BAROQUE

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BAROQUE
ART
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Hyacinthe Rigaud, Louis XIV, 1701, Louvre
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ITALIAN FRENCH SPANISH FLEMISH DUTCH
Bernini, Borromini, Caravaggio,Gentileschi
Louis XIV, Poussin, Lorrain
Philip IV, Velazquez
Rubens, Van Dyck, Charles I
Hals, Ruisdael, Rembrandt, Vermeer, Claesz
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Italian Baroque
Goals of Art during the COUNTER-REFORMATION To
deliberately evoke intense emotional response
from the viewer To create dramatically lit, often
theatrical compositions To use diverse media such
as bronze and marble within a single artwork To
create work with spectacular technical virtuosity
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Italian Baroque
Gianlorenzo BERNINI His works include The
colonnade of St. Peters Piazza The baldacchino
on St. Peters altar Vibrant marble sculpture of
David Ecstasy of St. Theresa sculpture
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Italian Baroque
Gianlorenzo Bernini, baldacchino, Saint
Peters, Vatican City, Rome Italy
Long before the planning of the Piazza, Bernini
had been at work decorating the interior of
Saint Peters. His first commission, completed
in 1624 and 1633, called for the design and
erection of the gigantic bronze and marble
baldacchino ( a canopy made of cloth or stone
erected over an altar, shrine, or throne in a
Christian church) above the main altar under the
great dome. The canopy-like structure marks the
tomb of Saint Peter. At almost one hundred feet
high it serves as a focus of the churchs
splendor. At the top of the columns four
colossal angels stand guard at the upper corners
of the canopy. Forming the canopys apex are
four serpentine brackets that elevate the orb and
the cross, symbols of the Churchs triumph since
the time of Constantine. All over the baldacchino
are letter Bs representing the Barberini family
(Pope that commissioned the work).
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Italian Baroque
Berninis sculpture is expansive and dramatic,
and the element of time usually plays an
important role in it. This marble statue aims at
catching the figures split-second action and
differs markedly from the restful figures of
David portrayed by Donatello and Michelangelo.
The figures legs are widely and firmly planted,
beginning the violent, pivoting motion that will
launch the stone from his sling. If the action
had been a moment before, his body would have
been in a completely different position. Bernini
selected the most dramatic of an implied sequence
of poses, so observers have to think
simultaneously of the continuum and of this tiny
fraction of it. This is not the kind of
sculpture that can be inscribed In a cylinder or
confined in a niche its indicated action demands
space around it.
Gianlorenzo Bernini, David, Galleria Borghese,
Rome, 1623
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Donatello(Early Italian Renaissance)
Michelangelo(High Italian Renaissance)
Bernini(Italian Baroque)
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Italian Baroque
This is another Bernini sculpture that displays
the expansive quality of Italian Baroque art and
its refusal to limit itself to firmly defined
spatial settings. Saint Theresa was a nun of
the Spanish Counter-Reformation. Her conversion
occurred after the death of her father, when she
fell into a series of trances, saw visions, and
heard voices. Feeling a persistent pain, she
attributed to the fire tipped arrow of Divine
love that an angel had thrust repeatedly into
her heart. In her writings, Saint Theresa
described this experience as making her swoon in
delightful anguish. The whole chapel became a
theater for the production of this mystical
drama. Bernini depicted the saint in ecstasy,
unmistakably a mingling of spiritual and physical
passion, swooning back on a cloud while the
smiling angel aims his arrow.
Gianlorenzo Bernini Ecstasy of Saint Theresa,
Bernini Cornaro Chapel, Rome Italy, 1645-1652
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Italian Baroque
Carlo Maderno, Santa Susanna Rome, Italy
1597-1603
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BAROQUESanta Susanna
MANNERISMil Gesu
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Italian Baroque
Carlo Maderno Restoring Saint Peters Vatican
City, Rome, Italy 1606-1612
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Italian Baroque
Francesco Borromini, facade of San Carlo alle
Quattro Fontane, Rome, Italy, 1665-1676
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Italian Baroque
Francesco Borromini, plan of San Carlo alle
Quattro Fontane, Rome, Italy, 1665-1676
The interior of San Carlo alle Quattro Fontane is
not only an ingenious response to an awkward site
but also a provocative variation on the theme of
the centrally planned church. In plan San Carlo
looks like a hybrid of a Greek cross and an oval,
with a long axis between entrance and apse. The
side walls move in an undulating flow that
reverses the façades motion. Vigorously
projecting columns define space into which they
protrude just as much as they do the walls
attached to them. This molded interior space is
capped by a deeply coffered oval dome that seems
to float on the light entering through windows
hidden in its base.
