Transcript

THE BAROQUE PERIOD

SPANISH & FLEMISH BAROQUE

SPANISH BAROQUE

Spanish Baroque Francisco de Zurbaran Saint Serapion, 1628.

Zurbaran was also influencedby Caravaggio and the

Caravaggistic style.

Saint Serapion, who participated in the Third Crusade of 1196, was

martyred while preaching the Gospel to Muslims. According to

one account of his martyrdom, the monk was tied to a tree, tortured,

and decapitated. In this work, Zurbaran conveys the fierce

devotion of Catholic Spain

In the painting, two tree branches are barely visible in the

background. The small note on the right identifies him for the viewers.

SPANISH BAROQUE

Spanish Baroque

Diego VelazquezWater Carrier of Seville,

Wellington Museum, London 1619.

Created when he was only twenty years old, this masterpiece impressively

displays the command that Velazquez had for his craft. He rendered he figures

with clarity and dignity, and his use of tenebrism shows an intense interest in

Caravaggio’s work.

The contrast of darks and lights, along with the plebeian nature of the figures,

reveal the influence of Caravaggio, whose work Velazquez had studied. The artist present this genre scene

(one from everyday life) with such care and conviction it seems to convey a

deeper significance.

SPANISH BAROQUE

Spanish Baroque

Diego VelazquezWater Carrier of Seville,

Wellington Museum, London 1619.

Created when he was only twenty years old, this masterpiece impressively

displays the command that Velazquez had for his craft. He rendered he figures

with clarity and dignity, and his careful depiction of the water jugs in the

foreground, complete with droplets of water, adds to the scene’s credibility.

SPANISH BAROQUE

Spanish Baroque

Diego VelazquezKing Phillip IV of Spain

(Fraga Philip), 1644.

Also known as the Fraga Philip, because it was painted in the town of Fraga in Aragon. Such a designation differentiates the many

royal portraits from one another.

Philip IV appears as a military leader, arrayed in red and sliver campaign dress. Because the king was not a commanding

presence and because he had inherited the large Hapsburg jaw (the result of dynastic

inbreeding), Velazquez had to find creative ways to “ennoble” the monarch. He

succeeded by focusing attention on the dazzling military regalia while not idealizing

Philips appearance.

SPANISH BAROQUE

Spanish Baroque

Diego VelazquezKing Phillip IV of Spain, 1656.

SPANISH BAROQUE

SPANISH BAROQUE

Spanish Baroque

Carlos II (King Philip’s inbred son Charles, with a serious case of the Hapsburg Jaw)

SPANISH BAROQUE

Spanish Baroque The inbred bloodline of the Hapsburgs

SPANISH BAROQUE

Spanish Baroque Diego Velazquez Las Meninas (The Maids of Honor), 1656.

Velazquez painted his greatest masterpiece, Las Meninas, after he

returned to Spain. In it, Velazquez showed his mastery of both form and content.

The painter repreented himself in his studio standing before a large canvas, on which he may be painting this very picture or, perhaps, the portraits of King Philip IV

and Queen Mariana, whose reflections appear in the mirror on the far wall.

The young Infanta (princess) Margarita appears in the foreground with her two

maids-in-waiting, her favorite dwarfs, and a large dog. Velazquez extended the

pictorial depth of his composition in both directions. The open doorway and its

ascending staircase lead the eye beyond the artist’s studio, and the mirror device

and the outward glances of several of the figures incorporate the viewer’s space into

the picture as well.

SPANISH BAROQUE

Spanish Baroque

Diego Velazquezdetail of the artists, Las Meninas

(The Maids of Honor) 1656.

SPANISH BAROQUE

Spanish Baroque Diego Velazquez, Las Meninas, 1656. SPANISH BAROQUE

SPANISH BAROQUE

Spanish Baroque Pablo Picasso, Las Meninas, 1957.

SPANISH BAROQUE

Spanish Baroque

An ángel arcabucero (arquebusier angel) is an angel depicted with an arquebus (an early long barrel, muzzle-loaded firearm) instead of the sword traditional for martial angels, dressed in clothing inspired by that of Spanish aristocrats.

First appearing in Peru (a Spanish colony), these images were widespread throughout the Andes, in places such as La Paz, Bolivia, and as far as present-day Argentina. Representing celestial, aristocratic, and military beings all at once, these angels were created after the first missionising period, as Christian missionary orders persistently sought to terminate the practice of pre-Hispanic religions and enforce Catholicism.

