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Chapter 24

Chapter 24. Popes, Peasants, Monarchs, and Merchants Baroque & Rococo Art. The Baroque Period. Art of the 16th and 17 th century Roman Catholic Counter-Reformation. Reaction against the increasing ideas of individual rights and self-autonomy.

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Chapter 24

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  1. Chapter 24 Popes, Peasants, Monarchs, and MerchantsBaroque & Rococo Art

  2. The Baroque Period • Art of the 16th and 17th century Roman Catholic Counter-Reformation. • Reaction against the increasing ideas of individual rights and self-autonomy. • Backlash against emerging scientific investigation. • Characteristics of Baroque Art • Dramatic theatricality • Grandiose Scale • Elaborate ornateness • Emotional appeal and intensity

  3. Baroque • Baroque literally means distorted or grotesque. Theterm was used to discount or slander the art whichdominated the seventeenth century. It came intowidespread use, however, and more or less lost itsnegative connotations. The Baroque was born in thefirst years of the seventeenth century in Rome and wasprimarily associated with Catholic (as opposed toProtestant) art. But as the century progressed the stylemade inroads into the Protestant countries, although ittended to be used in a more secular (less religious) wayin the north.

  4. Inspiration and Influences • One of the major discoveries of theItalian Renaissance, Laocoön and hisSons - a Hellenistic sculpturalgrouping - was found in Rome in1506 in the ruins of Titus' palace. • The theatricality and emphasis onemotional intensity is typicallyHellenistic Greek-often called"Baroque" as well. Note the writhingserpents, one of whom bitesLaocoön's left leg, and the painedexpressions on the faces. • The furrowed brow and open-mouthed pain would be copied byBernini and Caravaggio in theseventeenth century.

  5. Some Key Events of the Period • Galileo refines the telescope and finds evidence in support of the heliocentric system, 1600-1620. • Thirty Years War in Germany - 1621-1648. • Kepler defines laws of planetary motion, 1609-1619. • Jamestown established,1619;  Plymouth Colony founded, 1620. • Harvey discovers blood circulation, 1628 • English Civil War: England’s monarchy overthrown, 1647 by Cromwell, King Charles I executed, 1649. • Establishment of the slave trade during the first half of the 17th century. • Newton defines law of gravity, 1687.

  6. St. Peter’s Basilica, Rome • Design by Michangelo; façade by Maderno, piazza by Bernini

  7. 24-3,4: Carlo Maderno, Plan of St. Peter’s • Oval plan reflects Michelangelo’sCampodoglio on the CapitolineHill. • “Arms” of St. Peter’s “embrace”the plaza, including obelisk fromEgypt and the fountains byMaderno. • The dome above becomessecondary to the piazza in front. • Intended to be awe inspiring andauthoritative.

  8. 24-5 Bernini’s Baldacchino, St. Peter’s • Marks “tomb” of St. Peter,the rock on which the churchwas founded. • Bronze, 30 m. high • Spiral columns inspired bybaldacchinos in earlyChristian churches. • Bridges gap between humansand colossal architecture. • Bronze came from Pantheonceiling.

  9. 24-6 Bernini Scala Regia, Vatican • Passage leads frompapal apartments tothe narthex of St.Peter’s. • Barrel vaulted ceiling. • Columns with tinyaisles on each side(mimics a church). • Narrows & brightensas it ascends.

  10. 24-7 Bernini, David • Expansive and dramaticimage compared to earlierDavids. • Note the movement of figure,drapery, and the twist in body. • Observe the tension andconcentration in David’s face • Observer is forced to see theoutcome of David’s action inthe mind.

  11. Three Davids

  12. 24-8 Bernini, Cornaro Chapel • In SantaMaria della Vittoria,Rome. • Baroque spectacle,theatrical event. • Entire complex withsculpture wasdesigned by Bernini.

  13. 24-8 Bernini, Cornaro Chapel • The Cornaro family isimmortalized by Berninias spectators insculptural groups atsides of chapel. • Note the resemblance tobox seats in opera houseor theatre. • Observe Bernini’s useof perspective in therelief behind the family.

