chapter fifteen: the seventeenth century: the baroque era

Chapter Fifteen:Chapter Fifteen:The Seventeenth Century:The Seventeenth Century:

The Baroque Era The Baroque Era

Chapter Fifteen:Chapter Fifteen:The Seventeenth Century:The Seventeenth Century:

The Baroque Era The Baroque Era

Culture and Values, 8th Ed.

Cunningham and Reich and Fichner-Rathus

Culture and Values, 8th Ed.

Cunningham and Reich and Fichner-Rathus

The Counter-Reformation SpiritThe Counter-Reformation SpiritThe Counter-Reformation SpiritThe Counter-Reformation Spirit

Council of Trent (1545-1563) Redefined doctrines, reaffirmed dogmas Assertion of discipline, education New artistic demands, purpose

Society of Jesus, Jesuits Ignatius Loyola (1491-1556) Missionaries, educational improvement

Council of Trent (1545-1563) Redefined doctrines, reaffirmed dogmas Assertion of discipline, education New artistic demands, purpose

Society of Jesus, Jesuits Ignatius Loyola (1491-1556) Missionaries, educational improvement

Seventeenth-Century BaroqueSeventeenth-Century BaroqueSeventeenth-Century BaroqueSeventeenth-Century Baroque

Decentralized styles Art for the middle-class Rich, ornate, elaborate, fanciful Emotionalism Psychological exploration New techniques, virtuosity

Decentralized styles Art for the middle-class Rich, ornate, elaborate, fanciful Emotionalism Psychological exploration New techniques, virtuosity

15.4 Saint Peter’s façade, Rome, Italy

15.4 Saint Peter’s façade, Rome, Italy

The Baroque Period in ItalyThe Baroque Period in ItalyBaroque Sculpture and Architecture in RomeBaroque Sculpture and Architecture in Rome

The Baroque Period in ItalyThe Baroque Period in ItalyBaroque Sculpture and Architecture in RomeBaroque Sculpture and Architecture in Rome

Gian Lorenzo Bernini (1598-1680) Chief architect of Counter-Reformation

Fountains, palaces, churches Conflict with Borromini

Religious-themed sculptures Baldacchino David (1623) The Ecstasy of Saint Teresa (1645-1652)

Gian Lorenzo Bernini (1598-1680) Chief architect of Counter-Reformation

Fountains, palaces, churches Conflict with Borromini

Religious-themed sculptures Baldacchino David (1623) The Ecstasy of Saint Teresa (1645-1652)

15.6 Gian Lorenzo Bernini, Baldacchino, 1624-1633

15.6 Gian Lorenzo Bernini, Baldacchino, 1624-1633

15.7 Gian Lorenzo Bernini, David, 1623

15.7 Gian Lorenzo Bernini, David, 1623

15.8 Gian Lorenzo Bernini, The Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy

15.8 Gian Lorenzo Bernini, The Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy

Gian Lorenzo Bernini, 

Pluto and Proserpina,

marble, 1621-22 (Galleria Borghese, Rome)

Gian Lorenzo Bernini, 

Pluto and Proserpina,

marble, 1621-22 (Galleria Borghese, Rome)

The Baroque Period in ItalyThe Baroque Period in ItalyBaroque Sculpture and Architecture in RomeBaroque Sculpture and Architecture in Rome

The Baroque Period in ItalyThe Baroque Period in ItalyBaroque Sculpture and Architecture in RomeBaroque Sculpture and Architecture in Rome

Francesco Borromini (1599-1667) Brooding, melancholy Obsessive elaboration of design Highly complex structures Church of San Carlo alle Quattro Fontane

Sinuous curves and counter-curves Concave and convex walls

Francesco Borromini (1599-1667) Brooding, melancholy Obsessive elaboration of design Highly complex structures Church of San Carlo alle Quattro Fontane

Sinuous curves and counter-curves Concave and convex walls

Francesco Borromini, San Carlo alle Quattro Fontane, begun 1638, façade finished 1667.

