europe, 1600 1700
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Europe, 1600-1700
The baroque uses the same system of forms, but in place of the perfect, the completed, gives the restless, the becoming, in place of the limited the conceivable, gives the limitless, the colossal. The ideal of beautiful proportion vanishes, interest concentrates not on being, but on happening. The masses, heavy and thickset, come into movement…The relationship of the individual to the world has changed, a new domain of feeling has opened, the soul aspires to dissolution in the sublimity of the huge, the infinite. "Emotion and movement at all costs."
-from The Principles of Art History by Heinrich Wolfflin, 1915
Europe in the 17th Century• Period of unrest &
uncertainty - prosperity and decline
• Widespread warfare (Thirty Years War)
• Continued conflict between Catholics and Protestants
• Expanded worldwide markets for goods (coffee, tea, sugar)
• Colonialism & the slave trade
• Oil on canvas• Art as propaganda for
patrons, church & state
Europe in 1648 after the Treaty Of Westphalia, fig.10-1
Dates and Places: • 1600 to 1700• Italy (Rome), Spain, Dutch
Republic (Holland), FrancePeople & Events:• Catholic church & Counter
Reformation• Protestantism (Dutch Republic)• Powerful leaders: Pope Urban VIII
(Rome), Philip III & IV (Spain), Louis XIV (France)
• Imperialism & colonialism (Spanish rule of Netherlands & New World; Dutch in Africa, China, Japan)
• Merchant & upper middle class (Holland)
• More successful female artists (Gentileschi, Leyster, Ruysch)
• French Royal Academy
Saint Peter’s, 1506–1666. Fig. 10-3.
“the motherly arms of the church” by Bernini
Europe in the 17th Century
Themes:• Life of Christ, Virgin Mary, Saints• Mythology (Classical forms)• Allegory• Portraiture• Genre scenes (landscape, still life)Forms:• Baroque • Unity of arts for dramatic/theatrical
effect (mixed media)• Large scale (Italy, Spain, France)
vs. small scale (Dutch Republic)• Dynamic illusionism• Dramatic chiaroscuro, tenebrism• Painterly (loose brushwork)• Elaborate ornamentation• Realism (everyday life)
Hiroshi Sugimoto, from his Theaters series, 1970-present
Europe in the 17th Century
David Matures…
Donatello, 15th century Michelangelo, 16th Century Bernini, 17th Century
Italy
Bernini, Cornaro ChapelSta Maria della Vittoria, Rome1645-52
Italy• 16th cent. Spanish mystic• Unity of arts to achieve
dramatic effect (theatrical)• Virtuoso treatment of marble
(wool, gauze, feathers)• Hidden window• Animated & ecstatic poses• Jesuit ideas (Ignatius Loyola
– 16th cent. founder of order)
BERNINI, Ecstasy of Saint Teresa, 1645–1652.
Fig. 10-6.
I saw in his hand a long spear of gold, and at the iron's point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it... -St. Teresa of Avila
Italy
CARAVAGGIO, Conversion of Saint Paul, ca. 1601.
Fig. 10-10.
“the anti-Christ of painting”(detail from David)
Caravaggio:
Italy• Brutal realism (publicly
denounced classical masters)• Despised by critics, beloved
by artists• Dramatic chiaroscuro &
tenebrism (shadowy background cut by harsh light) - symbolic
• Strong diagonals & foreshortening
• Humanity of characters• Sacred scenes set on the
rough streets of contemporary Rome
• Counter-Reformation strategy CARAVAGGIO, Conversion of Saint Paul, ca. 1601. Fig. 10-10.
Judith Slaying Holofernes by Artemisia Gentileschi, ca.1614-20, oil on canvas
The Caravaggisti
(followers ofCaravaggio)
• Gentileschi• Velazquez• Rubens• Rembrandt
Class Activity
Principles of Art History*Heinrich Wolfflin, 1915
1) Linear vs. painterly
2) Planar vs. recession
3) Closed form vs. open form
4) Multiplicity vs. unity
5) Absolute vs. relative clarity
* Applied to Renaissance vs. Baroque art
(also classical vs. non-classical art)
Example – Renaissance vs. Baroque
MASACCIO, Holy Trinity, ca. 1424–1427
PETER PAUL RUBENS, Elevation of the Cross, 1610. Fig. 10-17.
FRANCESCO BORROMINI, San Carlo alle Quattro Fontane, 1665–1676. Fig. 10-7.
#1 – Italian Architecture 15th vs. 17th Century
LEON BATTISTA ALBERTI, Santa Maria Novella, Florence, 1456–1470. Fig. 8-33.
Italy
Italy• Sculptural treatment of
architecture • Projection and recession of
façade (2) and interior, undulating motion (concave and convex)
• Oval: dynamic shape vs. static circle
• Dramatic effects of light and shadow
BORROMINI, San Carlo alle Quattro Fontane, 1665–1676.
