Baroque Art

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• Baroque Art
• 1600-1700 / 17th Century

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Europe in the 17th Century. The Peace of
Westphalia in 1648 ended the religious wars.
European trade and financial markets span the
globe.
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A great source of wealth for Europe was Latin
America, the main destination of the millions of
people enslaved and taken out of Africa between
1500 and 1850. The U.S. received about 523,000
enslaved immigrants. Cuba alone got more than
the U.S. Spanish America absorbed around 1.5
million and Brazil at least 3.5 million.
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GIANLORENZO BERNINI (Italian, 1598-1680), David,
1623. Marble, approx. 5 7 high. Galleria
Borghese, Rome.
Bernini was influenced by Hellenistic sculpture
like this one, The Dying Gaul, c. 200 BC.
(Roman copy)
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GIANLORENZO BERNINI, Self-Portrait, about 1625
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GIANLORENZO BERNINI (Italian, 1598-1680), David,
1623. Marble, approx. 5 7 high. Galleria
Borghese, Rome.
Michelangelo, Bound Slave, c. 1513
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MICHELANGELO, David, 15011504. Marble, 13 5
high.
DONATELLO, David, 1420s-1450s, bronze, 5 2
high. First freestanding nude since antiquity
BERNINI (Italian, 1598-1680), David, 1623.
Marble, approx. 5 7 high. Galleria Borghese,
Rome.
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BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel,
Santa Maria della Vittoria, Rome, Italy,
16451652. Marble, height of group 11 6.
Detail face of Teresa experiencing a
transfiguring coma, the so-called Sleep of God,
in which Heaven is briefly experienced. Mystics
like Teresa would pray for days, often unfed, to
achieve such visions.
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Cornaro family busts in niches on sides, praying
devoutly and acting as witnesses to the holy
drama.
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FRANCESCO BORROMINI, Chapel of Saint Ivo, College
of the Sapienza, Rome, Italy, begun 1642.
Italian Baroque
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Francesco Borromini, San Carlo alle Quattro
Fontane (view into dome), Rome, Italy, 1638-1641.
Italian Baroque oval dome, deeply coffered.
Compare classical forms of High Renaissance dome
of SantEligio degli Orefici (view into dome),
Rome, Italy, attributed to BRAMANTE and RAPHAEL,
ca. 1509
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GUARINO GUARINI, Palazzo Carignano, Turin, Italy,
16791692. Palace (private residence) of the
Princess of Carignan
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Details (exterior interior) GUARINO GUARINI,
Palazzo Carignano, Turin, Italy,
16791692. Sweeping arabesques and ornamentation
in deep relief that typifies Baroque
architecture.
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CARAVAGGIO (Michelangelo Merisi, Italian,
1573-1610), Conversion of Saint Paul, Cerasi
Chapel, Santa Maria del Popolo, Rome, Italy, ca.
1601. Oil on canvas, approx. 7 6 x 5 9 Use
of perspective, low horizon line, and tenebrism
brings the viewer into the experience.
Theatricality is a hallmark of the Baroque.
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CARAVAGGIO, Calling of Saint Matthew, Contarelli
Chapel, San Luigi dei Francesi, Rome, Italy, ca.
15971601. Oil on canvas, 11 1 x 11 5.
Detail from The Creation of Adam,
Michelangelo, Sistine Chapel, c. 1511
What role does light play in this painting?
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Details (Matthew Jesus) from Caravaggios
Calling of St. Matthew, Italian Baroque c.
15971601
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ARTEMISIA GENTILESCHI (Italian, 1593-1653),
Judith Slaying Holofernes, ca. 16141620. Oil on
canvas, 6 6 1/3 x 5 4. Galleria degli Uffizi,
Florence.
Caravaggista theatricality, tenebrism and
drama Poor restoration has Removed the furrows
from the women's foreheads that indicated
intense concentration and effort.
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Compare (left) Gentileschis Judith Slaying
Holofernes (1614-29) and Caravaggios Judith
Beheading Holofernes 1598-1599.
