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102
ART 102 Gardners - Chapter 24 Jean Thobaben Instructor The Baroque in Italy and Spain Seventeenth Century Art Baroque Art of the Seventeenth Century The Baroque Art of SPANISH BAROQUE Art of the Counter-Reformation

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Page 1: 06 Baroque in Italy and Spain

ART 102 Gardners - Chapter 24Jean Thobaben

Instructor

The Baroque in Italy and Spain

Seventeenth Century Art

Baroque Art of the Seventeenth Century

The Baroque Art of Italy

SPANISH BAROQUE

Art of the Counter-Reformation

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Baroque comes from the Portuguese for “grotesque”;

A judgment made by later neo-classical artists who found Baroque art

too elaborate for their taste.

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• Today the term refers to the art of the 17th

century.

• It is highly ornamental and theatrical which is a better description than grotesque.

Baroque

The King’s Bedchamber from the Palace of Versailles

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• It is he art style or art movement of the Counter-Reformation in

the 17th century.

• Although some features appear in Dutch art, the Baroque style

was limited mainly to Catholic countries.

• It is a style in which painters, sculptors, and architects sought

emotion, movement, and variety in their works.

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Advances in the Sciences

• The increased secularization of

government coincided with

developments in science that

challenged many fundamental

religious tenets.

• Copernicus's argument that the sun

was the center of the universe, was

developed further and accepted

throughout Europe.

• The atomic basis for chemistry was established.

• Other scientific discoveries introduced ideas that had widespread

ramifications.

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A World-Wide Market

• Various changes promoted the growth of a worldwide

marketplace.

• Trade brought coffee and tea to Europe.

• The taste for sugar, tobacco, and rice, however, contributed to

the expansion of the slave trade to provide the labor force

needed to produce these crops.

• The establishment of a worldwide mercantile system

permanently altered the face of Europe.

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The Baroque in Italy

• The Baroque was born in Italy under the patronage of the

Catholic church.

• A papal program to beautify Rome drew artists from all over Italy.

• Artists of this era were highly skilled in drawing and painting the

human figure from every angle.

• Discover the meaning of tenebroso.

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Gianlorenzo Bernini (1598-1680)

• Bernini was the most important Baroque sculptor and architect of the 17th-century and one of the key creators of the whole era. But he worked initially as a painter.

• This no was a sideline which he did mainly in his youth.

• Despite this his work reveals a sure hand.

• He studied in Rome under his own father, Pietro, and soon became one of the most precocious prodigies in the history of art.

Bernini, Self-Portrait as a Mature Man, 1630-35,

Oil on canvas, Galleria Borghese, Rome

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• This self-portrait was painted

when the artist was about 25 years

old, when he sculpted the David,

and Apollo and Daphne.

• The nervous rapidity of the

brushstrokes and quick flash of his

eyes reveal his desire to capture

expression in an instant.

• He did this systematically in his

sculpted portraits.

Self-Portrait as a Young Man c. 1623

Oil on canvas

Galleria Borghese, Rome

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• Next is one of the few paintings by Bernini.

• He despised painting, he regarded it as deception and lie in

contrast with sculpturing which is the truth.

• He painted only five self-portraits and a few pictures representing

saints.

Saint Andrew and Saint Thomas, c. 1627,

Oil on canvas, 59 x 76 cm, National Gallery, London

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Aeneas, Anchises,

and Ascanius, 1618-

19

Marble, height: 220

cm, Galleria

Borghese, Rome

• Primarily a sculptor and

architect Bernini was a

versatile and influential

artist.

• In this, Aeneas,

Anchises, and Ascanius

Fleeing Troy, Bernini

carved his first important

life-size sculptural group.

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• Apollo and Daphne

is one of Bernini’s

most popular

sculptures.

• The influence of

antique sculptures and

of contemporary

paintings is clearly

seen.

• This life-size marble sculpture,

begun by Bernini at the age of 24

has always been in the same room

in the Borghese villa.

• Anyone entering the room first sees

Apollo from behind, then the fleeing

nymph appears in the process of

metamorphosis.

• Bark covers most of her body, but

according to Ovid's lines, Apollo's

hand can still feel her heart beating

beneath it.

• The scene ends by Daphne being

transformed into a laurel tree to

escape her divine aggressor.

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• Bernini’s 1623 sculpture of

David is quite different from

the earlier David sculptures by

Michelangelo and Donatello.

• In his David, Bernini depicts

the figure casting a stone at an

unseen adversary.

David, 1623, 67” h,

Villa Borghese, Florence

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• In comparison to the earlier

celebrated David sculptures,

Bernini paid particular attention

to the biblical text and sought to

follow it as closely as possible.

