Christian Visual Art

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pérola barroca

• According to the Oxford English Dictionary, the
  word baroque is derived from the Portuguese word
  "barroco", Spanish "barroco", or French
  "baroque", all of which refer to a "rough or
  imperfect pearl", though whether it entered those
  languages via Latin, Arabic, or some other source
  is uncertain.
• The word "Baroque", like most periodic or
  stylistic designations, was invented by later
  critics rather than practitioners of the arts in
  the 17th and early 18th centuries.
• It is a French transliteration of the Portuguese
  phrase "pérola barroca", which means "irregular
  pearl", and natural pearls that deviate from the
  usual, regular forms so they do not have an axis
  of rotation are known as "baroque pearls".
• Others derive it from the mnemonic term "Baroco"
  denoting, a supposedly laboured form of
  syllogism.

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• The term "Baroque" was initially used with a
  derogatory meaning, to underline the excesses of
  its emphasis.
• In particular, the term was used to describe its
  eccentric redundancy and noisy abundance of
  details, which sharply contrasted the clear and
  sober rationality of the Renaissance.
• It was first rehabilitated by the Swiss-born art
  historian, Heinrich Wölfflin (18641945) in his
  Renaissance und Barock (1888) Wölfflin
  identified the Baroque as "movement imported into
  mass," an art antithetic to Renaissance art.
• Writers in French and English did not begin to
  treat Baroque as a respectable study until
  Wölfflin's influence had made German scholarship
  pre-eminent.

Heinrich Wölfflin
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• But whereas the Renaissance drew on the wealth
  and power of the Italian courts, and was a blend
  of secular and religious forces,
• the Baroque was, initially at least, directly
  linked to the Counter-Reformation, a movement
  within the Catholic Church to reform itself in
  response to the Protestant Reformation.
• The Council of Trent (15451563) is usually given
  as the beginning of the Counter-Reformation or
  Catholic Reformation.

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1517
1610
1560
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Baroque Architecture

• starting in the early 17th century in Italy, took
  the humanist Roman vocabulary of Renaissance
  architecture and used it in a new rhetorical,
  theatrical, sculptural fashion, expressing the
  triumph of absolutist church and state.
• New architectural concerns for colour, light and
  shade, sculptural values and intensity
  characterize the Baroque.
• The Baroque played into the demand for an
  architecture that was on the one hand more
  accessible to the emotions and, on the other
  hand, a visible statement of the wealth and power
  of the Church.
• The new style manifested itself in particular in
  the context of new religious orders, like the
  Theatines and the Jesuits, which aimed to improve
  popular piety.

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Chiesa del Gesù (Rome)
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A common Christogram based on the first three
letters of "Jesus" in Greek (??s???, Latinized
IHSOVS) featured in the seal of the Society of
Jesus (Jesuits).
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• In the Latin-speaking Christianity of medieval
  Western Europe, the most common Christogram is
  "IHS" or "IHC", derived from the first three
  letters of the Greek name of Jesus,
  iota-eta-sigma, or ??S.
• Here, the Greek letter eta was transliterated as
  the letter H in the Latin-speaking West (Greek
  eta and Latin-alphabet H had the same visual
  appearance and shared a common historical
  origin), while the Greek letter sigma was either
  transliterated as the Latin letter C (due to the
  visually similar form of the lunate sigma), or as
  Latin S (since these letters of the two alphabets
  wrote the same sound).
• Because the Latin-alphabet letters I and J were
  not systematically distinguished until the 17th
  century, "JHS" and "JHC" are equivalent to "IHS"
  and "IHC".
• "IHS" is sometimes interpreted as meaning Iesus
  Hominum Salvator ("Jesus, Savior of men" in
  Latin) or connected with In Hoc Signo.
• Used in Latin since the seventh century, the
  first use of IHS in an English document dates
  from the fourteenth century.
• Saint Bernardino of Siena popularized the use of
  the three letters on the background of a blazing
  sun to displace both popular pagan symbols and
  seals of political factions like the Guelphs and
  Ghibellines in public spaces.

