If it ain’t BAROQUE, don’t

fix it!

1600-1700in Europe

(17th Century)

“Baroque” means “irregularly shaped” or “odd” (describes departure from styles seen in Italian Renaissance)

RENAISSANCE BAROQUEBalance Movement

Ideal of beauty Realism in representationsSimplicity Complexity

Proportions Interest in surprising the viewer

Straight lines Curved lines, convex, concaveDrawing emphasized more

than color and lightColor and light emphasized

more than drawing

Baroque are is a reflection of society:

• ART of absolute monarchies• ART of the counter-reformation

(Catholic countries)• Bourgeois ART (Protestant

countries)

Main ideas about BAROQUE:• Counter-Reformation (Catholic resurgence) is

reflected in art of Italy, Spain, and France• Protestant Holland’s Baroque art contrasts Catholic

art• Two schools of thought: CLASSICISTS (inspired by

Italian artists like Raphael) and NATURALISTS (inspired by Venetian painters like Titian)

• Artists experiment with GENRE PAINTINGS, landscapes, and still lifes (raise them to importance level of traditional subjects)

• Architecture reflects majestic royal courts of Europe

• Catholic church is still the head honcho of artistic commissions (followed closely by royalty and autocratic governments)• Huge churches = big paintings = big $$$• Some artists considered their work to be

a reflection of their firm commitment to their faith (like Rubens and Bernini)• Landscape architecture becomes its own

art form (you’ll see what I mean when you see Versailles in France) – impressive!

Architecture time!• Lots of movement, undulation• Cavities of shadow contrasting with projections

catching the sun• Emphasis on center façade – accentuate entrance

with wavelike forms, pediments, tympana• Richly designed interiors with paintings and

sculptures – all work together to create dramatic unity

• HUGE and elaborate architecture – meant to impress – represents achievements of patrons – power and wealth!

Let’s start with ITALIAN Baroque…

Façade of St. Peter’s by Carlo Maderno

1607-1612Rome

• Façade and nave added to Michelangelo’s design of St. Peter’s (creates a Latin cross plan) – wide and low façade – emphasis on center of façade with pediment highlighting main door

•Pilasters on each end gradually become rounded engaged columns around central door (more central emphasis!)

Colonnade of St. Peter’s by: Gianlorenzo Bernini

1656-1657, Rome

•Huge plaza that can hold half a million people (you should see it on Easter!)-Bernini wanted a surprising contrast between busy congested Rome and a big open vista of St. Peter’s

-Colonnade is like a big hug – embracing arms bring faithful people into the building (the basilica)-Shaped like a skeleton keyhole – St. Peter holds the keys to heaven (ahhh, connection)

Fun game to play as you walk around the colonnade – “Count the Nuns”

The Columns are big!

Oval shape centered around an Egyptian obelisk that was already there-Trapezoid shape in front of basilica determined by preexisting buildings

• The Obelisk from Egypt was brought to Rome by Emperor Caligula in 37 AD.

• It is also a sun dial, its shadows marks noon over the signs of the zodiac in the white marble disks in the paving of the square.

140 Saint statues along colonnade

St. Charles of the Four Fountainsby: Francesco Borromini

1638-1641, Rome

•In a square in Rome with four fountains (ah, that’s where the name came from)

-unusually small site, façade higher than the rest of the building

Haha, look at that tiny building with that big facade

•Check out the undulating shapes•Concave/convex patterns

Here’s the inside!

•Here’s the floor plan•It’s an oval! •Interior side chapels merge into a center space•Oval dome above mirrors oval shape of church

The dome of St. Charles of the Four Fountains

(PS: it’s coffered)

•Walls are very sculptural-Borromini liked using shades of white (typical Baroque – avoided color in buildings)

Sant’ AgneseBy: Francesco Borromini1653-1663, Rome

It’s in the Piazza Navona in RomeOne of THE most beautiful places in the world!

SMO Cam, Piazza Navona

Sant’ Agnese church dominates the piazza-convex/concave forms on facade

Look how the light plays off of the façade, ooooo!