• Unlike the earlier sculptures,

Bernini's hero has a shepherd's

pouch around his neck which

already contains pebbles ready

to use in the deadly sling which

he will use against Goliath.

• The upper part of David's body is represented immediately after has taken a stone from his pouch.

• This means that the torso twists and strains not just physically but psychologically.

• The Renaissance versions of this subject show David in tranquillity with the head of Goliath or the sling-shot as attribute.

• Bernini, on the other hand, represents David in action, in the very moment of shooting.

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• The youth's tense facial

expression is modelled on

Bernini himself as he

struggled with his tools to

work the hard marble.

• According to contemporary

sources Cardinal Maffeo

Barberini (who visited

Bernini several times in his

studio) himself held the

mirror during its execution.

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• With the pontificate of

Urban VIII (1623-44), Bernini

entered a period

of enormous productivity and

artistic development.

• Bernini was commissioned to

build a symbolic structure over

the tomb of St Peter in St Peter's

Basilica in Rome.

• The result is the famous

immense gilt-bronze baldachin

executed between 1624 and

1633.

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• Under Urban VIII,

Bernini began to produce

new and different kinds of

monuments –

tombs and fountains.

• Bernini transposed

Michelangelo's composition

of the Medici tombs and

thus created the models for

the Baroque monumental

tombs for long time.

• The Tomb of Urban

VIII emphasized the

pictorial aspects by

employing a broad range of

materials.

Tomb of Pope Urban VIII, 1627-47

Golden bronze and marble, figures

larger than life-size

Basilica di San Pietro, Vatican

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• The Fontana del Tritone

was commissioned by Pope

Urban VIII.

• It is Bernini's first work of this

genre but it already shows

the characteristics of his later

fountains.

• Bernini brought the fountain sculpture from the villa to the city, from the natural to the social setting.

• With him, the sculpture is conceived in relation to the water, to its ceaseless flow, to its shape and course, and thus it becomes one of the "symbolic forms" of the Baroque.

Fontana del Tritone, 1624-43

Travertine, over life-size

Piazza Barberini, Rome

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• Bernini's most spectacular public monuments date from the mid-

1640s to the 1660s. (Pope Innocent X)

• The Fountain of the Four Rivers in Rome's Piazza Navona

(1648-51) supports an ancient Egyptian obelisk over a hollowed-out

rock, surmounted by four marble figures symbolizing four major rivers

of the world.

• This fountain is one of his most spectacular works.

• This fountain was executed by a large group of coworkers under the

supervision of Bernini.

• The fountain represents the four continents and their rivers, the

obelisk in the center is the symbol of Christ and the triumphing

Roman Catholic Church over the whole world.

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• The Fountain of Trevi may or may not be the most beautiful fountain in Rome but it is without doubt the most famous.

• The imaginative concept, the theatrical composition, the sober and imposing beauty of the sculptured marble figures make it a true masterpiece both of sculpture and of architecture.

• Pietro da Cortona and above all Bernini, who began the undertaking, both had a hand in the project.

• The death of Pope Urban VIII brought work to a standstill and it was not until about a hundred years later that Clement XII entrusted the work to Nicola Salvi, who finished the undertaking between 1732 and 1751.

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• The greatest single example of Bernini's mature art is the

Cornaro Chapel in Santa Maria della Vittoria, in Rome, which

completes the evolution begun early in his career.

• The chapel, commissioned by Cardinal Federigo Cornaro, is in a

shallow transept in the small church.

• Its focal point is his sculpture of

The Ecstasy of St Teresa (1645-52), a depiction of a mystical

experience of the great Spanish Carmelite reformer Teresa of

Ávila.

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• In the Cornaro Chapel,

Bernini employed a

combination of

architecture, sculpture, and

painting to create an

appropriate dramatic

tension for the mystical

drama of the Ecstasy of

Saint Theresa.

• Bernini combines a painted

ceiling, a marble sculpture,

bronze rays of light and a

carefully placed window to

create this highly dramatic

interpretation of The Ecstasy

of St. Theresa.

Bernini, Ecstasy of St. Theresa, 1645-53.

Marble, 11 1/2 ‘ h.,

Coronaro Chapel,

Santa Maria della

Vittoria, Rome.

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• The white marble group

of swooning saint and

smiling angel appears to

float as a vision might in

the cleverly illuminated

central niche.

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• Bernini's most spectacular

religious decoration is the

Throne of St Peter, or the

Cathedra Petri (1657-66), a

gilt-bronze cover for the

medieval wooden throne

(cathedra) of the pope.

• Bernini's task was not only to

make a decorative cover for

the chair but also to create a

meaningful goal in the apse of

St Peter's for the pilgrim's

journey through the great

church.

