baroque france and england,

Chapter 25Baroque

France and England

Europe in the 17th Century

Figure 25-24 NICOLAS POUSSIN, Et in Arcadia Ego, ca. 1655. Oil on canvas, approx. 2’ 10” x 4’. Louvre, Paris.

GIORGIONE DA CASTELFRANCO (and/or TITIAN?), Pastoral Symphony, ca. 1508. Oil on canvas, approx. 3’ 7” x 4’ 6”. Louvre, Paris.

RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, approx. 19’ x 27’.

Figure 25-25 NICOLAS POUSSIN, Burial of Phocion, 1648. Oil on canvas, approx. 3’ 11” x 5’ 10”. Louvre, Paris.

Figure 24-51 JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, approx. 1’ 10” x 2’ 1”. Mauritshuis, The Hague.

Figure 25-26 CLAUDE LORRAIN, Landscape with Cattle and Peasants, 1629. Oil on canvas, 3’ 6” x 4’ 10 1/2”. Philadelphia Museum of Art, Philadelphia (the George W. Elkins Collection).

GIORGIONE DA CASTELFRANCO, The Tempest,

ca. 1510. Oil on canvas, 2’ 7” x 2’ 4 3/4”. Galleria dell’Accademia,

Venice.

JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, approx. 1’ 10” x 2’ 1”. Mauritshuis, The Hague.

Figure 25-27 LOUIS LE NAIN, Family of Country People, ca. 1640. Oil on canvas, approx. 3’ 8” x 5’ 2”. Louvre, Paris.

JAN STEEN, The Feast of Saint Nicholas, ca. 1660–1665. Oil on

canvas, 2’ 8 1/4” x 2’ 3 3/4”. Rijksmuseum, Amsterdam.

Figure 25-29 GEORGES DE LA TOUR, Adoration of the Shepherds, 1645–1650. Oil on canvas, approx. 3’ 6” x 4’ 6”. Louvre, Paris.

Figure 25-30 HYACINTHE RIGAUD, Louis XIV, 1701. Oil on canvas, approx. 9’ 2” x 6’ 3”. Louvre,

Paris.

Portrait of Henry VIII1540Oil on panel, 88,5 x 74,5 cm

Galleria Nazionale d'Arte Antica, Rome

Figure 25-5 ANTHONY VAN DYCK, Charles I Dismounted, ca. 1635. Oil on canvas, approx. 9’ x 7’. Louvre, Paris FLEMISH painting in the English court.

Figure 25-31 CLAUDE PERRAULT, LOUIS LE VAU, and CHARLES LE BRUN, east facade of the Louvre, Paris, France, 1667–1670.

Figure 25-31 CLAUDE PERRAULT, LOUIS LE VAU, and CHARLES LE

BRUN, east facade of the Louvre,

PIERRE LESCOT and JEAN GOUJON, west facade of the Square Court of the Louvre, Paris, France, begun 1546.Northern Renaissance 16th cen

Figure 25-32 Aerial view of palace at Versailles, France, begun 1669, and a portion of the gardens and surrounding area. The white trapezoid in the lower part of the plan (FIG. 24-68) outlines the area shown here.

Plan of the park, palace, and town of Versailles, France, (after a seventeenth-

century engraving by FRANÇOIS BLONDEL). The area outlined in the white trapezoid (lower

center) is shown in FIG. 24-67.

Figure 25-33 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Versailles, Versailles, France, ca. 1680.

Alternate ViewHall of Mirrors, raking view of exterior wall with windows

and candelabras.

© 2005 Saskia Cultural Documentation, Ltd.

Figure 25-34 FRANÇOIS GIRARDON and THOMAS REGNAUDIN, Apollo Attended by the Nymphs, Grotto of Thetis, Park of Versailles, Versailles, France, ca. 1666–1672. Marble, life-size. Park of Versailles.

Alternate ViewTotal from front: view showing size of man-made grotto

© 2005 Saskia Cultural Documentation, Ltd.

Figure 25-36 JULES HARDOUIN-MANSART, Église de Dôme, Church of the Invalides, Paris, France, 1676–

1706.

MICHELANGELO BUONARROTI, Saint Peter’s (view from the northwest), Vatican City, Rome,

Italy, 1546–1564. Dome completed by GIACOMO DELLA PORTA, 1590.

© 2005 Saskia Cultural Documentation, Ltd.

Baroque in England

Figure 25-37 INIGO JONES, Banqueting House at Whitehall, London, England, 1619–1622.

LEON BATTISTA ALBERTI, Palazzo Rucellai, Florence, Italy, ca. 1452–1470.

ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1566–1570.

Figure 25-37 Alternate ViewTotal from NW

© 2005 Saskia Cultural Documentation, Ltd.

Figure 25-38 SIR CHRISTOPHER WREN, new Saint Paul’s Cathedral, London, England,

1675–1710.

Baroque in France •Art in the service of the King – power and authority

•Versailles as the focus of the court and the arts – opulent, large scale, ornate, adopted classical elements in a new way

(compare to classical temple fronts)•Poussin as head of the Academy with strict rules for artists to

follow, line emphasized over color, clear forms, and composition, reason, order –harks back to Renaissance

Baroque in England:•The great fire in London creates an opportunity for architects to

rebuild in a new style•Inigo Jones-- influenced by Palladio’s ideal proportions and

assimilation of classical forms, strives for harmony and balance (compare to Greek, Roman)

•Wren -- great architect, mathematician. Influenced by Roman temple fronts and other classical elements (compare to Roman)