the baroque (and rococo) 1600-1750 action passion healthy eaters

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  • Slide 1
  • The Baroque (and Rococo) 1600-1750 Action Passion Healthy Eaters.
  • Slide 2
  • Counter Reformation was over- Catholic Church was strong again-Protestantism was on the defensive Countries at war (30 Years War, Hapsburg empire) Secularization of govt Worldwide markets (coffee, tea)-private wealth-buy more art! Baroque artists were far removed from science and technology unlike during the Renaissance (too complicated) Affected by the absolutist states (France, Germany, England) Rome became Baroque arts center- Popes were still largest patrons (aimed to make Rome the most beautiful city of Christendom)-ambitious artists flocked to Rome for commissions
  • Slide 3
  • Caravaggio, The Calling of St. Matthew, 1599-1602 1571-1610 Remote from both Mannerism and Renaissance New form of art called Naturalism- a sacred scene painted in contemporary low life Story of Matthew the tax collector-figure on the far right is Jesus Light is both natural and charged with symbolic meaning Religious monumentalism would appeal to both Catholics and Protestants (later became Rembrandts influence) CHIROSCURO V. Tenebrism
  • Slide 4
  • Caravaggio, Judith, early 17th C. Strong Light, action-packed paintings
  • Slide 5
  • Artemesia Genteleschi, Judith and Maidservant, 1625 Born into an artistic family which gave her an advantage over other women artists Became one of the leading painters and personalities of her day Subject of Judith popular during Baroque- violent and erotic scene Immortalizes feminine courage Very theatrical, mysterious light Complex composition
  • Slide 6
  • Carracci, Palazzo Farnese, Rome, 1597-1601 Became so famous, that it was considered second only to Michelangelo and Raphael Intricate narrative scenes surrounded by architecture Subject matter is the loves of the classical gods Color is based on the Venetians Balance of studies from life with a revival of the classics (including the Renaissance masters) Revived interest in illusion
  • Slide 7
  • Carracci, Landscape with the Flight into Egypt, 1603 Pastoral mood and soft light are influenced by Titian Figures are almost inconspicuous -like northern painters (Breugal) Early example of the ideal lasndscape
  • Slide 8
  • Cortona, Glorification of the Reign of Urban the VIII, 1633-39 Ceiling Frescos became more and more popular- done mostly for patrons Illusionistic-shows the sky behind the regular architectural scheme Some figures are closer to the viewer and some are farther away in the sky
  • Slide 9
  • Interior, St. Peters, showing Berninis Throne The decoration of the interior of St. Peters was a difficult task- to relate a vast space to a human scale Task fell to Bernini (1598-1680) who worked on St. Peters throughout his career
  • Slide 10
  • Bernini, David, 1623 Berninis David and Michelangelos David have the same relationship as classical and Hellenistic sculpture-each drew inspiration from a different part of antiquity Bernini shares the Hellenistic view of unison of body and spirit, motion and emotion Implied presence of Goliath-the negative space is owned by the sculpture During the Baroque, sculpture merged with painting and architecture like in no other time period before
  • Slide 11
  • Bernini, The Ecstasy of St. Teresa, 1645-52 Sensuous visual experience Shows the moment where St. Teresa is pierced by an angels arrow and felt both emotional pain and sweetness at the same time Because of the lighting, the sculpture looks visionary Some outside (from above) force is blowing their clothing Sculpture is connected in this way to a fresco directly above it
  • Slide 12
  • Bernini, Throne of St. Peters, 1657-66 In the Choir of St. Peters Focus is a burst of heavenly light that propels all the figures towards the viewer
  • Slide 13
  • Borromini, S. Carlo alle Quattro Fontane, 1665-67 Francesco Borromini- the role of the tortured artist- died by suicide Very complex and extravagant structures-dynamic and complex Play of concave and convex surfaces makes structure seem pulled apart Merges architecture and sculpture Plan is like a half-melted cross Combines Renaissance and Medieval structures
  • Slide 14
  • Von Erlach, St. Charles Borromaeus, 1716-37 Great architect of late Baroque Central European (Vienna) Pantheon-like portico, columns should look familiar to you!! The power of the Christian faith to absorb and change the splendors of ancient art
  • Slide 15
  • Rubens, The Raising of the Cross, 1609-10 Baroque in Flanders (the Spanish Netherlands) Peter Paul Rubens 1577-1640 Helped to break down artistic barriers between north and south Studied art of the High Renaissance Artist of major influence and education-court advisor to Spanish regent in Flanders Altarpiece Muscular figures of Italian art, lighting reflect Caravaggio Definitely a Flemish realist Tremendous dramatic force-almost bursts through the picture plane
  • Slide 16
  • Rubens, Marie de-Medici, Queen of France, Landing in Marseilles, 1622-23 In the Luxembourg Palace in Paris Popularity of spectacle and wealth Not a very exciting event, but Rubens has made it so-Neptune rises from the sea (has protected her on her journey) Used oil sketches to prepare for his paintings- this was an important legacy for future artists
  • Slide 17
  • Franz Hals, The Laughing Cavalier, 1630 The Utrecht School-Baroque came to Holland through Rubens Utrecht was a Catholic city- most artists traveled to Rome- Influenced by Caravaggio Franz Hals 1580-1666-great portrait painter Spontaneity- twinkling eyes, SMILE! Worked in dashing brushstrokes-immediacy of design but spent a long time (lifesize!)