• The throne symbolizes the power of

the Pope.

• Bernini created an optical and

artistic unity of the throne and the

baldachin erected above the tomb of

Saint Peter.

• The light coming from a natural

source (the window of the apse) is

part of the composition, similar to

the Saint Theresa group.

The Throne of Saint Peter, 1657-66

Marble, bronze, white and

golden stucco, San Pietro, Rome

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• Next we see one of the last sculptures made by Bernini which,

can be considered exceptional since in this late period his sculptures

were executed by his coworkers after his design.

• The sculpture of the dying saint is placed above the altar

of the chapel where she was buried in the 16th century.

• The scene is theatrical with the lighting coming from a hidden window

above her head. The effect of light is multiplied by the decorative carpet

dividing the dying from the believers.

• On her face, the pain of the suffering and heavenly happiness

are simultaneously present resulting in an extraordinary effect.

Beata Ludovica Albertoni, 1671-74, Marble, Cappella Altieri, San Francesco a Ripa, Rome

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Caravaggio (1571-1610)

• Caravaggio, byname of Michelangelo Merisi, was a painter whose revolutionary technique of tenebrism, or dramatic, selective illumination of form out of deep shadow, became a hallmark of Baroque painting.

• Scorning the traditional idealized interpretation of religious subjects, he took his models from the streets and painted them naturalistically.

• His three paintings of St Matthew (c. 1597-1602) caused a sensation and were followed by such masterpieces as The Supper at Emmaus (1601-02) and Death of the Virgin (1605-06).

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• Caravaggio shocked his patrons by placing religious figure

in common, earthy settings.

• This ability to make us seem as if we were in the painting is

called naturalism.

• The subjects in The Supper at Emmaus are brilliantly lit

by a single source of light.

Caravaggio, The Supper at Emmaus, 1597, Oil on canvas, 54 x 76”

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• These exaggerated contrasts of darks against lights are called tenebroso.

• In his Deposition of Christ, Caravaggio includes plebian figure types.

• The action takes place in the foreground, and the impression is that the men are laying the dead body of Christ onto the real altar in front of the painting.

Caravaggio, Deposition of Christ,

1602-04.Oil on canvas, 117 x 79”Vatican Museum, Rome

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In The Conversion of St. Paul - Caravaggio uses both tenebroso and dramatic placement of the figures to engage the viewer.

According to the bible, on the way to Damascus Saul (Paul the Apostle) fell to the ground when he heard the voice of Christ saying to him, 'Saul, Saul, why do you persecute me?' and temporarily lost his sight.

It was reasonable to assume that Saul had fallen from a horse.

The Conversion on the Way to Damascus,

1600, Oil on canvas, 230 x 175 cm, Cerasi

Chapel,, Rome

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• In his naturalistic treatment of the Conversion of Saint

Paul, Caravaggio employs dramatic chiaroscuro effects,

called tenebrism, with sharply lit figures seen emerging

from a dark background.

• The dramatic spotlight-like light illuminates the figure of

Saint Paul and at the same time serves as the divine

source of his conversion.

• Light also carries this double meaning in the dramatically

lit commonplace setting of Caravaggio's Calling of

Saint Matthew.

Caravaggio

Calling of Saint

Matthew, ca.

1597-1601.

Oil on canvas,

11' 1" x

11' 5". Contarelli

Chapel,

San Luigi dei

Francesi,

Rome.

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• The Calling of St Matthew shows the moment at which two men

and two worlds confront each other:

• Christ, in a burst of light, entering the room of the toll collector,

and

• Matthew, intent on counting coins in the midst of a group of gaily

dressed men with swords at their sides.

• In the glance between the two men, Matthew's world is

dissolved.

The Calling of Saint Matthew (detail), 1599-1600, Oil on canvas,

Contarelli Chapel, San Luigi dei Francesi, Rome

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• The tax-gatherer Levi (Saint Matthew's name before he

became the apostle) was seated at a table with his four

assistants, counting the day's proceeds.

• Surprised by the intrusion and perhaps dazzled by the sudden

light from the just-opened door, Levi draws back and gestures

toward himself with his left hand as if to say, "Who, me?", his

right hand remaining on the coin he had been counting before

Christ's entrance.

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• A papal legal adviser, LaerzioCherubini, commissioned a Death of the Virgin for a Carmelite church; it was to be finished by 1603.

• When they saw it, the friars found it alarming, because the Madonna was modeled on a prostitute with whom Caravaggio was in love, because her legs were exposed or because her swollen body was too realistic - for whichever reason, they felt prompted to reject it.

• The disciples are groupedround the corpse (fixed on abed in rigor mortis), moststanding to the left.

• Light coming from a windowhigh on the left picks out theirforeheads and bald pates,before falling on the upper partof the Virgin's body.

