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  • Chapter 25 BaroqueFrance and England

Europe in the 17 thCentury Figure 25-24NICOLAS 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, 15091511. Fresco, approx. 19 x 27. Figure 25-25NICOLAS POUSSIN, Burial of Phocion, 1648. Oil on canvas, approx. 3 11 x 5 10. Louvre, Paris. Figure 24-51JACOB 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 25-26CLAUDE 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 dellAccademia, 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 25-27LOUIS 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. 16601665. Oil on canvas, 2 8 1/4 x 2 3 3/4. Rijksmuseum, Amsterdam. Figure 25-29GEORGES DE LA TOUR, Adoration of the Shepherds, 16451650. Oil on canvas, approx. 3 6 x 4 6. Louvre, Paris. Figure 25-30HYACINTHE RIGAUD, Louis XIV, 1701. Oil on canvas, approx. 9 2 x 6 3. Louvre, Paris. Portrait of Henry VIII 1540 Oil on panel, 88,5 x 74,5 cm Galleria Nazionale d'Arte Antica, Rome Figure 25-5ANTHONY VAN DYCK, Charles I Dismounted, ca. 1635. Oil on canvas, approx. 9 x 7.Louvre, ParisFLEMISH painting in the English court. Figure 25-31CLAUDE PERRAULT, LOUIS LE VAU, and CHARLES LE BRUN, east facade of the Louvre, Paris, France, 16671670. Figure 25-31CLAUDE 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 16 thcen 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 FRANOIS BLONDEL). The area outlined in the white trapezoid (lower center) is shown in FIG. 24-67. Figure 25-33JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Versailles, Versailles, France, ca. 1680. Alternate View Hall of Mirrors, raking view of exterior wall with windows and candelabras. 2005 Saskia Cultural Documentation, Ltd. Figure 25-34FRANOIS GIRARDON and THOMAS REGNAUDIN, Apollo Attended by the Nymphs, Grotto of Thetis, Park of Versailles, Versailles, France, ca. 16661672. Marble, life-size. Park of Versailles. Alternate View Total from front: view showing size of man-made grotto 2005 Saskia Cultural Documentation, Ltd. Figure 25-36JULES HARDOUIN-MANSART, glise de Dme, Church of the Invalides, Paris, France, 16761706. MICHELANGELO BUONARROTI, Saint Peters (view from the northwest), Vatican City, Rome, Italy, 15461564. Dome completed by GIACOMO DELLA PORTA, 1590. 2005 Saskia Cultural Documentation, Ltd. Baroque in England Figure 25-37INIGO JONES, Banqueting House at Whitehall, London, England, 16191622. LEON BATTISTA ALBERTI, Palazzo Rucellai, Florence, Italy, ca. 14521470. ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 15661570. Figure 25-37Alternate View Total from NW 2005 Saskia Cultural Documentation, Ltd. Figure 25-38SIR CHRISTOPHER WREN, new Saint Pauls Cathedral, London, England, 16751710.

  • 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 Palladios 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)