17. baroque in italy and spain
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Warm-Up 2/08/12• Describe the process by
which you completed your Sistine chapel tile. Be specific in detail.
• Think about the aesthetic of just your tile.
• What does it look like to you? Pretend you do not know the context.
The Baroque in Italy and
Spain
Practice Outline
• 1. Cultural attitudes about women are often revealed in art.
• • Select and fully identify two works of art that depict
one or more women. The works must come from two different cultures, one of which must be from beyond the European tradition. Explain how each work reveals its culture’s attitudes about women. (30 minutes)
The Baroque in Italy and
Spain
Historical Context: 17th Century• Continual Warfare: – Thirty Years’s War (1618-1648) between
France and The Hapsburgs (everywhere else)• Treaty of Westphalia ended the war• Germany is left in ruins, Netherlands begins a
new war with England and France until 1679
• Expansion of the Sciences– The artist begins to depart from the
philosopher (Descarte’s cogito ergo sum) as well as mathematics (calculus and abstractions)
– Keplar, Copernicus, Galileo– Understanding the LAWS of nature, not its
SECRETS
Historical Context: Baroque Art• Baroque Art and Imagery flourishes
despite warfare and divergence from philosophy– Independent of military imagery and
influence– Even though math is a separate
vocation, Baroque art is heavily influenced by the new mechanics and metaphysics of a developing scientific humanism.
• Baroque Art will NOT be neo-platonic (which dominated the philosophy of the Renaissance). Why?
Back to Rome: 1600’s• The papacy increased patronage as a
continued tradition of counter-reformation ideals (soon winding down)
• Many artists in Rome were inconspicuous mannerists, sought the Late Northern Italian Realists painters
• Caravaggio is credited with the early development of the Baroque Style
Caravaggio: Early Life• Michelangelo Merisi da Caravaggio
(1571-1610) born in Milan to an Architect and decorator– Barely escaped the plague that killed
his father in 1577– Connections with the Sforzas in Milan
• Began four year apprenticeship with Peterzano (former student of Titian)– Wounds a police officer in Milan,
leaves for Rome
Warm-Up 2/09/12• Come get your poster.• I will record your number and your
participation• I will display a projected image of the Sistine
Chapel map. • Your job is to locate what tile you are and sit
underneath your tile.
Caravaggio: Rome (1592-1600)• Starts some commissions under
Cesari (Clement VIII’s favorite artist) – “painting flowers and fruit” in his
workshop• Began several lesser known
paintings, including the influential Cardsharps– Reveals a new narrative and
psychological nature to subjects, almost a serendipity of gesture and expression
The Cardsharpsc. 1596Oil on canvas, 90 x 112 cmKimbell Art Museum, Fort Worth
Judith Beheading Holofernesc. 1598Oil on canvas, 145 x 195 cmGalleria Nazionale d'Arte Antica, Rome
Warm-Up 2/10/12
•What is your favorite work so far from the Baroque period? Defend your preference and provide the proper MARCS.
Contarelli Chapel• 1599, under the auspices of Del
monte (Italian Cardinal and patron) beings décor in the church of San Luigi
• Known for the new Tenebrism techniques and intense realism of character (both physically and emotionally)
• Let’s describe the MARCS of The Calling of Saint Matthew
The Calling of Saint Matthew1599-1600Oil on canvas, 322 x 340 cmContarelli Chapel, San Luigi dei Francesi, Rome
The Baroque in Italy and
Spain
Snapshot Quiz
Snapshot Quiz
CARAVAGGIOTaking of Christc. 1598Oil on canvas, 134 x 170 cmNational Gallery of Ireland, Dublin
CARAVAGGIOThe Raising of Lazarus1608-09Oil on canvas, 380 x 275 cmMuseo Nazionale, Messina
Caravaggio (Michelangelo Merisi)David con la testa di Golia1609-1610Olio su tela, cm 125x101 Provenienza: collezione del cardinale Scipione Borghese
Caravaggio. The Conversion of St. Paul. 1600-1601. Oil on canvas. Santa Maria del Popolo, Rome, Italy.
Caravaggio. The Crucifixion of St. Peter. 1600-1601. Oil on canvas. Santa Maria del Popolo, Rome, Italy.
Weekly Breakdown• Monday: Gentleschi, Carraci and Bernini• Tuesday: AP test: Prehistoric-Baroque• Wednesday: AP test (Cont.)• Thursday: Renaissance vs. Baroque • Symposium
– Essay prompt (5 paragraphs, due on Symposium): The theme of love is powerful and salient as Christian expression. Fully identify one Renaissance painting and one Baroque painting and describe how the art philosophies concerning God and Man influence the artist’s view of love.
