schoellhorn-ap art history the beginning of baroque 1600-1700 c.e

Download Schoellhorn-AP Art History THE BEGINNING OF BAROQUE 1600-1700 C.E

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Schoellhorn-AP Art History THE BEGINNING OF BAROQUE 1600-1700 C.E. Slide 2 The Wars of Religion The Protestant Reformation led to multiple religious wars, Catholics vs. Protestants. Holland became Protestant, breaking from Spain (Flanders remained Catholic in the South) French Catholics fought against Hugenots (Protestants) until the Edict of Nantes in 1598. Henry IV- France is worth a mass. Thirty Years War- German states fighting Spanish HRE for Protestant rulers. Slide 3 The Sound of Science Scientific discoveries also threatened the power of the Catholic Church. Galileo-Heliocentric Theory Isaac Newton- Deism, gravity, God as the watchmaker Tyco Brahe Johannes Kepler Slide 4 Slide 5 The Counter-Reformation: A Religious Public Relations Campaign Officially began at the Council of Trent (1535-1563) to regain faith to the church. Ended (some) corrupt practices of the church (simony, lust, etc) Required priests to attend seminaries Recruited missionaries (especially to the new world) to recruit non Christians. Jesuit orders established, founding religious schools (Get em while theyre young approach) Slide 6 Dont Call it a Comeback-(LL Cool J) Baroque art began in Rome with patronage of Catholic church visual side of the Catholic Church renovations, used to reaffirm Catholic beliefs. Sacred images are completely okay Miracles were real and totally possible. Mary and all the Saints should be worshiped and are important. Slide 7 The Basics of Baroque Deliberately evokes an emotional response from viewers (Venetians and mannerists already did this). Dont just think about it, feel it! Canvas is a theater, using lighting for dramatic effect. Intense emotion Realistic portrayals from nature Dramatic movement Bright, vivid colors Take the viewer INTO the painting through illusion, lighting, tromp loeil Blended together techniques, grand scale of the Renaissance with emotion, intensity and drama of Mannerism Slide 8 A Bias Against Baroque Baroque is a term often used negatively, meaning ostentatious, overdone, gaudy. Do you agree? Slide 9 The Religious Divide With Baroque Art Catholic countries will focus on religious art Church and loyal royalty were patrons Spain France Flanders Italy Protestant countries focus on portraits, still lifes, genre scenes, landscapes (no icons) Merchants, nobility were patrons England Holland (Dutch) Slide 10 The Impact of Italy Academies were created in Italy to train artists in Renaissance classical styles. Baroque artist combined Renaissance balance with Baroque emotion Static composure with dynamic movement Idealization combined with naturalistic observation Genre paintings, portraits, still lifes with Classical references. Sometimes, emotion, realism and classicism were combined all at once! Slide 11 Carracci vs. Caravaggio What differences do you see? Slide 12 The Carracci Brothers: Agostino and Annibale, Cousin Ludovico all shared a studio on Bologna. Founded an art academy in 1582 1595: Annibale hired by Cardinal Farnese to decorate Palazzo Farnese. Farnese Duke was marrying the Popes niece Requested scenes of love from Ovid (Roman poet) Metamorphoses. Michelangelos Sistine Chapel was inspiration. Slide 13 Carracci, The Loves of the Gods Slide 14 What is this scene? Slide 15 Jupiter and Juno Selene and Endymion Aphrodite and Aeneus Slide 16 Specifics on the Ceiling 1597-1601 Di sotto in su ( From below, up)- Figures hover from above, looking down. Tromp loeil ignudi separate the scenes. Quadro riportato: wall mural on a curved ceiling. Viewer must stand in a particular spot for it to appear right side up. Barrel vault ceiling, divided into compartments, frames Slide 17 Creating Like Carracci Carracci inspired other artists to undertake ceiling frescos Tried to create drama of immeasurable heaven Di sotto in su Quadratura: Architectural settings painted in meticulous perspective Architecture continues to appear beyond viewers eye, into the sky. Slide 18 Quadro Riportato: Needs a particular viewing point. Slide 19 Di sotto in su: Who is this? Slide 20 Quadratura Slide 21 Guido Reni, Aurora, 1613-1614 Which trend: Classicist or Naturalist? Technique: Di sotto in su, quadratura, or quadro riportato? Classical influence? Raphael Aurora leads chariot of Apollo Slide 22 Pietro da Cortona, Triumph of the Barberini (Pope Urban VIII) Naturalist or Classicist Trend Technique? Di Sotto in Su Quadro Reportato Quadratura Slide 23 Slide 24 Barberini Palace, Rome Slide 25 AKA: Glorification of Pope Urban VIII Model for illusionist palace ceilings in Europe. Figures weave in and out of architectural setting (quadratura) Shows virtues of the Pope Symbols of family (bees, wreaths) Sound familiar? Slide 26 Michelangelo Merisi: AKA Caravaggio Labeled most original, most influential painter of the 17 th century. Made realism en vogue after artificiality of Mannerism Said to have been the first to intentionally shock and offend viewers. Called an evil genius, anti-Christ of painting Perpetual feeding upon horror and ugliness and filthiness of sin.