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Italian Baroque
Michelangelo Merisi (Caravaggio) Conversion of
Saint Paul , 1601.
Caravaggio painted Conversion of Saint Paul for
the Cerasi Chapel in the Roman church of Santa
Maria del Popolo. It illustrates the conversion
of the Pharisee Saul to Christianity, when he
became the disciple Paul. The saint-to-be
appears amid his conversion, flat on his back
with his arms thrown up. In the background, an
old hostler seems preoccupied with caring for the
horse. At first inspection, little here suggests
the momentous significance of the spiritual event
taking place.
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Caravaggio Conversion of Saint Paul, 1601 On
display at the Santa Maria del Popolo (Rome,
Italy)
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Italian Baroque
Caravaggio Calling of Saint Matthew Rome, Italy
ca. 1597-1601
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Michelangelo, Crucifixion of St. Peter
Caravaggio, Crucifixion of St. Peter, c1600.
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Caravaggio. Flagellation of Christ. c.1606-1607.
Oil on canvas.
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Caravaggio, The Taking of Christ, 1602.
"The one I shall kiss is the man seize him and
lead him away safely" (Mark 1444).
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Italian Baroque
Caravaggio Supper at Emmaus National Gallery,
London 1601
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Italian Baroque
Caravaggio The Incredulity of St. Thomas, 1602
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Italian Baroque
Beyond its ability to move its audience, this
composition also had theological implications. To
viewers in the chapel, it appeared as though the
men were laying Christs body onto the altar,
which was in front of the painting This served to
visualize the doctrine of transubstantiation (the
transformation of the Eucharist and wine into the
Body and Blood of Christ) -- a doctrine central
to Catholicism but rejected by Protestants. By
depicting Christs body as though it were
physically present during the Mass, Caravaggio
visually articulated an abstract theological
precept. Unfortunately, viewers no longer can
experience this effect.
Caravaggio Entombment 1602-1603
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Italian Baroque
YOU GO GIRL!
Gentileschi used what might be called the dark
subject matter that Caravaggio favored.
Significantly, Gentileschi chose a narrative
involving a heroic female, and favorite theme of
hers. The story, from the work of the Old
Testament, the Book of Judith, relates the
delivery of Israel from its enemy, Holofernes.
Having succumbed to Judiths charms, the Assyrian
general Holofernes invited her to his tent for
the night. When he fell asleep, Judith cut off
his head. In this version of the scene, Judith
and her maidservant are beheading Holofernes.
Artemisia Gentileschi Judith Slaying
Holofernes ca. 1614-1620
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Judith Beheads Holofernes In Other Works, Too!
Artemisia Gentileschi Judith and Maidservant
With Head of Holofernes ca. 1612-1613
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Judith Beheads Holofernes In Other Works, Too!
Artemisia Gentileschi Judith and Maidservant
Beheading Holofernes ca. 1625.
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Judith Beheads Holofernes In Other Works, Too!
Caravaggio, Judith Slaying Holofernes, ca.
1599.
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Judith Beheads Holofernes In Other Works, Too!
Lucas Cranach Judith With Head of
Holofernes 1530.
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Judith Beheads Holofernes In Other Works, Too!
Michelangelo. Judith and Holofernes. 1508-1512.
Fresco. Sistine Chapel.
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Judith Beheads Holofernes In Other Works, Too!
Andrea Mantegna. Judith and Holofernes. c. 1495
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Judith Beheads Holofernes In Other Works, Too!
Botticelli Discovery of the Body of
Holofernes. c.1469-1470. Tempera on panel.
Galleria degli Uffizi, Florence, Italy.
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Judith Beheads Holofernes In Other Works, Too!
Donatello, Judith and Holofernes, Bronze. 1455-60.
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Italian Baroque
Cardinal Odoardo Farnese, a wealthy descendant of
Pope Paul III, commissioned this ceiling fresco
to celebrate the wedding of the cardinals
brother. The title interprets the variety of
earthly and divine love in classical mythology.
Carracci arranged the scenes in a format
resembling framed easel paintings on a wall, but
here he painted them on the surfaces of a shallow
curved vault. The Sistine Chapel ceiling, of
course, comes to mind, although it is not an
exact source. This type of simulation of easel
painting for ceiling designed is called quadro
riportato (transferred framed painting).
Annibale Carracci Loves of the Gods 1597-1601
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Italian Baroque
Giovanni Battista Gaulli Triumph in the Name of
Jesus, Church of Il Gesu, Rome, Italy, 1676-1679
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Italian Baroque
Fra Andrea Pozzo, Glorification of Saint
Ignatius, Rome, Italy, 1691-1694