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Important features of Baroque architecture
include

• long, narrow naves are replaced by broader,
  occasionally circular forms
• dramatic use of light, either strong
  light-and-shade contrasts, chiaroscuro effects,
  or uniform lighting by means of several windows
• opulent use of ornaments (puttos made of wood
  (often gilded), plaster or stucco, marble or faux
  finishing)
• large-scale ceiling frescoes
• the external façade is often characterized by a
  dramatic central projection
• the interior is often no more than a shell for
  painting and sculpture (especially in the late
  Baroque)
• illusory effects like trompe l'oeil and the
  blending of painting and architecture
• in the Bavarian, Czech, Polish, and Ukrainia
  Baroque, pear domes are ubiquitous
• Marian and Holy Trinity columns are erected in
  Catholic countries, often in thanksgiving for
  ending a plague

Santiago di Compostella
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long, narrow naves are replaced by broader,
occasionally circular forms
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dramatic use of light, either strong
light-and-shade contrasts, chiaroscuro effects,
or uniform lighting by means of several windows
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opulent use of ornaments puttos made of wood
(often gilded), plaster or stucco, marble or faux
finishing
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• The putto (pl. putti) is a figure of
• a human baby or toddler, almost always male,
• often naked and having wings,
• found especially in Italian Renaissance and
  Baroque art.
• The figure derives from ancient art but was
  rediscovered in the early Quattrocento.
• Strictly, putti are distinct from cherubim, but
  modern English usage has blurred the distinction,
  except that in the plural,
• "the Cherubim" refers to the literal biblical
  angels,
• while "cherubs" is used more often to refer to
  the childlike representations (putti) or in
  figurative senses.

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illusory effects like trompe l'oeil and the
blending of painting and architecture
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in the Bavarian, Czech, Polish, and Ukrainia
Baroque, pear domes are ubiquitous
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Marian and Holy Trinity columns are erected in
Catholic countries, often in thanksgiving for
ending a plague
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Piazza Navona Bernini
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Fontana del Moro in Piazza Navona Bernini
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• Most important and major painting during the
  period beginning around 1600 and continuing
  throughout the 17th century, and into the early
  18th century is identified today as Baroque
  painting.
• Baroque art is characterized by great drama,
  rich, deep color, and intense light and dark
  shadows.
• As opposed to Renaissance art, which usually
  showed the moment before an event took place,
  Baroque artists chose the most dramatic point,
  the moment when the action was occurring
• Michelangelo, working in the High Renaissance,
  shows his David composed and still before he
  battles Goliath Bernini's baroque David is
  caught in the act of hurling the stone at the
  giant.
• Baroque art was meant to evoke emotion and
  passion instead of the calm rationality that had
  been prized during the Renaissance.

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Baroque Painting

• Michelangelo Merisi da Caravaggio
• Peter Paul Rubens
• Jan Breughel the Elder
• Rembrandt van Rijn

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Michelangelo Merisi da Caravaggio, (15711610)
was an Italian artist active in Rome, Naples,
Malta and Sicily between 1593 and 1610. His
intensely emotional realism and dramatic use of
lighting had a formative influence on the Baroque
school of painting.

• Caravaggio "put the oscuro (shadows) into
  chiaroscuro.
• Chiaroscuro was practiced long before he came on
  the scene,
• but it was Caravaggio who made the technique
  definitive,
• darkening the shadows and
• transfixing the subject in a blinding shaft of
  light.
• With this came the acute observation of physical
  and psychological reality which formed the ground
  both for his immense popularity and for his
  frequent problems with his religious commissions.
  
• He worked at great speed, from live models,
  scoring basic guides directly onto the canvas
  with the end of the brush handle.
• The approach was anathema to the skilled artists
  of his day, who decried his refusal to work from
  drawings and to idealise his figures.
• Yet the models were basic to his realism.
• Some have been identified, including Mario
  Minniti and Francesco Boneri, both fellow
  artists, Mario appearing as various figures in
  the early secular works, the young Francesco as a
  succession of angels, Baptists and Davids in the
  later canvasses.
• His female models include Fillide Melandroni,
  Anna Bianchini, and Maddalena Antognetti, all
  well-known prostitutes, who appear as female
  religious figures including the Virgin and
  various saints.
• Caravaggio himself appears in several paintings,
  his final self-portrait being as the witness on
  the far right to the Martyrdom of Saint Ursula.