Dome framed by elaborate towers, rises dramatically behind concave facade

Sant’ Agnese ground plan-centrally planned, wide round transept

Interior: space flows well, very open plan

Looking up into the dome of Sant’ Agnese

Chapel of the Holy Shroud by: Guarino Guarini (haha) (attached to Turin Cathedral)

1667-1694

Added to Turin Cathedral around 200 years after it was

built

• Very complex space• Interior is

kaleidoscope-like• 12-point star• Illusion of endless

space

• Hexagonal ribs cross one another, which creates an airy domed space of crazy intricacy…. It just goes on forever!

Chapel holds the controversial Shroud of Turin (believed by some to be the burial shroud of Jesus)

Carbon dating places it in the Medieval period though…

Positive photo Photo negative with contrast

Let’s move on to FRENCH Baroque…

Versaillesby: Jules Hardouin-Mansart (and others)

beguin in 1669 in Versailles, France

Beware: Visit this place in the off-season unless you love crowds that will mow you down

SMO Cam

•Was a hunting lodge, remodeled into a massive, elaborate palace for Louis XIV•Center of building was Louis XIV’s bedroom (“audience chamber”) – the rest of the floor plan radiates out from there (Louis fancied himself the “sun king”- he had a bit of an ego)•A symbol of the system of ABSOLUTE MONARCHY

Louis XIV’s bedroom. Not too shabby.

A reflection of Louis XIV’s political and economic ambitions-vast garden and town complex radiating out from the palace

Exterior decoration of façade is kinda subdued, understated undulation

Let’s look at the gardens (just because they’re pretty)

SMO Cam

SMO Cam

The Hall of Mirrors in the Palace of Versailles

•The Hall of Mirrors: 240 feet long, barrel vaulted, painted ceilings show civil and military achievements of Louis XIV•Light comes through windows on one side, bounces off mirrors on other side (largest pieces of glass that could be made at that time)•Flickering light is spectacular!

• Henry would walk down this hall daily on his way to the chapel from his private apartments

• Treaty of Versailles was signed in this hall (ended WWI in 1919)

• Let's see a little movie about Versailles

Time for ENGLISH Baroque…

Banqueting Houseby: Inigo Jones, 1619-1622, London

• Built for James I of England to replace a hall destroyed by fire• Inspired by Palladio, introduced Palladian style to England

(Andrea Palladio – influential Venetian architect in 1500’s)

• Banqueting House by Jones (17th century), England

Palazzo Chiericati by Palladio (16th century), Italy-no, we never looked at this, I’m just making an Italian comparison

• Façade is modest, not much undulation

• Central bay of six windows is framed by engaged columns

Flat pilasters recessed around windows (pilasters are decorative, engaged columns provide support)

pilasters

• Balustrated roof• Illusion of two

stories (it’s actually one big room inside)• Basement level

has rusticated stone

Just for kicks, here’s the interior

Oooo, the ceiling was painted in

1635 by Peter Paul Rubens (we’ll see

his work in the near future)

Saint Paul’s

Christopher Wren

1675-1710London

View of Saint Paul’s from aboveWe’re going to look at the west side

•Built after the Great Fire of London in 1666 (Gothic building on this site burned down)

What elements of this church are quintessential GOTHIC?

•Façade: projecting parts create dark/light contrast in the center (emphasis on center) – sides recede•Bell towers – complex looking, graceful

• Dome is 3 domes in one• Inner dome low and curved• Second dome supports lantern• Exterior dome fills out space

• Remember Bramante’s Tempietto from the Italian High Renaissance? Looks similar, huh? Influence!

Saint Paul’s Interior

•Saint Paul’s sits at the highest point in London – can be seen from far away•Part of the national identity of England- many significant events/ceremonies here

apsechoir

Blenheim Palaceby: John Vanbrugh

1705, Woodstock, England

•Thank you gift to the Duke of Marlborough for winning the battle of Belnheim in 1704 in the War of Spanish Succession (not a bad present!)