• Mary's companions, her Son's followers, are struck dumb by their grief, like relief sculptures on antique tombs.

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• Mary lies as though suspended on the coffin. In the foreground Mary Magdalene is lamenting, drained of emotion and without any hope of redemption.

• It was pointed out that the artist has not made a representation of death, but has shown a real death.

• Thus, in Christian

terms, the painting

offends the sensibility

not only of its own time,

but of all times,

because of what it

suggest about the

obscure, fearful

meaning of the end

of life.

The Death of the Virgin (detail)

1605-06, Oil on canvas,

Musée du Louvre, Paris

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Caravaggio introduced to Italians, around 1594, genre scenes of

everyday life, but with a hidden or underlying meaning intended for the

edification of the observant spectator.

The Fortune

Teller

1596-97

Oil on canvas,

99 x 131 cm

Musée du

Louvre, Paris.

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The Cardsharps (I Bari). c.1594-1595. Oil on canvas. Kimbell Art Museum, Fort Worth, TX,

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Orazio Gentileschi (1563- 1639)

• After working in a Mannerist style Gentileschi became one of

the closest and most gifted of Caravaggio's followers.

• Gentileschi's work does not have the power and

uncompromising naturalism of Caravaggio, tending rather

towards the lyrical and refined.

• His graceful figures are stately and clearly disposed, with

sharp-edged drapery-qualities

• Coming from a family of artists, whose tradition was continued

by his brilliant daughter Artemesia.

Finding of

Moses,

1630-33,

Oil on

canvas,

242 x 281

cm, Museo

del Prado,

Madrid

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• In 1621 a nobleman called Sauli

invited him Gentileschi to

Genoa.

• This was the start of the

extraordinary international

success he enjoyed with

several aristocratic patrons.

• While in Genoa he painted an

Annunciation that is often

considered his masterpiece.

• The huge red drape hanging

behind the Madonna's pure

white bed is an overt homage

to Caravaggio.

• Indeed it is to him that the

canvas owes its overall sense

of vibrant reality, its light and its

feeling.

• Gentileschi’s impeccable

draughtsmanship, derived from

his Tuscan background,

emphasized the refined and

noble qualities of the picture.

Annunciation c. 1623

Oil on canvas, 286 x 196 cm

Galleria Sabauda, Turin

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Artemesia Gentileschi(1593-1653)

• Artemesia, the daughter of Orazio Gentileschi was one of the greatest of Caravaggesquepainters and a formidable personality.

• She was precociously gifted, built up a European reputation, and lived a life of independence rare for a woman of the time.

• Taking advantage of the fact

that 'Painting' was

personified by a female

figure, Artemisia has

combined in her self-portrait

the theoretical and practical

concepts of painting while at

the same time drawing

attention to her paradoxical

status as a female artist in

17th century society.

Self-Portrait as the Allegory of Painting

1630s,Oil on canvas,

96,5 x 73,7 cm

Royal Collection, Windsor

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• In 1610 Artemesia painted her

first signed and dated work,

Susanna and the Elders.

• Rubens invented a new type of

scene which he defined as

neither sacred nor profane,

although taken from the Holy

Scriptures.

• Typical examples are the story

of Hagar or the Susanna and

the Elders.

• In this version of the

subject by Artemisia, the

gesture of one of the

Elders, who silences

Susanna by raising his

finger to his lips, comes

from the painting of the

same subject by Rubens.

Susanna and the Elders, 1610

Oil on canvas, 170 x 121 cm

Schloss Weissenstein, Pommersfelden

P.P.Rubens version , 1607

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• Susanna a chaste wife of a wealthy man, Joachim, was taking a bath in her garden, when two lusty elders, judges by proffesion, saw her and demanded her favors.

• She cried for help, but the elders raised the alarm themselves and accused her of infidelity: they said they saw her with a young man under a tree.

• She was sentenced to death, but St. Daniel, then a young boy, stopped the executors and asked the elders to be interrogated separately; they were asked to show the tree under which they had spied Susanna with her lover.

• The elders showed different trees, Susanna was justified, and her accusers were stoned.

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Judith Beheading Holofernes, 1611-

12, Oil on canvas,

158,8 x 125,5 cm,

Museo Nazionale di Capodimonte,

Naples

In these next two scenes from the story

of Judith, we see Artemesia’s most

famous works.

The Slaying of

Holnefernes

Depicts Judith,

with her maid,

slicing off his head.

Later version, 1612-21, Oil on canvas, 199 x 162 cm

Galleria degli Uffizi, Florence

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Artemesia Gentileschi

C. 1625, 72 x 56 cm

Oil on Canvas, The Detroit

Institute of Art

• In Judith and her Maidservant With the Head of Holofernes, we see the women hiding the head in a basket to sneak out of the enemy’s camp.

