Baroque Art: 17th - Early 18th cBaroque Art: 17 - Early 18 c.

BaroqueFrom the Portuguese word barocco - irregularly shaped pearl which is beautiful, fascinating and strange.

A style of artistic expression prevalent especially in the 17th y p p p ycentury that is marked generally by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements often conveying a sense of drama, movement, and tension.

B f l d b th t l b t th R f ti f M ti L th d

Reformation and Counter Reformation

Baroque era was fueled by the struggle between the Reformation of Martin Luther and John Calvin in northern Europe, and the resulting Counter Reformation in

predominately Catholic southern Europe.

Reformation- Holland, Germany, England

Iconoclasm The art patronage of church and monarchy was substituted in the

Netherlands by a newly formed and wide based middleclass.Th i f till lif d bj t tt i D t h i ti

Counter-Reformation - Italy, Spain, Flanders

The rise of still life and genre subject matter in Dutch painting

y, p , Push to restore the power of the Catholic Church Building campaign in Romeg p g Art as religious propaganda

Baroque Architecture

CARLO MADERNO, Santa Susanna, Rome, Italy, 15971603.

C i G ACO OColumns with Corinthian

EntablaturesComparison: GIACOMO DELLA PORTA, facade

of Il Ges, Rome, Italy, ca.

Corinthian capitals

15751584.

Pedimented e

CARLO MADERNO, Santa Susanna, Rome, Italy, 15971603.

Scroll Buttresses

Pilasters with Corinthian capitals

Baroque: Maderno, Santa Susanna,15971603.

Early Renaissance: Alberti. Faade of S tA d 1470SantAndrea, 1470 Late Renaissance:

Della Porta, facade of Il Ges, 1575-84

St. Peter's Basilica stands on the traditional site where Peter - the apostle who is considered thewho is considered the first pope - was crucified and buried.

CARLO MADERNO, Facade of Saint Peter's, commissioned by Pope Paul V, Vatican City, Rome, Italy, 1606-1612.

Pope Benedict XVI with the 114 Cardinals that elected him. April, 2005Cardinals that elected him. April, 2005

Pope Benedict XVI looks on for the "Urbi et Orbi" ("To The City and to The World")City and to The World") Easter address from the central balcony of St Peter's Basilica at the Vatican. April 2007

Basilica Greek Cross Greek Cross with a Portico Latin Cross

Saint Peters:http://youtu.be/R5UK0dEFSoM

Latin CrossGreek Cross

Comparison:PantheonRome, Italy,118125 CE.

The inscription states: "Paul V Borghese, Roman, Pontiff, in the year 1612, the seventh of his pontificate, [erected] in honour of the Prince of Apostles.

CARLO MADERNO, NO,

Facade of Saint Peter's, Rome,

Italy, 1606-1612.

CARLO MADERNO, facade of Saint Peter's, commissioned by Pope Paul V, Vatican City, Rome, I l 1606 1612Italy, 1606-1612.

CARLO MADERNO, Santa Susanna, Rome, Italy, 15971603.

What makes Maderno's facade Baroque?

Wavy facade creates light & shadow

Mix of columns and pilasters

Sculptures decorate the top of the facade

Small pediment

Swiss Guards at the St. Peter's Basilica

Swiss Guards are Swiss mercenary soldiers who have served as bodyguards, ceremonial guards, and palace guards at foreign European courts from the late 15th century until the present day.

St. Peters with Berninis Piazza, 1656-1667

The square provides a monumental entrance to St. Peter's and a place where crowds, up to half a million at a time, gather to receive the pope's blessing. , p , g p p g

Aerial view of Saint Peters, Vatican City, Rome, Italy. Madernos faade 1606-12. Berninis Piazza c. 1656-57

The keys used as a symbol of the Pope'sThe keys used as a symbol of the Pope s authority refer to the "keys of the kingdom of Heaven" promised to Peter (Matthew 16:1819).16:18 19).

Gian Lorenzo Bernini. St Peter's Square (Piazza San Pietro). 240m wide. 1656-1667

Colonnade

Tuscan Order

Francesco BorrominiFrancesco Borromini 1599-1667

Italian Baroque architect. Though he worked with Bernini on the design of the famous baldachin in St. Peter's Basilica, the two later became bitter rivals. His works, composed of flowing concave andworks, composed of flowing concave and convex forms, contain spaces that are irregular ovals and polygons.

Though bitterly resentful of what he felt to be a lack of just recognition, he was indifferent toward wealth and rejected the jfashions of normal dress. Intractable and melancholic, he was infamous for his fits of rage. His fortunes declined in later years, and in 1667 he committed suicideand in 1667 he committed suicide.

BORROMINI, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1665-1676.

Renaissance: Alberti. Faade of SantAndrea, 1470

Borromini, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1665-1676.

FRANCESCO BORROMINI. Facade of San Carlo alle Quattro Fontane, Rome,

Italy 1665-1676Italy, 1665-1676.

FRANCESCO BORROMINI SanFRANCESCO BORROMINI. San Carlo alle Quattro Fontane, Plan and Dome. 1665-1676.

The dome is decorated with a l t i tt fcomplex geometric pattern of

coffers of crosses, ovals, octagons and hexagons. The upper lantern shows clouds opening to show ashows clouds opening to show a descending white dove.

Exterior and interior details

FRANCESCO BORROMINI, Chapel of Saint Ivo (plan and view into dome), College of the Sapienza, Rome, Italy, begun 1642.