•Many reminders inside of the duke’s awesomeness (trophies, cannonballs, urns, statues, etc.)-another majestic palace structure (like Versailles)

Here’s another angle-Accent on central core-Basement has porthole windows, Vanbrugh’s favorite motif

• Projecting pavilions• Corner towers• Advance and retreat of façade pattern

Enough architecture!

Let’s see some sculptures and

paintings!

Baroque Sculpture

• Stressed movement, figures in mid-motion• Large sculptures meant to be seen in the round• Use of negative space – makes all angles interesting• Treatment of marble to achieve textures (ie: high

polish for skin, feathery carving for angel wings, coarse surface for animal skin, etc.)

• Tie-in with Greek Hellenistic sculptures• Attention to light and shadow

DavidBy: Gianlorenzo Bernini

1623MarbleRome

•mid-action, swinging the slingshot at Goliath•Harp near his feet- symbolizes his role as a psalmist•Face is an idealized version of Bernini’s own face, intense gaze

•Meant to be seen from multiple angles•Use of negative space, figure seems animated and dynamic

The Discus Thrower450 BCE, marbleGreek

Baldacchinoby: Gianlorenzo

Bernini

1624-1633Bronze

in St. Peter’s Rome

• Over the main altar of St. Peter’s

-Four twisting corkscrew columns that spiral upward

-Directs viewer’s eye down the nave of St. Peter’s to the altar

-Acts as a shrine and canopy over St. Peter’s grave (buried under the basilica)

Mega achievement in bronze casting

A symbol of the Counter-Reformation in Rome. It shows “We are Catholic!”

Bees and suns decorate the piece – symbols of the patrons (Barberini family)

Barberini coat of arms

Ecstasy of Saint Theresaby: Gianlorenzo

Bernini

164-1652marble

in Santa Maria della Vittoria,

Rome

• St. Theresa wrote in her diary about her visions of God – an angel descended upon her and plunged an arrow into her

• Pose suggests sexual exhaustion – consistent with her description of spiritual ecstasy described in her diary entries

-divinity collides with a human body – a state of divine joy

One diary entry: 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.

Marble handled in a tactile way, textures revealed, high gloss skin, texture in feathers, drapery is animated and fluid, clouds roughly cut

Rough-cut clouds

Texture in wings

• Natural light from a hidden window illuminates the sculpture (clever!)

• Figures appear to float in space, ungrounded

• Rays of God’s light illuminate the scene from behind

• Stage-like setting• Sculptures of Cornaro

family (patrons) sit in theater boxes looking on and commenting

Cornaro family in theater boxes

Two Trends in Baroque PaintingNATURALISM CLASSICISMExpressive sense of movement Subdued emotions

Figures dramatically rendered, even in portraits

Subdued drama

Light effects are strong – sources of light create strong highlights and shadows – this contrast is called TENEBROSO or TENEBRISM

Realistic use of light

Colors are descriptive and evocative Subdued colors

Inspired by Venetian RenaissanceRejection of “artificiality” of Mannerists

Inspired by classicizing painters like Raphael

Who: Caravaggio, Gentileschi, Rubens Who: Poussin, Carracci

Some trends:• Still life, genre paintings, and landscapes, religious

and historical paintings• Landscapes express a higher meaning, have small

figures in a vast landscape (not done on-site, rather, done in a studio and based on sketches in the field) – thoughtful combination of earth/architecture

• Still life paintings often have a VANITAS theme – stresses shortness of life and folly of human vanity

• Genre paintings often have an allegorical commentary on a contemporary or historical issue

Let’s start in Italy again…

Calling of Saint Matthewby: Caravaggio

1597-1601, oil on canvas, in Rome

One of a series of paintings for a chapel

What is happening here?

• Scene from the Gospel of Matthew: “Jesus saw a man named Matthew at his seat in the custom house, and said to him, “Follow me”, and Matthew rose and followed him.”

• Shows Matthew the tax collector w/ four other men• Jesus and St. Peter entered, Jesus points at Matthew• Beam of light illuminates faces of the men who are looking at Jesus

Jesus inspires Matthew to follow him (conversion to Christianity)St. Matthew points to himself (“me, a tax collector?”)