Fig. 10-7.
MICHELANGELO BUONARROTI, ceiling,
Sistine Chapel, 1508–1512. FRA ANDREA POZZO, Glorification of Saint Ignatius, 1691-94
Italy – #2 ceiling fresco 16th vs. 17th century
Italy
• Illusionistic ceiling fresco (painter wrote treatise on perspective)
• Single viewpoint for correct perspective (marked by disc in nave floor)
• Seems to extend and
open church architecture• Allegory of triumph of
Society of Jesus; theatrical• Christ receives St. Ignatius,
figures around them symbolize 4 corners of world
FRA ANDREA POZZO, Glorification of Saint Ignatius, Sant’Ignazio, Rome 1691–1694.
Fig. 10-13.
DIEGO VELÁZQUEZ, Las Meninas, 1656. Fig. 10-16.
#3 – 16th vs. 17th Century Painting Italy vs. Spain
RAPHAEL, Philosophy (School of Athens), 1509–1511. Fig.9-7.
Spain
Spain• Royal portrait without
definitive subject (Philip IV)• Enigmatic image of
absolute monarchy• Artist’s noble status as
member of court (in artist’s studio, Order of Santiago)
• Natural light & loose brushwork
• Large scale• Earthy palette (grey, brown)• Vision, space, reflection
(viewer occupies same space as king & queen)
• Art of painting as subject(the gaze & visual complexity)
DIEGO VELÁZQUEZ, Las Meninas, 1656. Fig. 10-16.. 10’ x 9’
Copies of paintings by Rubens
Las Meninas and Contemporary Art
Las Meninas, Pablo Picasso, 1957
89 Seconds at Alcazar, Eve Sussman, 2004, video
REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642, oil on canvas, Fig. 10-22.
#4 – 15th Century Italian vs. 17th Century Dutch Painting
Perugino, Christ Giving the Keys to St. Peter, 1481Sistine Chapel, Vatican, Rome, Italy
Dutch Republic
Dutch Republic• Civic militia group portrait for
assembly hall (Musketeers) in Amsterdam
• Acquired shortened title later after varnish had darkened
• Cropped in 18th cent. – arch, balustrade, steps in front gone
• Challenge to represent participants (each (16) paid fee)
• Selection of spontaneous moment (in act of organizing, arming themselves)
• Light as dramatic device • Subtle modulation of light
and shadow for mood
Peter Greenaway’s Rembrandt’s J’Accusehttp://www.youtube.com/watch?v=ZSAg5EqgiMI
REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Fig. 10-22., 11’ x 14’
Captain Cocq and lieutenant
14’
12’
Girl is allegory of group – dead chicken symbol of guns used, arquebusiers, and victory over adversary
Dutch Republic
JAN VERMEER, Allegory of the Art of Painting,
1670–1675. Fig. 10-26.
Dutch Republic• Quiet, peaceful domestic scenes
of Dutch middle-class life• Women are primary subjects• Smaller scale• Careful rendering of objects
(tapestries, clothing, jewelry)• Study of natural light (usually
from one window on the left) • Pearly, light dabs of paint for
shimmering, soft surface texture • Optical devices (camera obscura)• Allegory of the art of painting• History as muse: model’s laurel
wreath, book, artist’s costume
JAN VERMEER, Allegory of the Art of Painting, 1670–1675.
Fig. 10-26.
3’
4’
self-portraitin costume
Map of DutchRepublic
Clio
Girl with a Pearl Earring, 2003
http://www.youtube.com/watch?v=m5ljByvlDP4
“Camera Obscura” scene
France
HYACINTHE RIGAUD, Louis XIV, 1701. Fig. 10-31.
“The Sun King”
I am the state!
France• Theatrical approach to
absolute monarch (red curtain)• Propaganda and surrogate for
king (aged 63)• Attributes: ermine coronation
robe, scepter, curtain, crown, fleur-de-lis
• Showing off legs, platform shoes for extra height (was ballet dance as youth)
• Establishes Royal Academy which serves king’s artistic needs & champions classical tradition
• Courtiers not allowed to turn back on painting
HYACINTHE RIGAUD, Louis XIV, 1701. Fig. 10-31.
5’4”(without heels)
France
JULES HARDOUIN-MANSART, CHARLES LE BRUN, and ANDRÉ LE NÔTRE, Versailles Palace, begun 1669. Fig. 10-32.
France• Louis XIV moves court • Proper setting for absolute
monarch• Axes meet at bedroom• Outfitted by Royal
Academy• Symbolic vocabulary of
mythology, Apollo (god of light and sun)
• Windows, chandeliers, Venetian mirrors bathe room in light
• Controlled nature: fountains, grounds
JULES HARDOUIN MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), ca. 1680. Fig. 10-33.
http://www.youtube.com/watch?v=-1C0vXtqcnUMarie Antoinette, Sofia Coppola, director, 2006
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