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• The Carracci was a family of Bolognese painters, the brothers

Agostino and Annibale and their cousin Lodovico who were

prominent figures at the end of the 16th century in the movement

against the prevailing Mannerist artificiality of Italian painting.

• In the early 1580s they opened a private teaching academy, which

soon became a center for progressive art.

• In their teaching they laid special emphasis on drawing from the life

and clear draughtsmanship became a quality particularly associated

with artists of the Bolognese School, notably Domenichino and

Guido Reni, two of the leading members of the following generation

who trained with the Carracci.

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• They continued working in

close relationship until 1595,

when Annibale, who was by

far the greatest artist of the

family, was called to Rome by

Cardinal Odoardo Farnese to

carry out his masterpiece, the

decoration of the Farnese

Gallery in the cardinal's family

palace.

• He first decorated a small

room called the Camerino

with stories of Hercules,

and in 1597 undertook

the ceiling of the larger

gallery, where the theme

was

The Loves of the Gods.

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• The grand mythological program representing the power of love

by way of example of the Olympian gods went hand in hand with

an aesthetic concept that was to be of fundamental importance

for all subsequent Baroque fresco painting.

• In the bridal procession of Bacchus and Ariadne, which

fills the central area of the ceiling, these qualities merge to the

most highly condensed composition of the Farnese Gallery.

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• Carracci transformed the reception room into a shining collection of classical pictures.

• The decoration was not intended to be a single scene, but imitated a collection of framed paintingssurrounding the main scene.

• The individual pictures are painted with a smiling, serene sense of classical antiquity revisited and reinterpreted through the art of Raphael, Michelangelo, Titian and Correggio.

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• In contrast to the naturalism of Caravaggio,

Annibale Carracci studied and emulated the masters of

the Renaissance period and developed a classically

ordered style.

In the Flight into Egypt, Carracci created an "ideal" or "classical"

landscape in which nature is shown ordered by divine law and human reason.

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Guido Reni(1575 1642)

• Reni was an Italian painter of popular religious works and critically acclaimed mythological scenes.

• Antique and recent Roman art became his ideals.

• Like Domenichino, he admired Raphael unconditionally.

The Death of Cleopatra, 1635-40

Oil on canvas, 122 x 96 cm

(Palazzo Pitti), Florence

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• The suave figures in Reni's ceiling fresco of Aurora in the Casino

Rospigliosi in Rome show the influence of Raphael

and classical art.

Guido Reni, Aurora, ceiling fresco in the Casino Rospigliosi, Rome, 1613-1614

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• Though the significance of

Caravaggio and his influence on

painting cannot be overlooked, we

should not ignore the fact that

there was considerable resistance

against the more extreme

tendencies in his art, such as the

loss of the heroic sphere, or the

presentation of the everyday and

the ordinary.

• His greatest rival, whose influence

was to extend far beyond that of

Caravaggio well into the 18th and

19th centuries, was Guido Reni.

• An early work such as The

Massacre of the Innocents

bears clear traces of his initial

links with Caravaggio and, at the

same time, already reveals the

most important arguments

against him.

• Reni was particularly interested

in a specific problem of

composition: that of achieving a

balance between centripetal and

centrifugal movement while

combining them in a static

pictorial structure.

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• Guido Reni's success was

underlined by the important

commissions he received.

• They included the cycle of

The Labors of Hercules

that he painted for the Duke

of Mantua and which are

now in the Louvre.

• This painting belongs to the

cycle of Hercules,

intended for the Duke of

Mantua.

• The artist applies

successfully the study of

the human body, blending a

naturalistic touch with his

passion for Greek statues.

• The joyful ardor expressed

on the face of the young

centaur carrying off

Dejanira should be noted.

The Rape of Dejanira,

Oil on canvas,

259 x 193 cm

Musée du Louvre, Paris

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• Domenichino 1581-1641

(Domenico Zampieri), was

Annibale Carracci's favorite pupil

and one of the most important

upholders of the tradition of

Bolognese classicism.

• He was completely bowled over

by the simple, classical, and

elegant beauty of Raphael's art,

having a deep admiration for all

the great masters of the early 16th

century.

• His career was mainly

spent trying to revive that

wonderful era of the High

Renaissance, but he did

this with a completely up-

to-date critical and

intellectual approach.

Adam and Eve, 1623-25

Oil on canvas

Musée des Beaux-Arts, Grenoble

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• Pietro da Cortona'sceiling fresco for the Gran Salone of the Palazzo Barberini in Rome is a grandiose spectacle intended to glorify the Barberini family.