Matthew

• Men are foppishly dressed in the latest Baroque fashions (not Jesus-era fashions)

• Figures have everyday characteristics, NATURALIST approach

• Well would you look at that! - Christ’s hand gesture similar to Adam’s and God’s in the Sistine Chapel

•Narrow stage for figures to sit and stand on•Diagonal shaft of light points right at St. Matthew •Dramatic light creates TENEBROSO effect on figures

Tiny halo on Christ’s head indicates sacredness of the scene

Entombmentby: Caravaggio

1603oil on canvas

check it out in Rome!

•Christ’s body placed in a grave•This painting was placed over an altar so Christ is symbolically being placed on the altar•TRANSUBSTANTIATION = turning the Eucharist meal (bread and wine) into the body and blood of Christ (Protestants of the Counter-Reformation don’t believe in this)

•Figures are pushed forward in the picture plane, shallow stage•Stone slab seems to project forward toward viewer•Nicodemus (guy looking at us) resembles Caravaggio himself – common-looking man without any hints of holiness (Naturalism!)

Mary is traditionally depicted as ageless and youngBut Caravaggio embraced Naturalism – paints Mary older (Christ is 33 after all)

Many paths for the eye to takeLimbs, gazes, gestures lead the viewer’s eye around the painting (movement)

Diagonal cascade of mourners

Light source illuminates Christ the most

Loves of the GodsBy: Annibale

Carracci

1597-1601Fresco

Farnese Palace ceiling in Rome

•Barrel vaulted ceiling combines two things:•Quadro riportato: means “carried picture” – gold-framed paintings seen in a normal perspective•Di sotto in su: means “from below to above” – extreme foreshortening of figures painted on the ceiling – gives the illusion that the figures are suspended in air above the viewer

•Idealized bodies in a variety of poses•Vigorous movement (in bodies AND in the viewer’s exploration of the scenes)•Rich colors inspired by Venetians

Loves of the gods played out with abondon on the ceiling, such as…

Jupiter and Juno

Pan and Diana

So…… CLASSICISM or NATURALISM?

Waaaaay different than Mannerism of the past

Aurora and Cephalus

Figures overlap the “frames” (most are painted) – sit on them, put hands/feet over them

Judith and Her Maidservant

with the Head of HolofernesBy: Artemisia Gentileschi

1614-1620Oil on canvas

•TENEBRISM and gory details (influence of Caravaggio)•Dramatic lighting! •Heightened emotion

•Gentileschi painted this shortly after she was raped by the painter she was studying with•Sword forms a cross shape – good over evil •Gentileschi specialized in paintings of women triumphing over men!

•Face of Judith is her face – she identified with Old Testament heroines•Beheads Assyrian general Holofernes after he falls asleep drunk (his face is her mentor’s face)

•Visual “lines” draw your attention to the action

•Super physical scene! •Wide spurts of blood•Women struggle with large dagger

•And there’s a follow-up painting in the story…

Judith and her Maidservant

Caravaggio painted the same subject

…and Michelangelo painted it in the Sistine Chapel…

AND Gustav Klimt painted it in the 19th century

..and a bunch of other artists….just sayin’

AuroraBy: Guido Reni

1613-1614Ceiling fresco in Casino Rospigliosi, Rome

•Aurora leads Apollo’s chariot•Cupid and the Seasons dance around the heavenly chariot•Influenced by Raphael

•Classicist trend •Soft modeling•Sweet, airy vision

Triumph of the Barberini (or

Triumph of the Divine Providence)

By: Pietro da Cortona

1633-1639Fresco in the

Palazzo Barberini, Rome

Di sotto in su (remember what that means?)