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• Caravaggio had a noteworthy ability to express in
  one scene of unsurpassed vividness the passing of
  a crucial moment.

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The Supper at Emmaus depicts the recognition of
Christ by his disciples a moment before he is a
fellow traveler, mourning the passing of the
Messiah, as he never ceases to be to the
inn-keeper's eyes, the second after, he is the
Saviour.
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In The Calling of St Matthew, the hand of the
Saint points to himself as if he were saying
"who, me?", while his eyes, fixed upon the figure
of Christ, have already said, "Yes, I will follow
you".
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With The Resurrection of Lazarus, he goes a step
further, giving us a glimpse of the actual
physical process of resurrection. The body of
Lazarus is still in the throes of rigor mortis,
but his hand, facing and recognizing that of
Christ, is alive
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Ignatius of Loyola by Peter Paul Rubens
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Peter Paul Rubens Fall Adoration of Magi
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Rubens The Last Supper
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The Last Judgment
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Jan Breughel the Elder The Ark of Noah
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????????????????Night Watch,?????????????,????????
???????????,?????????????????? Rembrandt van Rijn
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Christ In the Stormon the Sea of
GalileeRembrandt van Rijn 1632
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The Return of the Prodigal Son
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Baroque Sculpture Bernini
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• The chapel is an explosion of colored marble,
  metal, and detail.
• Light filters though a window above Teresa,
  underscored by gilded rays.
• The dome is frescoed with the illusionistic
  cherub-filled sky with the descending light of
  the Holy Ghost allegorized as a dove.
• On the side walls, in boxes as if at the theatre,
  are life-size high-relief donor portraits of the
  male members of the Cornaro family, present and
  discussing the event.

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Teresa of Avila 1515-1582

• The Catholic church not only gained added
  strength from the creation of new orders, but it
  also witnessed a revival of existing orders.
• The Carmelites in Spain, for example, found
  vigorous new leadership during the 16th century
  in Teresa of Avila and her famous disciple, Juan
  de la Cruz.

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• Teresas publications, such as Her Way of
  Perfection and Interior Castle, and her
  Autobiography, also became religious classics.
• Her writings tell of her own life of struggle,
  persecutions, doubts, and the triumph of her
  faith.
• In her 1562 Autobiography, she described one of
  her visions
• Almost always Our Lord appeared to me as He
  rose from the dead, and it was the same when I
  saw Him in the Host. Only occasionally, to
  hearten me if I was in tribulation, He would show
  me his wounds, and then would appear sometimes on
  the Cross and sometimes as He was in the garden.
  I found myself dying of the desire to see God.
  This love came to me in mighty impulses which
  robbed me of all power of action.

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• The two focal sculptural figures derive from an
  episode described by Teresa of Avila in her
  autobiography, The Life of Teresa of Jesus
  (15151582), a mystical cloistered Discalced
  Carmelite reformer and nun.
• The chapter describes divine visions, including
  one where she saw a young, beautiful, and lambent
  angel standing aside her body
• I saw in his hand a long spear of gold, and
  at the iron's point there seemed to be a little
  fire. He appeared to me to be thrusting it at
  times into my heart, and to pierce my very
  entrails when he drew it out, he seemed to draw
  them out also, and to leave me all on fire with a
  great love of God. The pain was so great, that it
  made me moan and yet so surpassing was the
  sweetness of this excessive pain, that I could
  not wish to be rid of it. The soul is satisfied
  now with nothing less than God. The pain is not
  bodily, but spiritual though the body has its
  share in it. It is a caressing of love so sweet
  which now takes place between the soul and God,
  that I pray God of His goodness to make him
  experience it who may think that I am lying.

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• Bibliography
• Jonathan W. Zophy, A Short History of Renaissance
  and Reformation Europe Dances over Fire and
  Water. Prentice-Hall, New Jersey, 1996.