• Cortona uses symbols and personifications to represent the accomplishments and qualities of the Barberiniand of Pope Urban VIII in particular.

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• Giovanni Battista

Gaulli's stunningly

grand and dazzlingly

illusionistic fresco of the

Triumph in the Name of

Jesus in the Church of Il

Gesù in Rome served to

impress and awe viewers

with the glory and power of

the Catholic Church.

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Italian Baroque Architecture

• Carlo Maderno (1556-1629)

• Maderno began his architectural career in Rome assisting his

uncle Domenico Fontana.

• His first major Roman commission, the facade of Santa

Susanna (1597–1603), led to his appointment in 1603 as the

chief architect for Saint Peter's.

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• Maderno's design for Santa Susanna in Rome unites the

lower and upper portions of the façade with an emphasis

on the vertical.

• The sculptural treatment of recessed niches and projecting

cornices creates dynamic patterns of light and shadow

over the whole design.

Carlo Maderno, Santa Susanna, Rome, 1597–1603

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Maderno is best known for his work between 1606-1612 on

facade and nave of St. Peter's basilica.

The building event of the great cathedral allowed Maderno to

illustrate his talents of Renaissance application of classical

elements and proportions.

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Bernini as Architect

• Although Bernini grafted completely new sculptural forms onto

Renaissance buildings, he maintained a continuity with the

original serenity of the Renaissance ideal.

View of the piazza and colonnades from St. Peters

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View facing the Piazza and Colonnade

of St. Peter’s Rome,

designed 1657.

The monumental piazza in

front of Saint Peter's,

designed by Gianlorenzo

Bernini, is in the form of a

vast oval embraced by two

colonnades of huge Tuscan

columns and joined to the

façade of the church by two

diverging wings.

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• The monumental ScalaRegia built by Bernini connects the papal apartments to the portico and narthex of Saint Peter's.

• The design illusionisticallyconceals the increasing narrowness of the passageway as the stairway ascends.

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Francesco Borromini (1599-1667)

• When Maderno died in 1629, Borromini joined the workshop of

Bernini.

• Under Bernini he gained more experience as a draftsman and

designer.

• In 1634 he began work as an independent architect with his

reconstruction of the monastery and church of St. Carlo

Borromeo.

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• Borromini influenced several succeeding generations of

architects.

• His buildings are noted for their facades.

• Borrimini’s design for St. Agnase combines classic,

Renaissance and Baroque styles into a unified design.

Behind Bernini's Fountain of

Rivers (seen here, you'll find

the Church of St. Agnes in

Agony.

Sant' Agnese in Agone

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• The church was completed in 1653-1657 by Borromini, who

designed the concave facade constructed with a single file of

pillars and columns, surmounted by a dome and with twin bell

towers.

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• Borromini created a dynamic counterpoint of concave and convex elements in the façade of San Carlo alleQuattro Fontane in Rome.

Francesco Borromini,

façade of San Carlo alle Quattro Fontane

Rome, 1665–1676.

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• The church is small, and

the plan and proportions

are said to be based on

one of the piers supporting

the dome of St Peter's.

• Because of its size, it is

also known as San Carlino

alle Quattro Fontane, Little

St Charles' at the Four

Fountains.

• This refers to the four

fountains at the corners of

the intersection where the

church stands.

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• The centrally

planned

interior space

molds a Greek

cross design

into an oval

shape.

Plan of San Carlo

alle Quattro

Fontane,

1638–1641.

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• He designed the walls to weave in and out as if they were formed

not of stone but of pliant substance set in motion by an energetic

space, carrying with them the deep entablatures, the cornices,

moldings and pediments.

Interior view of the dome of San Carlo alle Quattro Fontane

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• Borromini employed concave

and convex forms in the

design of the façade

of the Chapel of Saint Ivo.

Sant’ Ivo, 1660, Rome

embraced by the wings of the Palazzo alla

Sapienza

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• The star shape of the centralized plan rises through

the interior elevation from the floor into the dome to

create a single, dynamic, unified, and cohesive space.

Plan of the Chapel of Saint Ivo, College of the Sapienza, Rome, begun 1642.

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• The dome, which is supported by a convex, drum-like structure,

is topped by an ornate, spiralling lantern.

Dome, Chapel of Saint Ivo, College of the Sapienza, Rome, begun 1642

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Guarino Guarini (1624-1683)

• Guarini was ordained a Theatine priest in 1648 and consequently

generated most of his designs for the Theatine order.

• One of Europe's leading mathematicians, as evidenced in the

geometric elaboration of his buildings, Guarini was deeply

influenced by the radical designs of Borromini.

• Developing a similar design approach, he combined "complexity

and inventiveness with a profound feeling for color and light" that

was highly unusual, but successful.