Naturalist trend

Figures move easily in an open space unified by plentiful light and color

Ceiling subdivided by a painted architectural frameworkFigures spill over the framework

•Solar Divine Providence at one end (the Barberini papal election was divine providence of course, not at all rigged, ha)•Other end shows putti and flying maidens holding the papal keys, tiara, and robe belt above a swarm of golden giant bees

Divine providence (God’s intervention in the world)

Bees and laurel wreaths (symbols of Barberini family)

Let’s go to SPAIN now

The Water Carrier of Sevilleby: Diego Velazquez

1619, oil on canvas

•Simple genre scene, but with sacred quality in the expressions, the handing over of the glass, and the clarity of the water

•Velazquez liked Caravaggio’s use of TENEBRISM

-Rounded forms (jugs, figures)

-water is sweetened with fresh fig

Mmm, fig water

•Water carrier (water seller) was a common trade for lower class in Seville•Two customers: a young boy and young man•Big jugs of water glisten with splashes of water – so big they seem to protrude into the viewer’s space•Hands fresh glass of water to the boy

•Calm scene•Seller has pensive face, detailed with scars and wrinkles = many years of work•Short hair and plain clothes – appearance of a monk, saint, or philosopher •Gazes at nothing – in deep thought, unaware of those around him

•Velazquez respected the poor – realized that the simple nature of poverty is a profound and effective subject matter for depicting morals and biblical stories•Aimed to precisely represent life – shows insight into the water carrier as a person

This is Velazquez, just in case you’re

curious (self portrait)

The Surrender of BredaBy: Diego Velazquez

1634-1635, oil on canvas

• Shows the Dutch yielding the town of Breda to the Spanish in 1625 (handing over the key)-Look at how gracious the Spanish are being – very dignified, united military (painting is an emblem of Spanish nationalism)

• Dutch on the left are more scattered and disorganized looking, not in fancy uniforms, very young-Dutch weapons aren’t organized or substantial, Spanish weapons upright, symbolize military might of victors

•Poor Dutch. They lost. •BUT, this is a very important historical commentary: Velazquez depicts one of the most humane captains (Spanish) of the day•Salutes a moment of restraint and kindness in battle (awwww)

• Imaginary landscape in background (aka: Breda)Can you see the cross in the distant lake? A symbol of Spanish (Catholic) domination over Dutch (Protestant)

• Soldiers show each other mutual respect (good game!) in honoring the valor of the other side-open space in center emphasizes the keys and symbolizes a city resigned-Funny thing is, Velazquez never met Dutch people or traveled to Breda

Las Meninasby: Diego Velazquez

1656oil on canvas

FYI: this is one of the most widely analyzed paintings in art history. This is an overview. You may want to read more about it on your own.

•Set in a large room in a royal palace during the reign of King Philip IV of Spain-most figures identifiable as members of Spanish court

•Group portrait of the artist in his studio at work•He steps away from the canvas to look at the viewer – wears the cross of the Royal Order of Santiago, making him a knight

•He wasn’t knighted until three years after he finished this painting•Cross added after his death

(1) Margarita Teresa of Spain, Infanta Margarita(2) doña Isabel de Velasco(3) doña María Agustina Sarmiento de Sotomayor(4) the dwarf German, Maribarbola (Maria Barbola)(5) the dwarf Italian, Nicolas Pertusato(6) doña Marcela de Ulloa(7) unidentified bodyguard (guardadamas)(8) Don José Nieto Velázquez(9) Velázquez(10) King Philip IV reflected in mirror(11) Mariana, queen of King Philip, reflected in mirror

•Infanta Margharita of Spain in the center•Meninas = attendants•Also a dog, dwarf, midget, and two chaperones

•Joes Nieto in doorway (head of the queen’s tapestry works, which is why his hand is on a curtain)

•King and Queen are reflected in the mirror… but where are they in the room? Are they in the painting facing away from us? Are they in the room (standing in our space) – is that who everyone is looking at?

•Darks and lights draw us deeper into the room•Dappled light, some surfaces seem to shimmer•This painting was originally hung in King Philip’s study

Picasso

Picasso Again

Spanish department store advertisement

Let's watch a movie about this painting

FLEMISH Baroque…

Raising of the Crossby: Peter Paul

Rubens

1610-1611oil on canvas

In Antwerp Cathedral

Part of a triptych – one continuous space across the three panels

•Strong diagonals direct viewer’s attention to Christ•Bodies have impressive musculature – brought out by the dramatic lighting•Spontaneous moment, physical and visual movement

•Men attempting to lift the cross with Christ on it (challenging to their lovely muscles) – look like they’re struggling•Motion, space, and time part of the scene•Dynamic color and dark/light contrast

•Intense scene, very religious, but it’s more about the passion and exuberance of the scene•Influence of Italian Renaissance and Baroque artists. Where do you see this?