– Bring in a food item. Tell us how it relates to Baroque ideals or Renaissance ideals
– Team Art Game for extra credit
Artemisia Gentileschi• Most accomplished of the
second gen. Baroque painters – More than 34 masterpieces– First woman to join the
Accademia di Arte del Disegno in Florence
• Main themes:– Strong women of the bible– Suffering Mythic Females– Characteristic tenebrism– Looks of astonishment,
tense surprise, open form
Gentileschi, Artemisia Self-Portrait as the Allegory of Painting 1638/39 Oil on canvas 38 7/8 x 29 5/8 in (98.6 x 75.2 cm) Her Majesty Queen Elizabeth II
Bible: You Go GURLZ!• Bathsheba:
– Takes a bath on a rooftop…right next to David’s palace
– Conspires to send her husband to war since she is pregnant
• Queen Esther– Becomes wife of Persian king– Saves her exiled people from
destruction• Deborah
– Judge in early Hebrew society– Organizes an army and
sucessfully defeats the canaanites
Roman beginning (1593)• Learned painting while
visiting her father’s workshop– Orazio is friends with Cravaggio
• Completes first work at age 17– Susanna and the Elders depicts the
deauterocanonical account of voyeurism, sexual assault and blackmail
• 2 years later, Gentileschi is raped while being “tutored” by Tazzi during a commission
Gentileschi, Artemisia Susannah and the Elders 1610 Oil on canvas 66 7/8 x 46 7/8 in (170 x 119 cm) Collection Graf von Schoenborn, Pommersfelden
Gentileschi, Artemisia Judith Beheading Holofernes 1620 Oil on canvas 78 3/8 x 64 in (199 x 162.5 cm) Uffizi, Florence
Weekly Breakdown• Monday: Gentleschi, Carraci and Bernini• Tuesday: AP test: Prehistoric-Baroque• Wednesday: AP test (Cont.)• Thursday: Renaissance vs. Baroque • Symposium
– Essay prompt (5 paragraphs, due on Symposium): The theme of love is powerful and salient as Christian expression. Fully identify one Renaissance painting and one Baroque painting and describe how the art philosophies concerning God and Man influence the artist’s view of love.
– Bring in a food item. Tell us how it relates to Baroque ideals or Renaissance ideals
– Team Art Game for extra credit
Annibale Carracci• 1582, Born in Bologna
– Studied Florentine linear drafsmanship (Raphael)
– Combined Raphael’s rich colors with the misty edges of the Venetian school
• Style and Characteristics– Contrast of color, with misty colors,
blended neutrals in the foreground– Idealized religious figures, contrasts
Caravaggio• It was his work that is praised in the
coming decades– More than Caravagio, who had a
devout, yet limited, audience
The Flight into Egypt1603Oil on canvas, 122 x 230 cmGalleria Doria Pamphilj, Rome
CARRACCI, AnnibaleDomine quo vadis?1601-02Oil on panel, 77,4 x 56,3 cmNational Gallery, London
CARRACCI, AnnibaleCeiling fresco1597-1602FrescoPalazzo Farnese, Rome
Timed WriteThis question asks you to explore the stylistic relationships between the form and content of figurative art. How a culture is perceived is often expressed in depictions of the human figure. Choose two specific representations of the human body from different cultures. Only one of your choices may be from a European artistic tradition. Discuss significant aspects of each culture that are revealed by the way in which the human body is depicted. (30 minutes)
Gian Lorenzo Bernini• Born to a mannerist
sculptor (1598-1680)– Age of 8, helped his father
on several commissions for Pope Paul V
• Received his first commission soon after by Cardinal Borghese
• Worked for the Cardinal, as well as 4 other popes (except Innocent X)
Gian Lorenzo Bernini• Major Works:– Rape of Proserpina– Aeneas, Anchises and
Ascanius– Apollo and Daphne– David– Ecstasy of St. Theresa– Fountains in Rome– Colonade of St. Peter’s
Gian Lorenzo Bernini• Characteristics:
1. Upholds the waning Counter-Reformation tone infused within a Baroque setting
2. Naturalistic realism to both classical sculptural content and religious work
3. Underscored by a strong sense of narrative
4. Dramatic, often violent tension in face and body representative of Hellenistic sculpture (Dionysian)
5. Infusion of Painterly style to sculpture
The Rape of Proserpina1621-22Marble. height 295 cmGalleria Borghese, Rome
The Martyrdom of St Lawrence1614-15Marble, 66 x 108 cmGalleria degli Uffizi, Florence
Gianlorenzo BerniniDamned Soul1619White Marble38cmSpanish embassy, Palazzo di Spagna, Rome
Gianlorenzo Bernini, David, 1623.Marble, 5 7 high. GalleriaBorghese, Rome.Bernini’s sculptures
Apollo and Daphne1622-25Carrara marble, height 243 cmGalleria Borghese, Rome
The Ecstasy of Saint Therese1647-52MarbleCappella Cornaro, Santa Maria della Vittoria, Rome
The Ecstasy of Saint Therese1647-52MarbleCappella Cornaro, Santa Maria della Vittoria, Rome
Warm-Up • This is Constantine• Describe how
Constantine is depicted in terms of gesture, line direction, and use of light.