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• Guarino Guarini designed an undulating, richly textured, three-

part façade for the Palazzo Carignano in Turin.

Palazzo Carignano, Turin, Italy

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Details from the front façade of

Palazzo Carignano, Turin, Italy, 1679–1692.

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• For the dome of the Chapel of the Santissima

Sindone in Turin, Guarini devised a series of

segmented intersecting arches.

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The Baroque in Spain

• The Spanish Baroque is based on developments in Italy and

the Netherlands.

• Spain is a monarchy, and Catholic ~ significant in terms of

themes and subjects.

• The 17th century is considered the “Golden Age” of

Spanish painting.

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José de Ribera (1588-1652)

• Influenced by Caravaggio, Jusede de Ribera

imbued his work with both a naturalism and

compelling drama.

• The brutal theme of martyrdom satisfied Counter-

Reformation and Spanish taste for the

representation of courageous resistance to pain.

• Ribera's Martyrdom of Saint Bartholomew

shows unidealized, plebeian figures. Ribera,

Martyrdom of Saint

Bartholomew, ca.

1639. Oil on canvas,

approx. 7' 8" X 7' 8".

Museo del Prado,

Madrid.

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• In the next slide we see Ribera breach the traditional Spanish

dislike for mythological themes in his

Apollo and Marsyas, painted in 1637, when his style had reached

maturity.

• The figure of the god is marked by the classicism which was then in

fashion in Naples.

• His anatomical perfection, his youth and his idealized beauty are

surrounded by flowing, airy draperies which accentuate the diagonal

thrust of the composition.

• In the spirit of the baroque, the roughness of Marsyas' body and the

shape of the tree contrast with this classicism.

Apollo Flaying Marsyas, 1637, Oil on canvas,, Musées Royaux des Beaux-Arts, Brussels

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• Ribera broadened the

Baroque repertory by his

series of philosophers

depicted as beggars or

vagabonds.

• The image we have today of

the ancient scholar owes

much to the classicistic

ideals of the 19th century.

• This concept of cool distance

and noble gravity is

contradicted sharply by such

a painting as Ribera's

Archimedes: the great

physicist, mathematician and

natural scientist is shown

here as a toothless old

Spaniard.

Archimedes, 1630, Oil on canvas,

125 x 81 cm

Museo del Prado, Madrid

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Francisco de Zurbaran (1598-1664)

• His use of sharply defined, often brilliant, colors, minute detail in

simple compositions, strongly three-dimensional modeling of

figures, and the shadowed light that brightly illuminates his

subjects all give his paintings a solidity and dignity evocative of

the solitude and solemnity of monastic life.

• Zurbaran’s work at its best fuses two dominant tendencies in

Spanish art, realism and mysticism.

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• Zurbarán was also

influenced by

Caravaggio's

naturalism and

dramatic lighting.

• In his painting of

St.Serapion,

he shows the

coarse-featured

saint emerging in

bright

light from a dark

background.

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• Zurbaran devoted himself

almost entirely to religious

works.

• He worked for churches and

monasteries over a wide

area of southern Spain and

his works were exported to

South America.

Zurbarán, St. Francis Kneeling,

1635-39. Oil on canvas. National Gallery,

London

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Francisco de Zurbarán. Still Life with Lemons, Oranges

and Rose. 1633. Norton Simon Museum of Art, PasadenaZurbaran also applied dramatic

effect to the occasional still life.

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Diego Rodriguez de Silva y Velasquez (1599-1660)

• Velázquez is considered to have

been Spain’s greatest baroque

artist.

• He, with Francisco de Goya and

El Greco, forms the great

triumvirate of Spanish painting.

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The influence of Caravaggio is also seen in the dramatic contrast of darks and lights in Diego Velázquez's Water Carrier of Seville,which also includes plebeian figures and finely painted, naturalistic detail.

Velázquez, Water Carrier of Seville,

ca. 1619. Oil on canvas, 41 1/2" x

31 1/2". Wellington

Museum, London.

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• Velázquez's religious

paintings, images of simple

piety, portray models drawn

from the streets of Seville, as

Pacheco states in his

biography of Velázquez.

• In Adoration of the Magi the

artist painted his own family in

the guise of biblical figures,

including a self-portrait as well.

• He painted The Adoration of

the Magi in heavy, dark colors

and his lack of experience is

evident in the representation of

the faces.

• The composition is somewhat

uncertain and the spatial

relations are by no means

perfect: yet the picture reveals

Velázquez's genius as a

portraitist

The Adoration of the Magi, 1619

Oil on canvas, 203 x 125 cm

Museo del Prado, Madrid

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After painting this portrait of the king, Velasquez was

appointed court painter to Philip IV..