Marie de’ Medici Cycle (This one is

“Arrival of Marie de’ Medici in Marseilles”)

by: Peter Paul Rubens

1622-1625oil on canvas

•21 paintings in this series, but we’ll focus on this one •All commissioned by Marie de’ Medici, wife of Henry IV of France•Decorated a waiting room in the royal apartment in Luxenbourg Palace (but now they’re at the Louvre Museum)•Hung in a particular order

•All the paintings tell the life story of Marie de’ Medici through allegory•They’re huge! •Allegories help tell the story and mix w/ real historical people (sort of like historical fiction)

•Here, Marie arrives in France after a sea voyage guarded by Neptune and sea nymphs•Angel playing two trumpets – hooray for her arrival!

-Nymphs-Ever hear the term “Rubenesque”?

•Rubens has turned something ordinary (arrival, walking down gangplank) into something magnificent. •Heaven + earth•History + allegory

“France” falls to her feet to greet her with open arms (notice gold fleur-de-lis pattern)

Marie is dressed in silver – blends into the crowd, nearly gets lost in the action

•Fancy costumes, looks like an opulent theater production•Sumptuous, full-figured women•Mellow intensity of color – inspired by Titian and Caravaggio•Heroic gestures, lots of movement

Charles I Dismounted

by: Anthony Van Dyck

1635, oil on canvas

•Charles I of England walking in front of his bowing horse•Looking directly at viewer, haughty pose, hat framing his head like a halo•Royalty chilling out in nature (Venetian landscape)•Charles is closest to the viewer- artist’s attempt to downplay his shortness

•Charles dressed in civilian clothing, resting during a hunt•The Louvre calls his pose “a subtle compromise between gentlemanly nonchalance and regal assurance”•Horse bows its head, as if bowing down to Charles

DUTCH Baroque…

(aka: Rembrandt van Rijn and friends)

DUTCH Baroque Art…• Dutch paintings of landscapes, portraits,

genre paintings• Avoided religious ecstasies, myths, and

historical subjects• Dutch houses are smaller than Italian,

Spanish, etc. – so painters work smaller so their paintings fit

• Into symbolism • Somewhat outside the “mainstream” of

Baroque art

Self-Portraitby:

Rembrandt van Rijn

1659-1660oil on canvas

•We could go on FOREVER about Rembrandt’s self-portraits•He did MANY of them•They reveal true humanity, psychological tension, various states of mind

•In them, we see him suffering, weary, satisfied, dignified, excited, etc. •Faced personal tragedy and financial hardships, but was a very popular artist•Self-portraits are sincere, w/o vanity•Always with a penetrating gaze•LOVED using soft chiaroscuro lighting

Inside Rembrandt’s studio in Amsterdam (SMO cam….. Yeah, I almost died)

Anatomy Lesson of Dr. Tulp, by Rembrandt van Rijn 1632, oil on canvas

Depicts a specific anatomy lesson (Jan 1632)Public anatomy lessons lasted 4-5 days, indoors in winter

Dr. Tulp explains musculature of the arm to medical professionalsOnly one public dissection a year (must be an executed criminal)

•Rembrandt’s first group portrait•Spectators are various doctors who paid to be included in the painting•Anatomy lessons were a social event in the 17th century – in lecture rooms (theaters) w/ students, doctors, and the general public (I know, ewww) – paid an entrance fee

•Spectators dressed for this solemn social occasion•The “bloody” work was left to others (“preparators”) – that’s why we don’t see any cutting instruments (too menial of a task for Dr. Tulp)

•Dr. Tulp seated in place of honor, wears rimmed hat (marks him as an the chairman) – hands are prominently displayed

•Comparing the corpse to the giant anatomy book on the right, and positions his own arm to make his point

So who is the corpse? – a criminal convicted of armed robbery and hanged that day, shadow of death on face

Night WatchBy: Rembrandt van Rijn

1642, oil on canvas

Originally this size (cut down in in 1715) – this is a copy--cut to fit between two columns when moved to a new location

I saw it!