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PIETRO DA CORTONA (Italian, 1596-1669), Triumph
of the Barberini, ceiling fresco in the Palazzo
Barberini, Rome, Italy, 16331639. Commissioned
by Pope Urban VIII of the Barberini family. What
does the fresco tell us about the
Counter-Reformation?
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DIEGO VELÁZQUEZ (Spain, 1599-1660), Water Carrier
of Seville, ca. 1619 (The artist was around 20
years old.), Oil on canvas, 3 5 1/2 x 2 7
1/2. Wellington Museum, London. Shows influence
of Caravaggio.
Know term genre the subject of the artist is
the daily life of people
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DIEGO VELÁZQUEZ, Las Meninas (The Maids of
Honor), 1656. Oil on canvas, approx. 10 5 x 9.
Museo del Prado, Madrid.
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DIEGO VELÁZQUEZ, Las Meninas (The Maids of
Honor), 1656. Oil on canvas, approx. 10 5 x 9.
Museo del Prado, Madrid.
Compare the representation and role of light in
Caravaggio and Velazquez.
CARAVAGGIO, Calling of Saint Matthew, Contarelli
Chapel, San Luigi dei Francesi, Rome, Italy, ca.
15971601. Oil on canvas, 11 1 x 11 5.
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Self-portrait of Diego Velázquez a detail in
Las Meninas. He is wearing the cross of the Order
of Santiago that he was awarded in 1659.
According to legend, the king himself painted the
cross.
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PETER PAUL RUBENS (Flemish, 1577-1640), Arrival
of Marie de Medici at Marseilles, 16221625. Oil
on canvas, approx. 5 1 x 3 9 1/2. Louvre,
Paris. One of 21 vast canvases for the queens
new Luxembourg palace in Paris.
Ostentation and elaborate spectacle
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REMBRANDT VAN RIJN (Dutch, 1606-1669), The
Company of Captain Frans Banning Cocq (The Night
Watch), 1642. Oil on canvas (cropped on left and
top from original size), 11 x 14 4.
Rijksmuseum, Amsterdam.
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REMBRANDT VAN RIJN, Self-Portrait, ca. 16591660.
Oil on canvas, approx. 3 8 3/4 x 3 1. Kenwood
House, London.
How is light used for psychological purposes?
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REMBRANDT VAN RIJN, Christ with the Sick around
Him, Receiving the Children (Hundred Guilder
Print), ca. 1649. Etching, approx. 11 x 1 3
1/4. Pierpont Morgan Library, New York.
Etching was perfected in the early 17th century.
How is it different from engraving?
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JAN VERMEER, Woman Holding a Balance, c. 1664
Oil on canvas, 40.3 x 35.6 cm National Gallery
of Art, Washington D.C.Protestant piety and
prosperity
http//www.youtube.com/watch?v1oYgTP0MX2U
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Vermeers probable use of the camera obscura
JAN VERMEER, Allegory of the Art of Painting,
16701675.
First representation of a Camera obscura, 1544
http//www.youtube.com/watch?vIeRDRL57I_Q
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HYACINTHE RIGAUD (French, 1659-1743) Louis XIV,
1701. Oil on canvas, approx. 9 2 x 6 3.
Louvre, Paris. French Baroque
Art in the service of Absolutism The Sun King
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Aerial view of palace at Versailles, France,
begun 1669, and a portion of the gardens and
surrounding area. French Baroque
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JULES HARDOUIN-MANSART and CHARLES LE BRUN,
Galerie des Glaces (Hall of Mirrors), palace of
Versailles, Versailles, France, ca. 1680.
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Controlling nature Gardens of Versailles
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LOUIS LE NAIN (French Baroque era, ca. 1592-1635)
, Family of Country People, ca. 1640. Oil on
canvas, approx. 3 8 x 5 2. Louvre, Paris.
Genre scene depicting the dire poverty but also
the passive resignation of the French peasants