  14. 24-9 Bernini,The Ecstasy of St. Theresa • St. Theresa: nun withvisions of angel piercing herheart with fire-tipped arrow. • Angel poised, drawing backrobe of nun • Theresa experiences“delightful anguish” • Counter-Reformationemphasis on mysticalspirituality

  15. 24-10 Borromini,S. Carlo delle Quattro Fontane • Rome, built 1665-76 • Irregular site required aunique solution toplanning • His façade ripples like awave, niches recede,columns move forward. • Borromini was said tohave “eliminated thecorner.”

  16. 24-10 Borromini, S. Carlo delle Quattro Fontane • San Carlo delle Quattro Fontane as it appeared in the 17th Century.

  17. 24-10 Borromini,S. Carlo delle Quattro Fontane • Ceiling of San Carlo delle Quattro Fontane; note the complex geometric forms, hints of the Pantheon.

  18. Two Baroque Churches • Left: S. Carlo delle Quattro Fontane (1665-76); Right S. Andrea del Quirinale (1658-1670).

  19. Two Baroque Churches • Left: S. Carlo delle Quattro Fontane; Right S. Andrea del Quirinale

  20. Architectural Rivals • Bernini and Borromini were arch-rivals; this figure from Bernini’sFountain of the Four Rivers in thePiazza Navona looks with horroron a church designed byBorromini.

  21. 24-19 Caravaggio, Calling of St. Matthew,Contarelli Chapel, 1597-1601 • Christ, displacedto right side ofwork, standsbehind Peter. • Theatricallightingdramatises thecentral event. • Matthew pointsto himself,doubting the call.

  22. 24-18 Caravaggio, Conversion of  St. Paul,Cerasi Chapel, 1601 • Light within paintingcorresponds to theillumination from awindow in the chapel. • The painting wasdesigned specifically forthis site. • Caravaggio again usestenebroso-dramaticshadowing to enhancethe visual impact

  23. 24-20 Caravaggio, Entombment,Vittrice Chapel, 1603. • Dramatic lighting,ordinary faces andfigure types. • The painting wasplaced over the chapelaltar. • Evokes image ofChrist as Eucharist -body going into altar.

  24. 24-21 Artemisia Gentileschi, Judith Slaying Holofernes • Artemisia Gentileschi (1593-1653), was thedaughter of a well-known Roman artist,Orazio Gentileschi (1563-1639). She was oneof the first women artists to achieverecognition in the male-dominated world ofBaroque art. At a time when female artistswere limited to portrait painting and imitativeposes, she was able to paint major historicaland religious scenarios. • The heroines of her art, especially Judith, arepowerful women exacting revenge on suchmale evildoers as the Assyrian generalHolofernes. • After her death, she drifted into obscurity, herworks often attributed to her father or otherartists. Renewed interest in Artemisia inrecent years has recognized her as a talented17th century painter and one of the world'sgreat woman artists.

  25. 24-21 Artemisia Gentileschi, Judith Slaying Holofernes • She was a caravaggista(a follower ofCaravaggio’s style) • The image gives adramatic presentation ofmoment of  hisdecapitation. • Judith saves theIsraelites from theAssyrian enemy throughthe seduction and killingof their general.

  26. Artemisia Gentileschi, Susanna and the Elders • Painted 1610, when she was17 years old! • Artemesia tells the story ofSusanna from a woman’s pointof view. • Most male artists show herfrom a coy or voyeuristicstand-point. Artemisia showsSusanna as vulnerable,frightened and resisting theirdemands, whilst the men loomlarge, leering, menacing andconspiratorial behind her.

  27. Artemisia Gentileschi, Self-Portrait • The artist paintsherself as theallegory ofpainting. • The female figureserves asinspiration andagent of creativity.

  28. Artemisia Gentileschi, two images of happiness. • Left: The Lute Player, 1610; Right: Felicity, 1624.

  29. Artemisia Gentileschi, Rest on the Flight into Egypt.

  30. 24-22 Annibale Carracci,The Flight into Egypt. • Idealized landscape, similar to the style of Titian or Giorgione. • Holy Family walks in foreground, dwarfed by the landscape. • Image is expressive of the “pastoral” view.

  31. 24-22 Annibale Carracci,The Loves of the Gods, Palazzo Farnese • “Framed” fresco paintings oncurved vault. • Central scene is Triumph ofBacchus (god of wine). • Sensuous, lavish display ofpaganism; Renaissance themesin Baroque style. • This “over the top” secularBaroque decorative style couldbe found in many palaces of the17th and 18th centuries.