Again, we see a painting that entire books have been written about…. We’ll do what we can… bear with me

•Painted for an assembly hall as part of a group of paintings of various militias•Misnamed – thought it was a night scene before it was restored (because of all the grime over the years)

•Eight patrons in the scene (represented according to how much they paid, partial or full body)•Militia marching out on patrol (or on parade?)•Captain Cocq holds a baton and wears a red sash, speaking as he comes forward, maybe giving orders

•Lt. Ruytenburg (in yellow) holds a partisan (a long spear weapon) and stands with the captain•Central group comes forward, side groups move behind

•Allegorical figure of a girl in gold carrying a large white chicken dangling from her waist – girl is sort of a mascot – claws of chicken symbolize militia called the Arequebusiers (named after the gun featured in the painting)… I don’t make this stuff up

•Dead chicken also represents the defeated enemy•Yellow is usually associated with victory

So what makes this painting so great? 1. Massive size (roughly 12x14)2. Dramatic use of light and shadow (chiaroscuro)3. Rembrandt managed to include MOVEMENT in what had the potential to be a traditional, static military portrait (boring!)

Hundred Guilder PrintBy: Rembrandt van Rijn1647-1649, etching

• Name comes from the heavy price for a copy of this print!• Also called “Christ Healing the Sick” and other titles based

on multiple events from Matthew’s gospel (Christ healing the sick, debating with scholars, calling children to him)

• Shows Bible events as a tender moment, serene (not based on just ONE single biblical story, illustrates various themes)

• Jesus in the center, many religious messages packed in• Young man w/ head in his hand = Christ preaches against

excessive wealth

• Women present their babies to him to be blessed – symbolizes his acceptance of all followers, no matter how “insignificant”

Let’s meet Frans Hals!

• Specialized in single portraits, marriage portraits, and group portraits

• Right time, right place – no market for religious art, portraits popular

• Became famous by painting complex groupings of Dutch fraternal organizations

Hals Selfie

Guess what’s by Hals….

Yeah, this painting that has been staring you in the face since the summer

Catharina Hooft and her Nurse1620

Oil on canvas

Archers of the Saint Hadrianby: Frans Hals

1633, oil on canvas

• Relative social positions expressed through the composition. You can probably pick out the “most important” people based on their positions – creative arrangement – some standing, some sitting, all based on their position in society

• Hals used diagonals to create 2 groupings and a focal point in the center

• Lively conversation, animated faces, some glance at each other and some look at the viewer

• Faces are NOT idealized, all clearly distinguishable, personalities revealed in facial expressions

• Very clever – light, shade, modeling all achieved with a few fluid brush strokes

Officers of the Haarlem Militia Company of Saint AdrianFrans Hals, 1627,oil on canvas

• Two distinct groups = split in the political and social structure of the company (Group on right is more relaxed)

• Group on left surrounds Colonel Loo (the commanding authoritarian), many personalities depicted (Hals specialty)

Self-PortraitBy: Judith

Leyster

1633 oil on canvas

• Self-portrait AS the artist – secure in her craft

• Turns around to chat with the viewer as she’s painting

• Even the fiddler she’s painting is smiling at us!

• She was inspired by Hals (she knew him) – IMPASTO brushwork

• She looks successful and capable

• Took on male apprentices• Most of her

work was done before she had children (only two known pieces made afterwards)

View of Haarlem from the Dunes at OverveenBy: Jacob van Ruisdael

1670, oil on canvas

•Shows a 20-year long landscape project that reclaimed lots of land from the sea (filled it in…. Sounds tricky)•Flat landscape comes to life with alternating dark and light effects – deepen the perspective and draw our attention into the painting, dappled sunlight comes through clouds

•Linen dries in the open air (a local industry)•Sky demands our attention just as much as the land, very animated and bold, billowing clouds, movement•Dutch interest in landscapes

The Love LetterJohannes Vermeer

1662-1665oil on canvas

•VERY few Vermeer works exist•Almost always depict intimate scenes in private Dutch homes•Figures seem unaware of our presence

•Diagonals in floor add to creation of depth•Lute = symbol of love•Removed slippers = symbol of sex•Broom cast aside – domestic concerns forgotten when you’re in love!