Exterior façade 38′ (11.58 m) wide. Rome,

Italy.

Francesco Borromini, San Carlo alle Quattro Fontane, begun 1638, façade finished 1667.

Exterior façade 38′ (11.58 m) wide. Rome,

Italy.

15.10 Francesco Borromini, the dome of San Carlo alle Quattro Fontane, 1638-1641

15.10 Francesco Borromini, the dome of San Carlo alle Quattro Fontane, 1638-1641

The Baroque Period in ItalyThe Baroque Period in ItalyPainting in RomePainting in Rome

The Baroque Period in ItalyThe Baroque Period in ItalyPainting in RomePainting in Rome

Annibale Carracci Extreme emotion, realism of detail Exuberant life, movement, sensuality

Galleria of the Palazzo Farnese

Annibale Carracci Extreme emotion, realism of detail Exuberant life, movement, sensuality

Galleria of the Palazzo Farnese

Annibale Carracci, The Loves of the Gods, 1597–1601. Ceiling frescoes in

the gallery of the Palazzo

Farnese, Rome, Italy.

Annibale Carracci, The Loves of the Gods, 1597–1601. Ceiling frescoes in

the gallery of the Palazzo

Farnese, Rome, Italy.

The Baroque Period in ItalyThe Baroque Period in ItalyPainting in RomePainting in Rome

The Baroque Period in ItalyThe Baroque Period in ItalyPainting in RomePainting in Rome

Caravaggio (1573-1610) Dramatic naturalism, realism

Brutal, pessimistic Emotional, psychological

Tenebrism The Calling of St. Matthew (1600-1602) Judith and Holofernes (1598)

Artemisia Gentileschi Judith Decapitating Holofernes (1620)

Caravaggio (1573-1610) Dramatic naturalism, realism

Brutal, pessimistic Emotional, psychological

Tenebrism The Calling of St. Matthew (1600-1602) Judith and Holofernes (1598)

Artemisia Gentileschi Judith Decapitating Holofernes (1620)

15.12 Caravaggio, The Calling of Saint Matthew, 1600-1602

15.12 Caravaggio, The Calling of Saint Matthew, 1600-1602

Caravaggio, 

Deposition

oil on canvas, c.

1600-04

(Pinocateca, Vatican) 

Caravaggio, 

Deposition

oil on canvas, c.

1600-04

(Pinocateca, Vatican) 

Caravaggio, The Crowning with Thorns, 1602-04, oil on canvas, 165.5 x 127 cm (Kunsthistorisches Museum, Vienna) 

Caravaggio, The Crowning with Thorns, 1602-04, oil on canvas, 165.5 x 127 cm (Kunsthistorisches Museum, Vienna) 

The conversion of Saint Paul 1601

The conversion of Saint Paul 1601

15.14 Artemesia Gentileschi, Judith Decapitating Holofernes, ca. 1620

15.14 Artemesia Gentileschi, Judith Decapitating Holofernes, ca. 1620

Caravaggio, Judith and Holofernes, ca. 1598. Oil on canvas, 57″ × 77″ (145 cm × 195 cm). Galleria Nazionale d’Arte Antica, Palazzo

Barberini, Rome, Italy.

Caravaggio, Judith and Holofernes, ca. 1598. Oil on canvas, 57″ × 77″ (145 cm × 195 cm). Galleria Nazionale d’Arte Antica, Palazzo

Barberini, Rome, Italy.