-19 th century art critic John Ruskin. Omen of the ruin and demise of painting, painting with nothing but nature before him which he simply copied in an amazing way. Quick tempered, killed a man over a tennis match with a knife, fled to Rome. Condemned to death, pardoned later. Kicked out of Lombardy, Rome, Naples, Malta, Sicily, Naples again, stabbed in the face. ONE GOOD THING: All this running spread his style throughout Europe. Slide 27 The Brawling Bohemian Anti-tradition Rebellious against convention Preferred real, dregs of society vs. goddesses Streets were the true source of realism Secularized religious art Saints, religious figures were painted as ordinary people using common models. Gritty realism-some influence from Venetian Ren. Slide 28 Slide 29 Shedding Light on the Subject Carravaggio dramatized scenes with diagonal light beam, highlighting emotions, actions, everything else in shadow. Tenebrism: Italian word for murky, gloomy, in a dark manner; dramatic dark and light contrast. Chiaroscuro is more gradual, this is dramatic. Used a lamp or natural light come through a window to throw light on subjects. Where is the light coming from here? Slide 30 Slide 31 Breaking the Barrier Baroque artists like Carravaggio worked to bring the viewer into the painting. Placed illusionistic objects at the bottom of paintings that project into viewer space, making viewer feel more involved. Chiaroscuro works like a theater spotlight, dramatically highlighting the action. Slide 32 Calling of Saint Matthew, 1597-1601 How does Caravaggio use light to show current, previous action? Where is St. Matthew? What makes this dramatic? Slide 33 Calling of St. Matthew Religious commission, San Luigi dei Francesci Hit or miss on his religious paintings being accepted. Earliest religious commission, served French community in Rome. Matthew was patron saint. Paintings show his calling, martyrdom Conversion: Common counter reformation theme. Pained oil on canvas to be hung together, not frescoes. No official decision on who Matthew is. Slide 34 Slide 35 Conversion of St. Paul, 1601 Santa Maria del Popolo, Rome How is light used? How does the artist bring the painting into your space? Slide 36 Entombment, 1603 Vatican Museum, Rome Placed over an altar, Christ being placed ON the altar. Located where communion served. Counter Reformation idea of transubstantiation- body and blood from wine and bread. Nicodemus COULD be Carravaggio. Slide 37 Profane Pieces Many pieces commissioned by Carravaggio were deemed to0 profane or vulgar to accept or use. Often had to tone down or redo his pieces. Originals were bought by private owners. Use of everyday figures and common people DID show that Catholicism was open to all people (probably not what he was going for). HATED by some artists, LOVED by others. Slide 38 Gentle Orazio Gentileschi First main follower of Caravaggio. Embraced realism, viewer involvement. Much more gentle pause in action, less tension. Very close to his daughter, Artemisia who he taught art, may have gentled him. She became a major artist, influenced by personal experience of rape by her tutor Tortured with thumb screws until she took back her accusation. Her style was NOT so gentle. Madonna and Child, 1609 Slide 39 Artemesia Gentileschi: The First Feminist Painter Judith Slaying Holofernes, 1614-1620 How do you see Caravaggios influence here? Judith- Hebrew heroine cutting off the head of a Babylonian general. Common theme for her. Slide 40 Lucretia, 1610 Slide 41 Slide 42 See a common theme here? Slide 43 Self Portrait, Artemesia Gentileschi Slide 44 Italian Baroque Sculpture Hellenistic influence Drama, motion Negative space Viewed from multiple angles Sculpture is created to give tactile (touch) feel (rough skin, smooth skin, etc). Dynamic, explosive energy, pent up, ready to burst. Slide 45 Bernini: He left his mark on the face of Rome. Greatest Baroque sculpture Also an architect, playwright, composer, etc and THEATER STAGE DESIGNER. Appointed Vatican architect in 1629 Large workshop allowed outside commissions. First gained fame as a sculptor Son of a sculptor Slide 46 Compare Slide 47 David, 1623 Created at age 25 by Bernini Possibly a self portrait Harp- David was a psalm writer. Slide 48 Slide 49 Berninis Bronze Baldacchino (1624-1633) For most of his life, Bernini worked on commissions for St. Peters Cathedral. Baldachin: Canopy Commissioned by Barberini Pope, Urban VIII Placed under central dome of the Vatican, over burial site of St. Peter. Taller than ten stories (100 feet) Four grooved spiral columns with vines, leaves and bees (why?) Corkscrew columns draw eye upward. Four colossal bronze angels at the corners. Architecture combined with sculpture- Baroque characteristic) Slide 50 Slide 51 Slide 52 The Ecstasy of St. Theresa, 1645-52 Berninis masterpiece for Card


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