Characteristics of Baroque Architecture:

Great curving forms with undulating f dfacades

Dramatic use of light and sense of movement Gian Lorenzo Bernini

Opulent use of ornaments and sculptural treatment of surfaces

St Peter's Square, 1656-57

Maderno, Facade of Saint Peter's, 1606-1612

The external faade is often characterized by a dramatic central projection

Illusory effects like trompe l'oeil and the y pblending of painting and architecture

Domes of various shapes

Use of the classical architectural vocabulary

Colossal scale incorporating urban and landscape planning Borromini Sanp p g

Complex architectural plan shapes, often based on the oval

Borromini, San Carlo alle

Quattro Fontane, 1665-1676

Baroque Sculpture Baroque Sculpture is characterized by high drama tension and extravagancehigh drama, tension, and extravagance.

Combines different materials within a single work and often uses one material to i l hsimulate another.

Gianlorenzo Bernini (1598-1680), Italian Sculptor, architect, painter, and poet, who made an outstanding contribution to the evolution of Baroque. Born in Naples, his family settled in Rome (c.1605), where he spent the rest of his life. By the age of 20 he was famous, and from the election of Pope Urban VIII (162344) his rise was meteoric.

Bernini won fabulous acclaim for his theater spectaculars He wrote plays and staged those byspectaculars. He wrote plays and staged those by others in the vast theater of the Barberini Palace. For these he invented stage machinery to produce effects that amazed his audiences: rising platforms

Bernini. Self-Portraits

g pfilled with people, sheets of water that seemed about to flood the theater, flames that seemed about to destroy it.

Baldachin (Italian: baldacchino) : Freestanding

f d lcanopy of stone, wood, or metal over an altar or tomb.

Gianlorenzo Bernini, Baldacchino, Saint Peter's, Vatican City, Rome, Italy, 1624-33. Gilded bronze (taken from the portico of the Parthenon), 100' h.

Gianlorenzo Bernini,

Baldachin and The Altar of the Chair of St. Peter

Saint Peter's Vatican City RomeSaint Peter's, Vatican City, Rome, Italy, 1624-33. Gilded bronze (taken from the portico of the Parthenon), 100' h100 h.

GianlorenzoBernini,

Baldacchino, 1624-

Workshop of Raphael The Donation of Constantine

Baldacchino, 162433. Gilded bronze

Workshop of Raphael, The Donation of Constantine(1520s)

In the 4th century Constantine the GreatIn the 4th century, Constantine the Great brought a set of columns to Rome and gave them to the original St. Peter's Basilica. The Donation of Constantine shows these columnsDonation of Constantine shows these columns in their original location.

The middle and upper sections of the columns are covered in olive and bay branches, which are populated with a myriad of bees and small putti.

Pope Urban VIII's family coat of arms, those of the ,Barberini family, with their signature bees, are at the base of every column.

Berninin. Cathedra P t i Alt f thPetri, Altar of the

Chair of St. Peter. Gilt Bronze. 1656-66

Holy Spirit as Dove, Stained

Glass

Gianlorenzo Bernini, David, 1623-24, Marble, height 170 cm

Bernini. Self-Portrait

The tense facial expression is modeled on Bernini himself as he struggled with his tools to work the hard marble. According to contemporary sources Cardinal M ff B b i i (l t P U b VIII) hi lf h ld th i d i itMaffeo Barberini (later Pope Urban VIII) himself held the mirror during its execution.

The oversize body armor leant to David by King Saul before the encounter lies on the ground with Davids harp, which is decorated with an eagle's head, a symbolic

f h B h f ilreference to the Borghese family.

Gianlorenzo Bernini, David, 1623. Marble, 5' 7" hi h G ll i B hAgasias of Ephesus, Borghese Gladiator high. Galleria Borghese, Rome.

Agasias of Ephesus, Borghese Gladiator Roman Copy (ca. 100 AD) of Hellenistic original of the 3rd century BC. By 1613 it was in the Borghese collection.

Gianlorenzo Bernini, David, 1623. Marble, 5' 7" hi h G ll i B h

Donatello, David, 1430, bronze Michelangelo, David,

1501 marble high. Galleria Borghese, Rome.

1501, marble.

Comparison:ManneristSculpture

The first large-scale group since classical antiquitysince classical antiquity designed to be seen from multiple view points

Giovanni Bologna

R f th S bi WRape of the Sabine Womenmarble, 13 1/2 feet high1583

ATHANADOROSATHANADOROS,

Greek HellenisticGreek Hellenistic

HAGESANDROS, and POLYDOROS OF M i t

Baroque

RHODES, Laocon and his sons, from Rome, Italy, early

first century CE Marble,

Mannerist

Giovanni BolognaRape of the Sabine

Gianlorenzo Bernini, David, 1623. Marble, 5' 7" high. Galleria B h Rapprox. 7 10 1/2 high.

Vatican Museums, Rome.

Rape of the Sabine Women

marble, 13 1/2 feet high, 1583

Borghese, Rome.

GianlorenzoBernini, Ecstasy of

Saint Teresa, CornaroChapel, Santa Maria d ll Vitt i Rdella Vittoria, Rome,

Italy, 1645-1652. Marble, height of

group 11' 6"group 11 6 .

GianlorenzoBernini, Ecstasy of

Saint Teresa, CornaroChapel, Santa Maria della Vittoria, Rome,

Italy, 1645-1652. M bl h i h fMarble, height of

group 11' 6".

I felt such infinite sweetness th t I i h d th i t l tthat I wished the pain to last eternally. It was the sweetest caressing of the soul by God.

St. Teresa

Cardinal Federigo Cornarogcommissioned Bernini to execute the sculpture.

Federigo his deceased father and sixFederigo, his deceased father and six cardinals appear on the balconies on both sides.

Michelangelo, Pieta, c. 1500. marble, H 5 8 St. Peter's, Vatican, Rome.

Gianlorenzo Bernini, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645-1652. Marble, H. 11' 6".