The Baroque Period Outside ItalyThe Baroque Period Outside ItalySpainSpain

The Baroque Period Outside ItalyThe Baroque Period Outside ItalySpainSpain

Diego Velázquez (1599-1660) Vitality of scene Lives of ordinary people Las Meninas (1656)

Color Space Reality of detail

Diego Velázquez (1599-1660) Vitality of scene Lives of ordinary people Las Meninas (1656)

Color Space Reality of detail

15.15 Diego Velazquez, Las Meninas (The Maids of Honor), 1656

15.15 Diego Velazquez, Las Meninas (The Maids of Honor), 1656

Diego Velázquez, The Surrender of Breda, 1634-35, oil on canvas, 307 cm × 367 cm / 121 in × 144 in (Museo del Prado, Madrid)

Diego Velázquez, The Surrender of Breda, 1634-35, oil on canvas, 307 cm × 367 cm / 121 in × 144 in (Museo del Prado, Madrid)

The Baroque Period Outside ItalyThe Baroque Period Outside ItalyFlandersFlanders

The Baroque Period Outside ItalyThe Baroque Period Outside ItalyFlandersFlanders

Peter Paul Rubens (1577-1640) The Rape of the Daughters of Leucippus

Restless energy, sense of action Female nudity, ample proportions

Anthony Van Dyck (1599-1641) Formal portraits Refined tastes, noble patrons

Peter Paul Rubens (1577-1640) The Rape of the Daughters of Leucippus

Restless energy, sense of action Female nudity, ample proportions

Anthony Van Dyck (1599-1641) Formal portraits Refined tastes, noble patrons

15.16 Peter Paul Rubens, The Rape of the Daughters of Leucippus, 1617

15.16 Peter Paul Rubens, The Rape of the Daughters of Leucippus, 1617

Peter Paul Rubens, 

The Elevation of the Cross, 

1610, oil on wood, 

Peter Paul Rubens, 

The Elevation of the Cross, 

1610, oil on wood, 

Anthony van Dyck, Marchesa Elena Grimaldi,

Wife of Marchese Nicola

Cattaneo, ca. 1623. Oil on

canvas, 84⅞″ × 48½″ (242.9 ×

138.5 cm). National Gallery

of Art, Washington,

DC.

Anthony van Dyck, Marchesa Elena Grimaldi,

Wife of Marchese Nicola

Cattaneo, ca. 1623. Oil on

canvas, 84⅞″ × 48½″ (242.9 ×

138.5 cm). National Gallery

of Art, Washington,

DC.

The Baroque Period Outside ItalyThe Baroque Period Outside ItalyThe Dutch Republic (Holland)The Dutch Republic (Holland)

The Baroque Period Outside ItalyThe Baroque Period Outside ItalyThe Dutch Republic (Holland)The Dutch Republic (Holland)

Frans Hals (c. 1580-1666) Group portraits

Jan Vermeer (1632-1675) Inner contemplation, repose Light, stillness

Frans Hals (c. 1580-1666) Group portraits

Jan Vermeer (1632-1675) Inner contemplation, repose Light, stillness

15.18 Frans Hals, Banquet of the Officers of the Civic Guard of Saint George at Haarlem, 1616

15.18 Frans Hals, Banquet of the Officers of the Civic Guard of Saint George at Haarlem, 1616

15.26 Jan Vermeer, Young Woman With a Water Jug, 1665

15.26 Jan Vermeer, Young Woman With a Water Jug, 1665

The Baroque Period Outside Italy The Baroque Period Outside Italy The Dutch Republic (Holland)The Dutch Republic (Holland)

The Baroque Period Outside Italy The Baroque Period Outside Italy The Dutch Republic (Holland)The Dutch Republic (Holland)

Rembrandt van Rijn (1606-1669) Spiritual matters, problems of existence The Night Watch (1642) Self-understanding through self-portraits

Psychologically reflective Tragic nature of human destiny

Emotionality through virtuosity

Rembrandt van Rijn (1606-1669) Spiritual matters, problems of existence The Night Watch (1642) Self-understanding through self-portraits

Psychologically reflective Tragic nature of human destiny

Emotionality through virtuosity

15.21

Rembrandt

van Rijn,

The Sortie

of Captain

Frans

Banning

Cocq’s

Company

of the

Civic

Guard

(The Night

Watch),

1642

15.21

Rembrandt

van Rijn,

The Sortie

of Captain

Frans

Banning

Cocq’s

Company

of the

Civic

Guard

(The Night

Watch),

1642

15.19

Rembrandt van Rijn, Self-Portrait, 1652

15.19

Rembrandt van Rijn, Self-Portrait, 1652

Rembrandt van Rijn, The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas, 67″ × 85 ¼″ (170 × 217 cm). The Royal Picture

Gallery Mauritshuis, The Hague, The Netherlands.

