17. baroque in italy and spain
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This document provides context on the Baroque period in Italy and Spain through several artworks and artists. It discusses the 17th century conflicts in Europe including the Thirty Years War. The development of science at this time is also noted. For art, the document outlines the development of the Baroque style in Italy, focusing on Caravaggio's realism and use of tenebrism. It then discusses the artists Gentileschi, Annibale Carracci, Bernini, and their contributions to developing the Baroque style through works like The Calling of Saint Matthew and The Ecstasy of Saint Therese. Finally, it briefly introduces the Spanish Baroque, noting key artists like Velazquez who were inspired by Italian masters.
17. baroque in italy and spain
- 1. Warm-Up 2/08/12 • Describe the process by which you completed your Sistine chapel tile. Be specific in detail. • Think about the aesthetic of just your tile. • What does it look like to you? Pretend you do not know the context.
- 2. The Baroque in Italy and Spain
- 3. Practice Outline • 1. Cultural attitudes about women are often revealed in art. • • Select and fully identify two works of art that depict one or more women. The works must come from two different cultures, one of which must be from beyond the European tradition. Explain how each work reveals its culture’s attitudes about women. (30 minutes)
- 4. The Baroque in Italy and Spain
- 5. Historical Context: 17th Century • Continual Warfare: – Thirty Years’s War (1618-1648) between France and The Hapsburgs (everywhere else) • Treaty of Westphalia ended the war • Germany is left in ruins, Netherlands begins a new war with England and France until 1679 • Expansion of the Sciences – The artist begins to depart from the philosopher (Descarte’s cogito ergo sum) as well as mathematics (calculus and abstractions) – Keplar, Copernicus, Galileo – Understanding the LAWS of nature, not its SECRETS
- 6. Historical Context: Baroque Art • Baroque Art and Imagery flourishes despite warfare and divergence from philosophy – Independent of military imagery and influence – Even though math is a separate vocation, Baroque art is heavily influenced by the new mechanics and metaphysics of a developing scientific humanism. • Baroque Art will NOT be neo- platonic (which dominated the philosophy of the Renaissance). Why?
- 7. Back to Rome: 1600’s • The papacy increased patronage as a continued tradition of counter-reformation ideals (soon winding down) • Many artists in Rome were inconspicuous mannerists, sought the Late Northern Italian Realists painters • Caravaggio is credited with the early development of the Baroque Style
- 8. Caravaggio: Early Life • Michelangelo Merisi da Caravaggio (1571-1610) born in Milan to an Architect and decorator – Barely escaped the plague that killed his father in 1577 – Connections with the Sforzas in Milan • Began four year apprenticeship with Peterzano (former student of Titian) – Wounds a police officer in Milan, leaves for Rome
- 9. Warm-Up 2/09/12 • Come get your poster. • I will record your number and your participation • I will display a projected image of the Sistine Chapel map. • Your job is to locate what tile you are and sit underneath your tile.
- 10. Caravaggio: Rome (1592-1600) • Starts some commissions under Cesari (Clement VIII’s favorite artist) – “painting flowers and fruit” in his workshop • Began several lesser known paintings, including the influential Cardsharps – Reveals a new narrative and psychological nature to subjects, almost a serendipity of gesture and expression
- 11. The Cardsharps c. 1596 Oil on canvas, 90 x 112 cm Kimbell Art Museum, Fort Worth
- 12. Judith Beheading Holofernes c. 1598 Oil on canvas, 145 x 195 cm Galleria Nazionale d'Arte Antica, Rome
- 13. Warm-Up 2/10/12 •What is your favorite work so far from the Baroque period? Defend your preference and provide the proper MARCS.
- 14. Contarelli Chapel • 1599, under the auspices of Del monte (Italian Cardinal and patron) beings décor in the church of San Luigi • Known for the new Tenebrism techniques and intense realism of character (both physically and emotionally) • Let’s describe the MARCS of The Calling of Saint Matthew
- 15. The Calling of Saint Matthew 1599-1600 Oil on canvas, 322 x 340 cm Contarelli Chapel, San Luigi dei Francesi, Rome
- 17. The Baroque in Italy and Spain
- 18. Snapshot Quiz
- 19. Snapshot Quiz
- 20. CARAVAGGIO Taking of Christ c. 1598 Oil on canvas, 134 x 170 cm National Gallery of Ireland, Dublin
- 21. CARAVAGGIO The Raising of Lazarus 1608-09 Oil on canvas, 380 x 275 cm Museo Nazionale, Messina
- 22. Caravaggio (Michelangelo Merisi) David con la testa di Golia 1609-1610 Olio su tela, cm 125x101 Provenienza: collezione del cardinale Scipione Borghese
- 23. Caravaggio. The Conversion of St. Paul. 1600-1601. Oil on canvas. Santa Maria del Popolo, Rome, Italy.
- 24. Caravaggio. The Crucifixion of St. Peter. 1600-1601. Oil on canvas. Santa Maria del Popolo, Rome, Italy.
