quattro Fontane (view into dome), Rome, Italy, 1638-1641. Italian Baroque oval dome, deeply coffered.

  12. Compare High Renaissance dome of Sant’Eligio degli Orefici (view into dome), Rome, Italy, attributed to BRAMANTE and RAPHAEL, ca. 1509

  13. GUARINO GUARINI, Palazzo Carignano, Turin, Italy, 1679–1692. Palace (private residence) of the Princes of Carignan

  14. Details (exterior & interior) GUARINO GUARINI, Palazzo Carignano, Turin, Italy, 1679–1692.

  15. Theatricality is a hallmark of the Baroque. CARAVAGGIO (Michelangelo Merisi, Italian, 1573-1610), Conversion of Saint Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, Italy, ca. 1601. Oil on canvas, approx. 7’ 6” x 5’ 9” Use of perspective, low horizon line, and tenebrism brings the viewer into the experience.

  16. Detail from The Creation of Adam, Michelangelo, Sistine Chapel, c. 1511 What role does light play in this painting? CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”.

  17. Details (Matthew & Jesus) from Caravaggio’s Calling of St. Matthew, Italian Baroque c. 1597–1601

  18. “Caravaggista” theatricality, tenebrism and drama Poor restoration has Removed the furrows from the women's foreheads that indicated intense concentration and effort. ARTEMISIA GENTILESCHI (Italian, 1593-1653), Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.

  19. Compare (left) Gentileschi’sJudith Slaying Holofernes (1614-29) and Caravaggio’sJudith Beheading Holofernes 1598-1599.

  20. PIETRO DA CORTONA (Italian, 1596-1669), Triumph of the Barberini, ceiling fresco in the Palazzo Barberini, Rome, Italy, 1633–1639. Commissioned by Pope Urban VIII of the Barberini family. What does the fresco tell us about the Counter-Reformation?

  21. Know term: genre DIEGO VELÁZQUEZ (Spain, 1599-1660), Water Carrier of Seville, ca. 1619 (The artist was around 20 years old.), Oil on canvas, 3’ 5 1/2” x 2’ 7 1/2”. Wellington Museum, London. Shows influence of Caravaggio.

  22. DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid.

  23. Compare the representation and role of light in Caravaggio and Velazquez. DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid. CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”.

  24. Self-portrait of Diego Velázquez – a detail in Las Meninas. He is wearing the cross of the Order of Santiago that he was awarded in 1659. According to legend, the king himself painted the cross.

  25. Ostentation and elaborate spectacle PETER PAUL RUBENS (Flemish, 1577-1640), Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil on canvas, approx. 5’ 1” x 3’ 9 1/2”. Louvre, Paris. One of 21 vast canvases for the queen’s new Luxembourg palace in Paris.

  26. REMBRANDT VAN RIJN (Dutch, 1606-1669), The Company of Captain Frans Banning Cocq (The Night Watch), 1642. Oil on canvas (cropped on left and top from original size), 11” x 14’ 4”. Rijksmuseum, Amsterdam.

  27. How is light used for psychological purposes? REMBRANDT VAN RIJN, Self-Portrait, ca. 1659–1660. Oil on canvas, approx. 3’ 8 3/4” x 3’ 1”. Kenwood House, London.

  28. Etching was perfected in the early 17th century. How is it different from engraving? REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (“Hundred Guilder Print”), ca. 1649. Etching, approx. 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York.

  29. JAN VERMEER, Woman Holding a Balance, c. 1664; Oil on canvas, 40.3 x 35.6 cm; National Gallery of Art, Washington D.C.Protestant piety and prosperity http://www.youtube.com/watch?v=1oYgTP0MX2U

  30. JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Oil on canvas, 4’ 4” x 3’ 8”. Kunsthistorisches Museum, Vienna.

  31. JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Vermeer’s probable use of the camera obscura First representation of a Camera obscura, 1544 http://www.youtube.com/watch?v=IeRDRL57I_Q

  32. NICOLAS POUSSIN (French, 1594-1665) Et in Arcadia Ego (Even in Arcadia I am present), ca. 1655. Oil on canvas, approx. 2’ 10” x 4’. Louvre, Paris. Classicism aims at “evenness and moderation in all things.” (Poussin)

  33. NICOLAS POUSSIN, Burial of Phocion, 1648. Oil on canvas, approx. 3’ 11” x 5’ 10”. Louvre, Paris. From Plutarch’s Life of Phocion (an Athenian general). A noble landscape for a noble theme – the “Grand manner”

  34. Compare Poussin 1648 Burial of Phocion with Rubens 1625 Arrival of Marie de Medici. Both Baroque era painters

  35. Art in the service of Absolutism: “The Sun King” HYACINTHE RIGAUD (French, 1659-1743) Louis XIV, 1701. Oil on canvas, approx. 9’ 2” x 6’ 3”. Louvre, Paris. French Baroque

  36. Aerial view of palace at Versailles, France, begun 1669, and a portion of the gardens and surrounding area. French Baroque

  37. JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Versailles, Versailles, France, ca. 1680.

  38. Controlling nature – Gardens of Versailles

  39. LOUIS LE NAIN (French Baroque era, ca. 1592-1635), Family of Country People, ca. 1640. Oil on canvas, approx. 3’ 8” x 5’ 2”. Louvre, Paris. Genre scene

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