Rembrandt van Rijn, The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas, 67″ × 85 ¼″ (170 × 217 cm). The Royal Picture

Gallery Mauritshuis, The Hague, The Netherlands.

The Baroque Period Outside ItalyThe Baroque Period Outside ItalyFranceFrance

The Baroque Period Outside ItalyThe Baroque Period Outside ItalyFranceFrance

Nicolas Poussin (c. 1594-1665) Protest against baroque excesses Nostalgic yearning for idealized past

Georges de La Tour (1590-1652) Restrained mood, repressed emotionality

Nicolas Poussin (c. 1594-1665) Protest against baroque excesses Nostalgic yearning for idealized past

Georges de La Tour (1590-1652) Restrained mood, repressed emotionality

15.27 Nicholas Poussin, The Rape of the Sabine Women, ca. 1636-1637

15.27 Nicholas Poussin, The Rape of the Sabine Women, ca. 1636-1637

15.28 Georges de La Tour, The Penitent Magdalen, ca. 1640

15.28 Georges de La Tour, The Penitent Magdalen, ca. 1640

The Baroque Period Outside ItalyThe Baroque Period Outside ItalyFranceFrance

The Baroque Period Outside ItalyThe Baroque Period Outside ItalyFranceFrance

The Palace of Versailles Louis XIV = the Sun King Politics, psychology Grandiose symbolism Baroque extremes + Classical simplicity

The Palace of Versailles Louis XIV = the Sun King Politics, psychology Grandiose symbolism Baroque extremes + Classical simplicity

Hyacinthe Rigaud, Louis XIV, King of France

and Navarre, oil on canvas, 1701 (Musée du Louvre, Paris)

Hyacinthe Rigaud, Louis XIV, King of France

and Navarre, oil on canvas, 1701 (Musée du Louvre, Paris)

15.29 Palace of Versailles, begun 166915.29 Palace of Versailles, begun 1669

15.30 Hall of Mirrors (Galerie des Glaces), begun 1676, Palace of Versailles

15.30 Hall of Mirrors (Galerie des Glaces), begun 1676, Palace of Versailles

The Baroque Period Outside ItalyThe Baroque Period Outside ItalyNew EnglandNew England

The Baroque Period Outside ItalyThe Baroque Period Outside ItalyNew EnglandNew England

Anne Bradstreet Thomas Smith

Anne Bradstreet Thomas Smith

15.31 Thomas Smith, Self-Portrait, ca. 1680

15.31 Thomas Smith, Self-Portrait, ca. 1680

Baroque MusicBaroque MusicBaroque MusicBaroque Music

Emphasis on rhythm and melody Listening pleasure and glory of God Sacred music with universal appeal Growing interest in secular music

Emphasis on rhythm and melody Listening pleasure and glory of God Sacred music with universal appeal Growing interest in secular music

Baroque Music:Baroque Music:

The Birth of OperaThe Birth of OperaBaroque Music:Baroque Music:

The Birth of OperaThe Birth of Opera Play in which text was sung, not spoken Aristocratic and middle-class audience Florentine Camerata

Objected to polyphonic style Monody, recitative Inspired by Greek drama, tradition

Jacopo Peri: Dafne, Euridice

Play in which text was sung, not spoken Aristocratic and middle-class audience Florentine Camerata

Objected to polyphonic style Monody, recitative Inspired by Greek drama, tradition

Jacopo Peri: Dafne, Euridice

Baroque Music:Baroque Music:

The Birth of OperaThe Birth of OperaBaroque Music:Baroque Music:

The Birth of OperaThe Birth of Opera Claudio Monteverdi (1567-1643)

L’Orfeo Dramatic instinct, emotionality of music Academic principles of Camerata

Opera houses Audience appeal

Lavish stage spectacles, arias

Claudio Monteverdi (1567-1643) L’Orfeo Dramatic instinct, emotionality of music Academic principles of Camerata

Opera houses Audience appeal

Lavish stage spectacles, arias

Baroque Instrumental Baroque Instrumental and Vocal Musicand Vocal Music

Baroque Instrumental Baroque Instrumental and Vocal Musicand Vocal Music

Oratoriio Dietrich Buxtehude (1637-1707)

Chorale fantasies, suites for harpsichord Domenico Scarlatti (1685-1757)

Harpsichord virtuoso, sonatas Georg Frideric Handel (1685-1759)

Oratorios (Messiah) Operas

Oratoriio Dietrich Buxtehude (1637-1707)

Chorale fantasies, suites for harpsichord Domenico Scarlatti (1685-1757)

Harpsichord virtuoso, sonatas Georg Frideric Handel (1685-1759)

Oratorios (Messiah) Operas

Baroque Instrumental and Vocal Music:Baroque Instrumental and Vocal Music:Johann Sebastian Bach Johann Sebastian Bach (1685-1750)(1685-1750)

Baroque Instrumental and Vocal Music:Baroque Instrumental and Vocal Music:Johann Sebastian Bach Johann Sebastian Bach (1685-1750)(1685-1750)

Virtuoso of composition, performance Complexity of musical thought

Polyphony, fugue, counterpoint Expression of deep religious faith

Chorale preludes, cantatas Brandenburg Concertos Antonio Vivaldi

Concerto grosso (Vivaldi)

Virtuoso of composition, performance Complexity of musical thought

Polyphony, fugue, counterpoint Expression of deep religious faith

Chorale preludes, cantatas Brandenburg Concertos Antonio Vivaldi

Concerto grosso (Vivaldi)

Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period

Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period

“Coming of age” of modern philosophy Philosophy as independent discipline Objective demonstration vs. abstract

generalization Supernatural explanations insufficient

“Coming of age” of modern philosophy Philosophy as independent discipline Objective demonstration vs. abstract

generalization Supernatural explanations insufficient

Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period

Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period

Galileo Galilei (1564-1642) Astronomy, physics Heretical denunciation of Ptolemaic view

Support of Copernican theory Experiment, observation

Telescope Motion

Galileo Galilei (1564-1642) Astronomy, physics Heretical denunciation of Ptolemaic view

Support of Copernican theory Experiment, observation

Telescope Motion

Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period

Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period

René Descartes (1596-1650) Father of Modern Philosophy Criteria for defining reality

“Cogito, ergo sum” What is clearly perceived must exist Argument for the existence of God

René Descartes (1596-1650) Father of Modern Philosophy Criteria for defining reality

“Cogito, ergo sum” What is clearly perceived must exist Argument for the existence of God

Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period

Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period

Thomas Hobbes (1588-1679) Materialism Leviathan

Theory of society, no divine law Offended theologians, rationalists

Personal liberty vs. security

Thomas Hobbes (1588-1679) Materialism Leviathan

Theory of society, no divine law Offended theologians, rationalists

Personal liberty vs. security

Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period

Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period

John Locke (1632-1704) Predecessor to the Enlightenment Nature of ideas

Perceptions, personal property Limitations of human knowledge Significance of experience

John Locke (1632-1704) Predecessor to the Enlightenment Nature of ideas

Perceptions, personal property Limitations of human knowledge Significance of experience

Seventeenth-Century:Seventeenth-Century:

French Baroque Comedy and TragedyFrench Baroque Comedy and TragedySeventeenth-Century:Seventeenth-Century:

French Baroque Comedy and TragedyFrench Baroque Comedy and Tragedy

Molière (1622-1673) Comedic drama deflates pretense, pomposity

Pierre Corneille (1606-1684) Eternal truths about human behavior

Jean Racine (1639-1699) Themes of self-destruction Psychological explorations

Molière (1622-1673) Comedic drama deflates pretense, pomposity

Pierre Corneille (1606-1684) Eternal truths about human behavior

Jean Racine (1639-1699) Themes of self-destruction Psychological explorations

Literature in the Seventeenth Century:Literature in the Seventeenth Century:

The Novel in Spain: CervantesThe Novel in Spain: CervantesLiterature in the Seventeenth Century:Literature in the Seventeenth Century:

The Novel in Spain: CervantesThe Novel in Spain: Cervantes

Picaresque novel Don Quixote

Satire of medieval chivalric romances Reality vs. Illusion Relationship between art and life

Synthesis of comedy and tragedy

Picaresque novel Don Quixote

Satire of medieval chivalric romances Reality vs. Illusion Relationship between art and life

Synthesis of comedy and tragedy

Seventeenth-Century Literature:Seventeenth-Century Literature:

The English Metaphysical PoetsThe English Metaphysical PoetsSeventeenth-Century Literature:Seventeenth-Century Literature:

The English Metaphysical PoetsThe English Metaphysical Poets

King James version of the Bible Metaphysical concern with self-analysis

John Donne (1572-1631) Richard Crashaw (1613-1649) Andrew Marvell (1621-1678)

King James version of the Bible Metaphysical concern with self-analysis

John Donne (1572-1631) Richard Crashaw (1613-1649) Andrew Marvell (1621-1678)

Seventeenth-Century Literature:Seventeenth-Century Literature:

John John MiltonMilton’’s Heroic Visions Heroic VisionSeventeenth-Century Literature:Seventeenth-Century Literature:

John John MiltonMilton’’s Heroic Visions Heroic Vision

Paradise Lost (1667) “justify the ways of God to men” Biblical and Classical references Humanist principles + Christian doctrine Dramatic fervor, psychological insight

Paradise Lost (1667) “justify the ways of God to men” Biblical and Classical references Humanist principles + Christian doctrine Dramatic fervor, psychological insight

Chapter Fifteen: Discussion QuestionsChapter Fifteen: Discussion QuestionsChapter Fifteen: Discussion QuestionsChapter Fifteen: Discussion Questions In what ways does Bernini’s sculpture of David highlight the

characteristics of the Baroque period? Compare Donatello’s David and Michelangelo’s David with that of Bernini. What cultural and/or historical statements can be made about each of the David sculptures if they are viewed as “signs of their times”? Why would these artists choose David as their subject? Why does each artist depict him differently? Explain.

Despite the French dislike of the Baroque, how did the style permeate the art and architecture of France? Cite specific examples that illustrate the characteristics of the Baroque in seventeenth- and eighteenth-century France.

What contributed to the lack of wealthy and/or noble patrons of Baroque art in Northern Europe? In what ways did the intended audience influence the artwork? Explain, citing specific examples.

Explain the parallels and connections among Baroque art, philosophy, and literature. What elements of the Baroque are the most prevalent in our current culture?

In what ways does Bernini’s sculpture of David highlight the characteristics of the Baroque period? Compare Donatello’s David and Michelangelo’s David with that of Bernini. What cultural and/or historical statements can be made about each of the David sculptures if they are viewed as “signs of their times”? Why would these artists choose David as their subject? Why does each artist depict him differently? Explain.

Despite the French dislike of the Baroque, how did the style permeate the art and architecture of France? Cite specific examples that illustrate the characteristics of the Baroque in seventeenth- and eighteenth-century France.

What contributed to the lack of wealthy and/or noble patrons of Baroque art in Northern Europe? In what ways did the intended audience influence the artwork? Explain, citing specific examples.

Explain the parallels and connections among Baroque art, philosophy, and literature. What elements of the Baroque are the most prevalent in our current culture?