- 25. Weekly Breakdown • Monday: Gentleschi, Carraci and Bernini • Tuesday: AP test: Prehistoric-Baroque • Wednesday: AP test (Cont.) • Thursday: Renaissance vs. Baroque • Symposium – Essay prompt (5 paragraphs, due on Symposium): The theme of love is powerful and salient as Christian expression. Fully identify one Renaissance painting and one Baroque painting and describe how the art philosophies concerning God and Man influence the artist’s view of love. – Bring in a food item. Tell us how it relates to Baroque ideals or Renaissance ideals – Team Art Game for extra credit
- 26. Artemisia Gentileschi • Most accomplished of the second gen. Baroque painters – More than 34 masterpieces – First woman to join the Accademia di Arte del Disegno in Florence • Main themes: – Strong women of the bible – Suffering Mythic Females – Characteristic tenebrism – Looks of astonishment, tense surprise, open form
- 27. Gentileschi, Artemisia Self-Portrait as the Allegory of Painting 1638/39 Oil on canvas 38 7/8 x 29 5/8 in (98.6 x 75.2 cm) Her Majesty Queen Elizabeth II
- 28. Bible: You Go GURLZ! • Bathsheba: – Takes a bath on a rooftop…right next to David’s palace – Conspires to send her husband to war since she is pregnant • Queen Esther – Becomes wife of Persian king – Saves her exiled people from destruction • Deborah – Judge in early Hebrew society – Organizes an army and sucessfully defeats the canaanites
- 29. Roman beginning (1593) • Learned painting while visiting her father’s workshop – Orazio is friends with Cravaggio • Completes first work at age 17 – Susanna and the Elders depicts the deauterocanonical account of voyeurism, sexual assault and blackmail • 2 years later, Gentileschi is raped while being “tutored” by Tazzi during a commission Gentileschi, Artemisia Susannah and the Elders 1610 Oil on canvas 66 7/8 x 46 7/8 in (170 x 119 cm) Collection Graf von Schoenborn, Pommersfelden
- 31. Gentileschi, Artemisia Judith Beheading Holofernes 1620 Oil on canvas 78 3/8 x 64 in (199 x 162.5 cm) Uffizi, Florence
- 32. Weekly Breakdown • Monday: Gentleschi, Carraci and Bernini • Tuesday: AP test: Prehistoric-Baroque • Wednesday: AP test (Cont.) • Thursday: Renaissance vs. Baroque • Symposium – Essay prompt (5 paragraphs, due on Symposium): The theme of love is powerful and salient as Christian expression. Fully identify one Renaissance painting and one Baroque painting and describe how the art philosophies concerning God and Man influence the artist’s view of love. – Bring in a food item. Tell us how it relates to Baroque ideals or Renaissance ideals – Team Art Game for extra credit
- 34. Annibale Carracci • 1582, Born in Bologna – Studied Florentine linear drafsmanship (Raphael) – Combined Raphael’s rich colors with the misty edges of the Venetian school • Style and Characteristics – Contrast of color, with misty colors, blended neutrals in the foreground – Idealized religious figures, contrasts Caravaggio • It was his work that is praised in the coming decades – More than Caravagio, who had a devout, yet limited, audience
- 35. The Flight into Egypt 1603 Oil on canvas, 122 x 230 cm Galleria Doria Pamphilj, Rome
- 36. CARRACCI, Annibale Domine quo vadis? 1601-02 Oil on panel, 77,4 x 56,3 cm National Gallery, London
- 37. CARRACCI, Annibale Ceiling fresco 1597-1602 Fresco Palazzo Farnese, Rome
- 38. Timed Write This question asks you to explore the stylistic relationships between the form and content of figurative art. How a culture is perceived is often expressed in depictions of the human figure. Choose two specific representations of the human body from different cultures. Only one of your choices may be from a European artistic tradition. Discuss significant aspects of each culture that are revealed by the way in which the human body is depicted. (30 minutes)
- 39. Gian Lorenzo Bernini • Born to a mannerist sculptor (1598-1680) – Age of 8, helped his father on several commissions for Pope Paul V • Received his first commission soon after by Cardinal Borghese • Worked for the Cardinal, as well as 4 other popes (except Innocent X)
- 40. Gian Lorenzo Bernini • Major Works: – Rape of Proserpina – Aeneas, Anchises and Ascanius – Apollo and Daphne – David – Ecstasy of St. Theresa – Fountains in Rome – Colonade of St. Peter’s
- 41. Gian Lorenzo Bernini • Characteristics: 1. Upholds the waning Counter- Reformation tone infused within a Baroque setting 2. Naturalistic realism to both classical sculptural content and religious work 3. Underscored by a strong sense of narrative 4. Dramatic, often violent tension in face and body representative of Hellenistic sculpture (Dionysian) 5. Infusion of Painterly style to sculpture
- 42. The Rape of Proserpina 1621-22 Marble. height 295 cm Galleria Borghese, Rome
- 46. The Martyrdom of St Lawrence 1614-15 Marble, 66 x 108 cm Galleria degli Uffizi, Florence
- 47. Gianlorenzo Bernini Damned Soul 1619 White Marble 38cm Spanish embassy, Palazzo di Spagna, Rome
- 48. Gianlorenzo Bernini, David, 1623.Marble, 5 7 high. Galleria Borghese, Rome. Bernini’s sculptures
- 52. Apollo and Daphne 1622-25 Carrara marble, height 243 cm Galleria Borghese, Rome
- 55. The Ecstasy of Saint Therese 1647-52 Marble Cappella Cornaro, Santa Maria della Vittoria, Rome
- 56. The Ecstasy of Saint Therese 1647-52 Marble Cappella Cornaro, Santa Maria della Vittoria, Rome
- 57. Warm-Up • This is Constantine • Describe how Constantine is depicted in terms of gesture, line direction, and use of light. • Who is the Artist? How can you tell?
