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Chapter 20

Chapter 20. The Catholic Reformation and the Baroque Style. The Age of the Baroque. 1600-1750. The Age of the Baroque. Main features: dramatic expression theatrical spectacle spatial grandeur (Fiero 503).

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Chapter 20

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  1. Chapter 20 The Catholic Reformation and the Baroque Style

  2. The Age of the Baroque • 1600-1750

  3. The Age of the Baroque • Main features: dramatic expression theatrical spectacle spatial grandeur (Fiero 503)

  4. Macao's Ruins of St Paul, whose correct name is the Church of Madre de Deus, is the only example of Baroque art and architecture in China.

  5. The Catholic Reformation

  6. The Counter-Reformation 1534-90 Counter-Reformation popes 1530s Loyola founded the Jesuits 1545-63 Council of Trent

  7. Ignatius Loyola - 1491- 1556 - Founded the Society of Jesus, or the Jesuits - Spiritual Exercises

  8. “We should always be disposed to believe that that which appears white is really black, if the hierarchy of the Church so decides.” (Ignatius Loyola)

  9. The Jesuits • Took an oath of strict obedience to the pope • Espoused a life of active service in the world • Committed to education and missionary work

  10. Matteo Ricci • 1552-1610

  11. Council of Trent 1545-63 1) to reform the church: Unified church doctrine Abolished corruption Confirmed papal authority

  12. Council of Trent 2) to confront the Protestant challenge: Insisted on the integration of both faith and good works in the process of salvation. Emphasized spiritual renewal through faith, prayer, and religious ceremony.

  13. Sterner Means of Control • The Inquisition: the church court dealing with heretics • Censorship: Index Expurgatorius (Index of Prohibited Books)

  14. Cristiano Ban, 1857, Galileo in front of the Roman Inquisition

  15. Catholic Mysticism • Loyola’s Spiritual Exercises • Teresa of Avila’s autobiographical writings • Poetry of Richard Crashaw

  16. Catholic Mysticism • Emphasize the immediacy of religious experience

  17. Development of the Baroque Style

  18. Mannerism -A pejorative term in the beginning, referring to artists who were felt to imitate the manner, esp. of Michelangelo, without catching anything of the spirit. -Now applied to Italian painting and sculpture of the period between the climax of High Renaissance (1520) and the beginning of Baroque (1600).

  19. Mannerism -figural distortions -irrational space, -bizarre colors, -general disregard of Renaissance “rules” (symmetry & geometric clarity)

  20. figura serpentinata • Serpentine figure • The figure and all its parts should resemble the letter S. All the figures are characterized by athletic twists and turns.

  21. Michelangelo, Victory, c.1530

  22. Giambologna, Hercules and the Centaur, 1594-1600

  23. Giambologna, Mercury, c. 1564

  24. Michelangelo, The Last Judgment

  25. Parmigianino, “The Madonna of the Long Neck, c. 1535

  26. Mannerism • El Greco (1541-1614)

  27. Da Vinci

  28. The Immaculate conception

  29. View of Toledo

  30. The Baroque • Italy: Caravaggio, Carracci, Bernini • France: Poussin • Spain: Velazquez • Flemish: Rubens • Dutch: Vermeer, Rembrandt

  31. Caravaggio • 1573-1610

  32. The Supper at Emmaus

  33. Caravaggio, The Conversion on the Way to Damascus1600 http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html

  34. Caravaggio, The Crucifixion of Saint Peter1600 http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html

  35. Caravaggio, The Sacrifice of Isaac1601-02 http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html

  36. Caravaggio, David, 1606-7 http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html

  37. Caravaggio, The Calling of Saint Matthew1599-1600 http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html

  38. foreshortening • To shorten (as a design) by proportionately contracting in the direction of depth so that an illusion of projection or extension in space is obtained.

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