Chapter 24

Italy and Spain

1600 – 1700Baroque Art

Europe in the 17th Century

Figure 24-2 CARLO MADERNO, Santa Susanna, Rome, Italy, 1597–1603

Figure 24-2 CARLO MADERNO, Santa Susanna, Rome, Italy, 1597–1603.

GIACOMO DELLA PORTA, facade of Il

Gesù, Rome, Italy, ca. 1575–1584.

Figure 24-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.

Figure 24-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.

Figure 24-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.

CARLO MADERNO, plan of Saint Peter’s, Vatican City, Rome, Italy, with adjoining piazza designed by GIANLORENZO BERNINI.

Bramante

Michelangelo

Figure 24-4 Gianlorenzo Bernini, Aerial view of Saint Peter’s, Vatican City, Rome, Italy, 1506–1666.

Figure 24-5 GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City, Rome, Italy, 1624–1633. Gilded bronze, approx. 100’ high.

Figure 24-5 GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City, Rome,

Italy, 1624–1633. Gilded bronze, approx. 100’ high.

Figure 24-7 GIANLORENZO BERNINI, David, 1623. Marble, approx. 5’ 7” high. Galleria Borghese, Rome.

MYRON, Diskobolos (Discus Thrower). Roman marble copy after a bronze original of ca. 450 BCE, 5’ 1” high.

Museo Nazionale Romano—Palazzo Massimo alle Terme.

Figure 24-9 GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria,

Rome, Italy, 1645–1652. Marble, height of group 11’ 6”.

Figure 24-9 FRANCESCO BORROMINI, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1665–1676.

Figure 24-2 CARLO MADERNO, Santa Susanna, Rome, Italy, 1597–1603

Figure 24-10 , 11FRANCESCO BORROMINI, plan and dome of San Carlo alle Quattro Fontane, Rome,

Italy, 1638–1641.

Figure 24-18 CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”.

Figure 24-17 CARAVAGGIO, Conversion of Saint Paul, Cerasi Chapel, Santa Maria del

Popolo, Rome, Italy, ca. 1601. Oil on canvas, approx. 7’ 6” x 5’ 9”.

Naturalism

Tenebrism (tenebroso)

Figure 24-19 CARAVAGGIO, Entombment, from the chapel of Pietro Vittrice, Santa Maria in Vallicella, Rome,

Italy, ca. 1603. Oil on canvas, 9’ 10 1/8” x 6’ 7 15/16”. Musei Vaticani, Pinacoteca, Rome.

ROGIER VAN DER WEYDEN, Deposition, from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood,

approx. 7’ 3" x 8’ 7". Museo del Prado, Madrid.

Figure 24-20 ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620.

Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.

Figure 24-16 ANNIBALE CARRACCI, Loves of the Gods, ceiling frescoes in the gallery, Palazzo Farnese, Rome,

Italy, 1597–1601.

Quadro riportato – a ceiling painting in which painted scenes resemble framed figures transferred to a curved ceiling.

Figure 24-21 GUIDO RENI, Aurora, ceiling fresco in the Casino Rospigliosi, Rome, Italy, 1613–1614.quadro reportato – simulates a framed easel painting on the ceiling

Figure 24-22 PIETRO DA CORTONA, Triumph of the

Barberini, ceiling fresco in the Gran Salone, Palazzo Barberini, Rome,

Italy, 1633–1639.

Di sotto in su – illusionistic architectural painting aimed at extending real architecture into imaginary space “from the bottom up.”

Figure 24-23 GIOVANNI BATTISTA GAULLI, Triumph of the Name of Jesus, ceiling fresco

with stucco figures in the vault of the Church of

Il Gesù, Rome, Italy, 1676–1679.

Figure 24-24 FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant’Ignazio, Rome, Italy, 1691–1694.

Italian Baroque

•Establishment of trade routes, Europe becomes secularized•The importance of the Catholic church in commissioning art for the purpose of exerting their power and authority and encouraging a return to the Church – Saint Peter’s•Bernini’s work in architecture and sculpture—innovations, use of materials, emotional impact•The interest in creating drama in art -- strong light and dark contrast (tenebrism,) dynamic compositions, movement, and emotion•Caravaggio’s innovative portrayal of religious subject and his influence on other artists•Gentileschi – her graphic and powerful religious paintings•Ceiling paintings as a means to glorify the church – their stylistic characteristics

Spain 1600 – 1700Baroque Art

Figure 24-26 FRANCISCO DE ZURBARÁN, Saint Serapion, 1628. Oil

on canvas, 3’ 11 1/2” x 3’ 4 3/4”. Wadsworth Atheneum, Hartford (The Ella Gallup Sumner and Mary Catlin

Sumner Collection Fund).

Figure 24-27 DIEGO VELÁZQUEZ, Water Carrier of Seville, ca. 1619. Oil on canvas, 3’ 5 1/2” x 2’ 7 1/2”. Wellington Museum, London.

Figure 24-30 DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del

Prado, Madrid.

Figure 24-30 DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del

Prado, Madrid.

Figure 20-13 JAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434. Oil on wood, approx. 2’ 8" x 1’ 11 1/2". National

Gallery, London.

Figure 24-29 DIEGO VELÁZQUEZ, Surrender of Breda, 1634–1635. Oil on canvas, 10’ 1” x 12’ 1/2”. Museo del Prado, Madrid.

Figure 24-28 DIEGO VELÁZQUEZ, King Philip IV of Spain (Fraga Philip), 1644. Oil on

canvas, 4’ 3 1/8” x 3’ 3 1/8”. The Frick Collection, New York.

•Dramatic paintings illustrating the martyrdom of saints- style of Caravaggio•Velazquez’s paintings of royalty in genre-like scenes, innovative brush work, complex spatial construction (compare to High Renaissance, Caravaggio)

End of Chapter 24

Baroque in Spain