- 58. Gianlorenzo Bernini, baldacchino, Saint Peter’s,Vatican City, Rome, Italy, 1624–1633. Gilded bronze, 100 high.
- 59. Gianlorenzo Bernini, Scala Regia (Royal Stairway),Vatican City, Rome, Italy, 1663–1666.
- 60. Gianlorenzo Bernini, Scala Regia (Royal Stairway),Vatican City, Rome, Italy, 1663–1666.
- 61. Aerial view of Saint Peter’s, Vatican City, Rome, Italy. Piazza designed by Gianlorenzo Bernini, 1656–1667.
- 62. The Piazza and Colonnade: the Church embraces the world
- 63. St. Peter’s Basillica • Location: Vatican City, Italy • Completion Date: 1626 • Dome Diameter: 138 feet • Dome Type: Ribbed • Height: 452 feet above the street, 390 feet above the floor • Purpose: Supremacy of Papacy, Counter Reformation • Materials: Concrete, brick (masonry) • Architects: Donato Bramante, Rafael, Michelangelo, Bernini
- 65. Quick Glance at Construction 1. 1506- Pope Julius II hires Bramante to create plans for St. Peter’s Basilica and its dome 2. 1514- Bramante dies, Antonio Sangallo becomes capomaestro 3. 1546- Sangallo dies, Pope Paul III orders Michelangelo to take the commission 4. 1564- Michelangelo dies 5. 1586- della Porta’s plan for a new dome is approved 6. 1588-1590- Dome constructed jointly by della Porta and Fontana 7. 1590-1593- Lantern constructed
- 66. St. Peter’s Basilica, nave Dome and Altar of St. Peter
- 67. St. Longinus The Baldacchino (or Ciborium) Gianlorenzo Bernini At St. Peter’s
- 68. The High Altar with the Doctors of the Church and the Cathedra Petri
- 69. Bernini’s symbolism of the Church Triumphant and the new Rome: the vivification of the main processional axis
- 70. •The power of the Church as an institution takes expression in the new churches of the 17th century. Along with it other kinds of forces also appear, including •dynamism (energy and motion), •spatial fluidity, •destruction of limits and boundaries leading to the notion of “continuum.” •Broader Naves (Ovals) •Dramatic use of Light and narrative sculpture •Large Ceiling Frescoes Ss. Luca e Martina, by Pietro da Cortona, 1634-69
- 71. Energy can be perceived in the nervous perimeter established by the entablature over the wall columns. The interior becomes part of a continuum that is not clearly bounded in the layered wall system. The interior is no longer a container delimited by wall planes but a locus of forces.
- 72. San Carlo alle Quattro Fontane (St. Charles at the Four Fountains) by Borromini, 1634ff
- 74. The dynamic energies of Italian Baroque architecture were explored by many designers and artists. St. Ivo della Sapienza by Francesco Borromini, 1642ff
- 75. Chapel of the Holy Shroud, Turin by Guarino Guarnini, 1667ff
- 76. San Lorenzo, Turin, by Guarino Guarnini, 1668-80
- 77. Identify and Label. Analyze the Principles and Elements of Design for this work.
- 78. Warm Up 2/23/12 Sketch what you see! No more than a quarter sheet. Then, trace in your notes for today’s analysis
- 79. Baroque in Spain
- 80. Spanish Baroque • Most Spanish painters were inspired during travels to Italy and the North – Due to the conservative courts and lowly artisan place – All fine because Netherlands was ruled by Spain (Hapsburgs) • Spain = MAJOR SAINTS
- 81. Diego Velasquez • Caravaggesque painter in Seville • Early painter of bodegones, or scenes of people eating. • Associated with Rubens who brought the influence of Titian • Major Works: – The Water Carrier of Seville – Pope Innocent X – Maids of Honor
- 83. Diego Velázquez. The Waterseller in Seville. c. 1620. Oil on canvas. Wellington Museum, London, UK.
- 84. Diego Velázquez. Pope Innocent X. 1650. Oil on canvas. Galleria Doria Pamphilj, Rome, Italy.
- 85. Diego Velázquez. Las Meninas (The Maids of Honor) or the Royal Family. 1656/57. Oil on canvas. Museo del Prado, Madrid, Spain.
- 89. Who are we?
- 90. Diego Velázquez. Las Meninas (The Maids of Honor) or the Royal Family. 1656/57. Oil on canvas. Museo del Prado, Madrid, Spain.