•We are looking into a private world•Servant handing love letter to young woman playing a lute•Small gestures have big impact visually•Warm light from unseen window highlights textures and surfaces – marble floor, fabric, etc.

Similar, but a different painting

The Guitar PlayerJohannes Vermeer

1672oil on canvas

Here are a few more Vermeer pieces, just for kicks:

The Music LessonJohannes Vermeer

1662-1665oil on canvas

The MilkmaidJohannes Vermeer

1658oil on canvas

The AstronomerJohannes Vermeer

1668oil on canvas

The Girl with the Wine Glass

Johannes Vermeer

1659oil on canvas

Girl with a Pearl Earring

Johannes Vermeer

1665oil on canvas

The Art of PaintingJohannes Vermeer

1666oil on canvas

Embarkation of the Queen of ShebaBy: Claude Lorrain1648, oil on canvas

Embarkation of the Queen of ShebaBy: Claude Lorrain1648, oil on canvas

•Queen of Sheba leaves palace (right) to visit King Solomon in Jerusalem (scene from the First Book of Kings in the Old Testament)•Leaves city of classical buildings, early morning sun lights up the sea, ships are loaded•Queen is about to get in a small boat to transition to the larger boat in the distance

•Architecture frames the scene’s center, which is relatively empty•Rising sun shimmers on the water, scene is backlit, waves pick up sunlight

•Combination of visuals is not chronological (anachronistic) – Roman ruins, medieval tower, Baroque palace…..whatever, it looks nice•Landscape is dominant, people are insignificant (Dutch)

•Composition divided into fifths: horizon line 2/5 of the way up, columns and palace take up 1/5 of the composition

Et in Arcadia Ego By: Nicholas Poussin1655, oil on canvas

•Uneducated shepherds have difficulty reading the tombstone (curious expressions)•Arcadia (female figure) gently places her hand on the back of one of the shepherds•Pastoral painting, idealized shepherds from classical antiquity

•Poussin wanted his paintings to show moral meanings•Inscription on memorial (hard to see) – “I too am in Arcadia”

•MANY interpretations of the meaning behind this painting•Shepherd’s shadow forms figure of the Grim Reaper•Trees young, mature, and dead in background (life cycle?)

•“Arcadia” is a place for pure, rural, idyllic life (far from the city) –utopian land•SO “I too am in Arcadia” could mean Arcadia = heaven

Louis XIVby: Hyacinth

Rigaud

1701oil on canvas

• The PERFECT example of a Baroque absolute monarch

• In Baroque setting• In Baroque clothes• Louis was proud of

his legs, exposes them for the viewer to admire

• Expression – he looks down on us

Peasants!

He’s wearing his coronation costume

Crown placed at his side

•Elegant, stately pose•Haughty expression•Heavy black wig•Elaborate velvet robes•Holds scepter•Sword = a military weapon and a phallic symbol (TMI)•Painting SO popular that Rigaud had assistants make copies (full and half-length)•Exalted status!

VOCABULARY:• GENRE PAINTING: painting in which scenes of everyday

life are depicted• IMPASTO: a thick and very visible application of paint

on a painting’s surface• POUSSINISTES and RUBENISTES: fans of Poussin and

Rubens• QUADRO RIPORATO: a type of ceiling painting –

created on a curved ceiling vault. You must stand in a particular spot in order for it to appear correct (example: Sistine Chapel)

• DI SOTTO IN SU: “from the bottom up” –ceiling paintings w/ figures hovering above the viewers, looking down at us

VOCABULARY:• TENEBROSO/TENEBRISM: a dramatic light and dark

contrast in a painting• VANITAS: a theme in still life painting that stresses the

brevity of life and the folly of human vanity• BALDACCHINO: a canopy placed over an altar or shrine

FIN