• Who is the Artist? How can you tell?
Gianlorenzo Bernini, baldacchino, Saint Peter’s,Vatican City,Rome, Italy, 1624–1633. Gilded bronze, 100 high.
Gianlorenzo Bernini, Scala Regia (Royal Stairway),VaticanCity, Rome, Italy, 1663–1666.
Gianlorenzo Bernini, Scala Regia (Royal Stairway),VaticanCity, Rome, Italy, 1663–1666.
Aerial view of Saint Peter’s,Vatican City, Rome, Italy. Piazza designedby Gianlorenzo Bernini, 1656–1667.
The Piazza and Colonnade: the Church embraces the world
St. Peter’s Basillica• Location: Vatican City,
Italy• Completion Date: 1626• Dome Diameter: 138 feet• Dome Type: Ribbed• Height: 452 feet above the
street, 390 feet above the floor
• Purpose: Supremacy of Papacy, Counter Reformation
• Materials: Concrete, brick (masonry)
• Architects: Donato Bramante, Rafael, Michelangelo, Bernini
Quick Glance at Construction
1. 1506- Pope Julius II hires Bramante to create plans for St. Peter’s Basilica and its dome
2. 1514- Bramante dies, Antonio Sangallo becomes capomaestro
3. 1546- Sangallo dies, Pope Paul III orders Michelangelo to take the commission
4. 1564- Michelangelo dies 5. 1586- della Porta’s plan for a
new dome is approved 6. 1588-1590- Dome constructed
jointly by della Porta and Fontana
7. 1590-1593- Lantern constructed
St. Peter’s Basilica, nave
Dome and Altar of St. Peter
St. Longinus
The Baldacchino (or Ciborium)
Gianlorenzo BerniniAt St. Peter’s
The High Altar with the Doctors of the Church and the Cathedra Petri
Bernini’s symbolism of the Church Triumphant and the new Rome: the vivification of the main processional axis
•The power of the Church as an institution takes expression in the new churches of the 17th century. Along with it other kinds of forces also appear, including • dynamism (energy and motion), • spatial fluidity, • destruction of limits and boundaries
leading to the notion of “continuum.”• Broader Naves (Ovals)• Dramatic use of Light and narrative
sculpture• Large Ceiling Frescoes
Ss. Luca e Martina, by Pietro daCortona, 1634-69
Energy can be perceived in the nervous perimeter established by the entablature over the wall columns. The interior becomes part of a continuum that is not clearly bounded in the layered wall system. The interior is no
longer a container delimited by wall planes but a locus of forces.
San Carlo alle Quattro Fontane (St. Charles at the Four Fountains) by Borromini, 1634ff
The dynamic energies of Italian Baroque architecture were explored by many designers and artists.
St. Ivo della Sapienza by Francesco Borromini, 1642ff
Chapel of the Holy Shroud, Turin by Guarino Guarnini, 1667ff
San Lorenzo, Turin, by Guarino Guarnini, 1668-80
Identify and Label.
Analyze the Principles and Elements of Design for this work.
Warm Up 2/23/12
Sketch what you see! No more than a quarter sheet. Then, trace in your notes for today’s analysis
Baroque in
Spain
Spanish Baroque• Most Spanish painters
were inspired during travels to Italy and the North– Due to the conservative
courts and lowly artisan place
– All fine because Netherlands was ruled by Spain (Hapsburgs)
• Spain = MAJOR SAINTS
Diego Velasquez• Caravaggesque painter in
Seville• Early painter of bodegones,
or scenes of people eating.• Associated with Rubens
who brought the influence of Titian
• Major Works:– The Water Carrier of Seville– Pope Innocent X– Maids of Honor
Diego Velázquez. The Waterseller in Seville. c. 1620. Oil on canvas. Wellington Museum, London, UK.
Diego Velázquez. Pope Innocent X. 1650. Oil on canvas. Galleria Doria Pamphilj, Rome, Italy.
Diego Velázquez. Las Meninas (The Maids of Honor) or the Royal Family. 1656/57. Oil on canvas. Museo del Prado, Madrid, Spain.
Who are we?
Diego Velázquez. Las Meninas (The Maids of Honor) or the Royal Family. 1656/57. Oil on canvas. Museo del Prado, Madrid, Spain.
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