He was to paint many images of the members of the royal

family.

Philip IV , c. 1624-27 , Oil on canvas, 82

3/4 x 40 1/8 in); Museo del Prado, Madrid.

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• The court appointment of Velázquez gave him few opportunities for

religious painting, and only occassionally did he execute subject

pictures, except during his Italian journeys.

• He was little influenced by other artists, though he profited from the

visit of Rubens in 1628, which was his first contact with a great living

painter, who was also a court painter.

• Whether or not it was Rubens who inspired him to visit Italy, it was due

to Rubens's influence that he obtained permission to go. He left in

August 1629, visited Genoa, Venice, Rome and Naples and returned

to Madrid in 1631.

• The Joseph's Bloody Coat Brought to Jacob, painted in Italy,

shows his preoccupation with the male nude.

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In the psychological painting The Forge of Vulcan, Velasquez depicts the moment that

Vulcan becomes aware he is a cuckold?

The Forge of Vulcan, 1630 , Oil /canvas, 88 x 115”, Museo del Prado

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• On his return to Madrid,

Velázquez resumed his

duties as court

portraitist with the

sensitive rendition of

Prince Balthasar

Carlos an image made

poignant by the young

prince's death before

reaching adulthood.

• The realistic portrait was

executed in the first years of

the mature period of the

artist.

Prince Baltasar Carlos as Hunter,

1635-36, Oil on canvas,

191 x 103 cm, Museo del Prado, Madrid

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• This Portrait of

Philip IV in military

dress shows the king

as a military leader.

Velázquez,

“Portrait of Philip IV

1644. Oil on canvas, 51 1/8" x 39

1/8". The

Frick Collection,

New York.

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• Velázquez's contribution to the cycle of battle pictures included

the Surrender of Breda portraying a magnanimous Spanish

general receiving the leader of defeated Flemish troops after the

siege of that northern town in 1624.

• The delicacy of handling and astonishing range of emotions

captured in a single painting make this the most celebrated

historical composition of the Spanish baroque.

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During his year's stay in

Rome (1649-50) he

painted the magnificent

portraits

Juan de Pareja and

Pope Innocent X

Juan de Pareja, 1650

Oil on canvas, 81.3 x 69.9 cm

Metropolitan Museum of Art, New

York

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Portrait of Innocent X

c. 1650

Oil on canvas,

141 x 119 cm

Galleria Doria-

Pamphili, Rome

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The most famous of Velasquez’s works is Las Meninas or The

Maids of Honor.

This is a complex work visually.

Where are the eyes of the figures focused?

The paintings also gives the viewer a glimpse of

life at Philip’s court.

Diego Velasquez, Las Meninas,

1656, oils, 125” x 108”, Prado

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• An artist whose religious paintings emphasized the peaceful, joyous aspects of spiritual life, Murillo was the first Spanish painter to achieve renown in Europe.

• Murillo was much admired in England where his influence can be seen in the paintings of Sir Joshua Reynolds and John Constable.

Bartolome Estoban

Murillo (1617-1682)

Immaculate Conception, 1666-

1670

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• Among the pictures

painted when Murillo

was a youth are

several affectionate

studies of the ragged

boys and the flower

girls of Seville.

The Young Beggar

Oil on canvas ,53 x 39 1/4 “, Musee du

Louvre,

Paris

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• The term Baroque, originally used in a pejorative sense, is employed today generally as a period designation. But no commonalities can be ascribed to all of the art and cultures of this period.

• The coordination of long-distance trade and the expansion of markets contributed to the intense economic competition between European countries.

• Stimulated by the energy and demands of the Catholic Counter-Reformation, Italian Baroque art developed a new dynamic and spectacular style that is characterized by dramatic theatricality, grandiose scale, and elaborate ornateness.

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• The monumental piazza in front of Saint Peter's, designed by

Gianlorenzo Bernini, is in the form of a vast oval. Bernini's marble

statue of David catches the figure in a dramatic moment of split-second

action.

• The Italian Baroque architect Francesco Borromini created a dynamic

counterpoint of concave and convex elements in his façades.

• The manipulation of space and the creation of theatrical effects are also

evident in Baroque painting, notably in the work of Caravaggio. His

unidealized figures and naturalistic treatment of subject matter

influenced many later artists.

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• In contrast to Caravaggio, Annibale Carracci and his followers studied and emulated the masters of the Renaissance period and developed a classically ordered style.

• As a predominantly Catholic country, Counter-Reformation imperatives encouraged Spanish Baroque artists to produce art that moved viewers towards greater devotion and piety.

• After he became official court painter to Philip IV, Velázquez painted in a style that relies less on Caravaggio and more on Titian and Rubens.