  32. Annibale Carracci, The Triumph of Bacchus

  33. Annibale Carracci, The Triumph of Bacchus

  34. Annibale Carracci, Venus and Adonis

  35. A Venerable Foursome

  36. 24-24 Guido Reni, Triumph of Aurora • Inspired by Raphael (see the Galatea) • Aurora, goddess of dawn, leads Apollo’s chariot accompanied by the Hours. • Simulated easel painting on ceiling-fresco technique.

  37. Raphael’s Galatea

  38. 4-25 Pietro da CortonaTriumph of the Barberini Family • Ceiling of the gransalone, BarberiniPalace, Rome. • The Barberini familyreceives allegoricalgifts of DivineProvidence andImmortality.

  39. 24-25 Pietro da CortonaTriumph of the Barberini Family (detail)

  40. 24-28 José de Ribera,Martyrdom of Saint Bartholemew • Ribera was a Spaniardwho settled in Italy andfollowed the style ofCaravaggio. • Brutal accounts of saints’lives reinforce brutalityof Counter-Reformationpractices (both Protestant& Catholic). • Martyrdom as theme ofsacrifice to a “greater”good.

  41. 24-29 Francisco de ZurbaránSt. Serapion • One of the Caravaggisti;also a Spaniard. Spain wasmarked by intense Counter-Reformation reaction (e.g.Jesuits). • Again, note the light figureagainst a dark background. • “Common” featuresdesigned to draw sympathyand devotion from lowerclasses, reinforceCatholicism.

  42. Diego Vélàzquez (1599-1660) • Born in Seville to lesser nobility; heapprenticed to a painter who had court contacts. • He was influenced by the work of Caravaggio;studied Michelangelo, Raphael, Titian. • Appointed court painter to King Philip IV ofSpain in 1623. • In 1629 he went to Italy, encouraged byRubens; he made more trips there in later years.

  43. 24-30 VélàzquezWater Carrier of Seville • A very early work, doneat age 20. • Genre painting - ordinaryscenes, no allegory,history, religion • Image shows the dignityof working classes, givesthe workers nobility offeatures.

  44. 24-33 Vélàzquez, Las Meninas • Has been called the mostperfect painting. • It depicts the Infanta (eldestdaughter of the king) andher ladies in-waiting. • Vélàzquez shown inpainting at left; mirror inbackground shows king andqueen; the painter is on ahigher level than the king. • Velazquez changed paintingto add his noble emblem.

  45. Peter Paul Rubens (1577-1640) • Flanders remained Catholic and kept its links to Spain after the Netherlands broke away. • Rubens combined elements of  Michelangeloand Titian with Caravaggio’s Baroque drama to become the first “European” painter. • Classically educated, multi-lingual witharistocratic and royal contacts, especially inFrance and Spain. • Robust, fleshy nudes were Rubens’ hallmark.

  46. 24-34 Peter Paul RubensElevation of the Cross

  47. 24-35 RubensDrawing of Laocoön & his sons • Done while Rubenswas in Italy, 1600-1608. • Drawn fromobservations of thestatue in the Vaticancollection.

  48. 24-36 Rubens,Arrival of Marie de Medici at Marseilles • Marie de Medici  wasQueenof France, wife of Henri IV,regent for her son, Louis XIII. • She was an extremelypowerful and ambitiouswoman. • Rubens presents her as theidealized, perfect woman,honoured by the gods  anallegory of power andauthority.

  49. 24-38 Anthony Van DyckCharles I Dismounted • Van Dyck was the formerassistant to Rubens inFlanders. • He painted, in a courtlymanner, elegant figures,pleasing to royalty. • Charles’ “casual” dress isbelied by his manner, pose. • The king is placed to enhancehis height and superiority

  50. The Dutch Republic • Bank of Amsterdam founded 1609. • Henry Hudson sails to New York 1610. • Colonies, fur trade and spice plantationsestablished; overseas empire created in Asia andthe Americas. • Urban patrician class of merchants andmanufacturers with money to spend becomeprimary art patrons-taste differs from royal, noblepatrons and the landed aristocracy. • Religious toleration: Catholic, Protestant and Jewishcommunities coexist.

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