  • Slide 18
  • Leyster, Self Portrait, 1630 Follower of Hals Poetic quality of life Celebration of self
  • Slide 19
  • Rembrandt, The Night Watch, 1642 Art effected by Caravaggio- sharply lit Painted mostly Old Testament scenes at first and was a well- sought-after portrait painter Night Watch- a group portrait- Some people say that people were angry for being portrayed in shadow so he lost popular opinion- had financial difficulties
  • Slide 20
  • Rembrandt, Self Portrait, 1658 Did many self portraits- always reflects the view of himself and his inner development Influenced by Titian and Van Eyke Use of light- hallmark of style
  • Slide 21
  • Willem Claesz Heda, Still Life 1634 Most art buyers preferred landscapes and still lifes Vanitas, Vanitas!- all is vanity disguised symbolism is back!!! The passing of all earthly pleasures
  • Slide 22
  • Vermeer, Girl in Blue Reading a Letter, 1663-64 Jan Vermeer- master of the genre paintings- but no narrative Usually solitary, usually women-almost like still-lifes Light always filters in from an implied window-everyday world seems fresh and new Made up of rectangles, no undefined empty spaces Know very little about his life- died when he was 43, lived in Delft Genius not recognized until 100 years ago
  • Slide 23
  • Velasquez, The Water Carrier of Seville, c.1619 Baroque in Spain---did not happen natively, but through the spread of ideas from Italy and the Netherlands Caravaggio-esque, but focused more on genre scenes This was done at the age of 20 Moved to Madrid and became court painter- portraits of the royal family
  • Slide 24
  • Velazquez, The Maids of Honor, 1656 Valazquezs style at its fullest- a self portrait, a group portrait and a genre scene Mirror in the back of the room- is it on the canvas or behind? Fascination with light and its optical mysteries- reflected and direct Light creates the visual world
  • Slide 25
  • De La Tour, Joseph the Carpenter, 1645 France was the most powerful state in Europe- culturally too! Art center changed from Rome to Paris because of large projects (Versailles) Also called Style of Loius XIV or the Classic style- links to other high points in culture De La Tour- oriented towards Caravaggio- both a religious and genre scene- intimate and tender
  • Slide 26
  • Poussin, The Rape of the Sabine Women, 1636-37 Classicism reigned supreme Earliest French painter in history to gain international fame Freezes action, like statues, Roman architecture in the background Shows emotion but doesnt touch the viewer Logical and serious Thought that the viewer should be able to read the exact emotions of each figure Not very accessible
  • Slide 27
  • Perrault, Louvre, 1667-70 All art had to be made to glorify the king- very restrictive royal style Design meant to link the king with Roman emperors-Roman temple front - ground floor serves as the podium Showed victory of French royal style over Italian classicism
  • Slide 28
  • Lebrun, Hall of Mirrors, Palace of Versailles, 1678 Louis XIV interested in lavish interiors rather than the exterior Entire interior decorated by Lebrun, a painter-became the dictator of the arts in France All art became for the glorification of the king- reflects Italian Baroque style (ceilings)
  • Slide 29
  • Louis Le Vau, Hardouin Mansart, Palace of Versailles, 1669-85 Design grew and grew to accommodate the royal familys wishes Garden is most impressive aspect of the palace-meant to serve as the background for the Kings official appearances
  • Slide 30
  • Watteau, Delights of Li

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