Master of Calamarca,Archangel with Arquebus (gun), Asiel Tinor Dei. 17th Century CE. Oil on canvas.

FLEMISH BAROQUE

Flemish Baroque

Peter Paul Rubens

Anthony Van Dyck

Jan Brueghel

FLEMISH BAROQUE

Flemish Baroque

Peter Paul RubensSelf-Portrait, c1623.

Paul Ruebensa.k.a. Pee Wee Herman

FLEMISH BAROQUE

Flemish Baroque

Peter Paul Rubens, Raising of the Cross, 1609-1610. FLEMISH BAROQUEThe work shows the clear influence of

Italian Renaissance and Baroque artists such as Caravaggio, Tintoretto, and

Michelangelo. The central panel illustrates a tension between the multitude of finely muscled men attempting to lift the cross and the seemingly unbearable weight of

Christ on the cross. Unlike most of his predecessors, note Rubens’ attempt to

create a scene in which all three panels work together.

Rubens' foreshortening is evident in the contortions of the struggling, strapping

men. Christ cuts across the central panel in a diagonal, stylistically akin to

Caravaggio's Entombment where both descent and ascent are in play at a key

moment. Motion, space and time are illustrated along with the struggle to upright the cross. Rubens uses dynamic color and

chiaroscuro boldly, a style that would become more subtle with time.

FLEMISH BAROQUE

Flemish Baroque

Peter Paul Rubens, Raising of the Cross, 1609-1610. FLEMISH BAROQUE

FLEMISH BAROQUE

Flemish Baroque

Peter Paul Rubens, Decent From the Cross, 1611-1612.

FLEMISH BAROQUE

Flemish Baroque

Peter Paul Rubens, Erection of the Cross, 1609-1610. FLEMISH BAROQUE

FLEMISH BAROQUE

Flemish Baroque

Peter Paul Rubens.St. Sebastian. c.1618.

Andrea Mantegna,St. Sebastian. c.1480.

FLEMISH BAROQUE

Flemish Baroque

Jan Brueghel the Elder and Peter Paul Rubens.Allegory of Sight (Part of the Five Senses series). c. 1618.

FLEMISH BAROQUE

Flemish Baroque Peter Paul Rubens, The Judgment of Paris, c1636.

FLEMISH BAROQUE

Flemish Baroque Peter Paul Rubens, Portrait of Marie d’Medici, 1622.

The Marie de' Medici Cycle is a series of 21 paintings by Peter Paul Rubens commissioned by Marie de' Medici, wife of Henry IV of France, for the Luxembourg Palace in Paris. Rubens received the commission in the autumn of 1621. Twenty-one of the paintings depict Marie's own struggles and triumphs in life. The remaining three are portraits of herself and her parents. The paintings now hang in the Louvre in Paris.

FLEMISH BAROQUE

Flemish Baroque

Peter Paul Rubens,Marie Arrives At Marseilles,1622-1625.FLEMISH BAROQUE

FLEMISH BAROQUE

Flemish Baroque Peter Paul Rubens, Marie Arrives At Marseilles, 1622-1625.

FLEMISH BAROQUE

Flemish Baroque

Peter Paul Rubens,Henry IV Receiving the Portrait of

Marie d’Medici, 1621-1625.

FLEMISH BAROQUE

Flemish Baroque Peter Paul Rubens, The Marie d’Medici Cycle, 1622.

FLEMISH BAROQUE

Flemish Baroque Anthony Van Dyck, Self-Portrait with Sunflower.

FLEMISH BAROQUE

Flemish Baroque

Anthony Van Dyck,Charles I at the Hunt, 1635.

The subject of this work is King Charles I of England pictured on one of his countryside

hunts. Charles was an avid art fan and during his reign he asked various artists, especially those promoting the Counter-

Reformation, to come and carry out work for him. His love of art was actually the reason

he accumulated various debts. Anthony van Dyck was Charles' favorite painter and

settled at his Court after 1630. Here, he’s pictured as an average human being in this work, although his exquisite attire makes it

clear that he is a gentleman of high esteem and status. This is also proven by his

teardrop earring which was worn as a sign of being a gentleman during the 17th century. The King wanted to appear

aristocratic but also show a more human side as he embraces the pastime of hunting.

FLEMISH BAROQUE

Flemish Baroque Anthony Van Dyck, Charles I at the Hunt, 1635.


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