baroque italy and spain

5/28/2018 Baroque Italy and Spain

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Religious movement is much of the Baroque art in Catholic countries

associated:

The Counter-Reformation.

List three adjectives or phrases that describe its style:

Dramatic theatricality.

Grandiose scale.

Elaborate ornateness.


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Carlo Maderno

Santa Susana

Rome, Italy

1597-1603


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Giacomo della Porta

faade of I l Ges

Rome, Italy

ca. 1575-1584


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Giacomo della Porta

faade o f Il GesRome, Italyca. 1575-1584

Three ways in which Maderns Early Baroque church of Santa Susanna resembles the

church of Il Gesu:Each building has scroll buttresses connecting the upper and lower levels of the faade.

Each building has two pediments, one for each story.

Sculptures in niches frame the central doorway in each building.

Carlo Maderno

Santa SusanaRome, Italy1597-1603

Three ways in which Maderns Early Baroque church of Santa Susanna

differs from the church of Il Gesu:The faade has a greater verticality, concentrating and dramatizing the major

features of its model.

The faades tall central section projects forward from the horizontal lower story.

Strong shadows cast by the vigorously projecting columns and pilasters mount

dramatically toward the emphatically stressed central axis.


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Carlo Maderno

Santa Susana

Rome, Italy

1597-1603


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Four architects who worked on St. Peter's and note the primary

contribution of each.Donato dAngelo Bramante: The original plan and the concept of a

hemispherical dome.

Michelangelo: The reduced plan and the ogival dome with drum.Carlo Maderno: the faade.

Gianlorenzo Bernini: the colonnaded piazza.


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Carlo Maderno

Aerial view of Saint Peters

Vatican City, Rome, Italy

1506-1666


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Gianlorenzo Bernini

baldacchino Saint Peters


1624-33

gilded bronze

approximately 100 ft. high

Baldacchino

Canopy-like structure on

columns, frequently built

over an altar.


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Gianlorenzo Bernini

Scala Regia


1663-1666


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Gianlorenzo Bernini

David

1623

marble

approximately 5 ft. 7 in. high

Four major characteristics of

Bernini's sculpture that are typical

of Baroque art in general.

Expansive and theatrical.

The element of time usually plays an

important role.

Dynamic quality conveying a bursting

forth of energy.

Refusal to limit itself to firmly defined

spatial settings.


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Gianlorenzo Bernini

David

1623

marble

approximately 5 ft. 7 in. high


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BerniniMichelangelo

Buonarroti

Donatello

Michelangelo's is shown before, Bernini's is during and Donatello's is after the fight

with Goliath.Michelangelo and Bernini depict David as more of a man, Donatello shows him as a young

boy, also lots of sexual symbolism in Donatello's, like the feather from Goliath's hat

running up David's inner thigh.

Donatello's is bronze, the other 2 are marble.Donatello's is very early Renaissance- he is going towards more realistic features, as is seen

in the pouchy stomach and saggy behind of David.

Michelangelo's musculature is consistent with the thoughts of the Renaissance: a look

back at idealized figures and tension-creating scenes- he hasn't fought yet, we still don't

know what will happen.

Bernini is working in a more baroque style, combing motion and concentration (in

David's face) to achieve a dynamism in the work not found in the earlier


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Gianlorenzo Bernini

in teri or of the Cornaro Chapel

Santa Maria della Vittoria, Rome, Italy

1645-1652


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Gianlorenzo BerniniEcstasy of Saint Theresa

Cornaro Chapel,

Santa Maria della Vittoria, Rome, Italy

1645-1652

Bernini depiction of the vision

of St. Theresa:

As light (shining from behind

a hidden window of yellowglass) pouring down on

bronze rays suggesting the

radiance of Heaven.


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Francesco Borromini

faade of

San Carlo al le Quattro Fontane

Rome, Italy1665-1676

Who developed the

sculpturalarchitectural

style to its extreme?

Francesco Borromoni.


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Francesco Borrominifaade of


Rome, Italy

1665-1676

Two buildings designed by him.San Carlo alle Quattro Fontane.

Chapel of Saint Ivo.

Both are located in the city of Rome.


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Francesco Borromini

plan of


Rome, Italy1665-1676

While the circle had been the ideal

geometric figure to Renaissance

architects, Baroque planners

preferred the oval.


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Francesco Borrominidome of


Rome, Italy

1665-1676

They preferred the oval

because the oval is a more

dynamic form of the circle,

creating an interior that appearsto flow from entrance to altar,

unimpeded by the segmentation

characteristic of Renaissance

buildings.


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Francesco BorrominiChapel of Saint I vo

Col lege of the Sapienza

Rome, Italy

begun 1642


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Francesco Borrominiplan of the Chapel of Saint I vo


Rome, Italy

begun 1642


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Francesco Borrominidome of the Chapel of Saint I vo


Rome, Italy

begun 1642


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Francesco Borrominidome of the Chapel of Saint I vo


Rome, Italy

begun 1642


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Guarino Guarini

Palazzo Carignano

Turin, Italy

1679-1692


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Guarino Guarini

Palazzo Carignano

Turin, Italy

1679-1692


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Guarino Guarini

Chapel of Santi ssima Sindone

Turin, Italy

1667-1694


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Guarino Guarini

Chapel of Santi ssima Sindone

Turin, Italy

1667-1694


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Bramante and Raphael

Dome of Sant Eligio degli Orefici

Rome, Italy

ca. 1509, reconstructed ca. 1600


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Caravaggio

Conversion of Saint Paul

Cerasi Chapel, Santa Maria del Popolo

Rome, Italyca. 1601

oil on canvas

approximately 7 ft. 6 in. x 5 ft. 9 in.

Three characteristics of

Caravaggio's style.

Injected naturalism into both

religious and classical subjectswith unidealized figures.

Sharply, dramatically lit figures

emerging from a dark

background.

Invites the viewer to participate

in the scene.

The common purpose of Caravaggio's Conversion o f St Paul and


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CaravaggioConversion of Saint Paul

Gianlorenzo BerniniEcstasy of Saint Theresa

The common purpose of Caravaggio s Conversion o f St. Paul and

Bernini's The Ecstasy o f St. Theresa:To produce the representation of a vision, using actual light from each chapels

windows.


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Caravaggio

Calli ng of Saint Matthew

Contarelli Chapel, San Luigi dei Francesci

Rome, Italy

ca. 1597-1601

oil on canvas

11 ft. 1 in. x 11 ft. 5 in.

Caravaggio attempted to

compel the viewers interest

and involvement in the

scenein his religious

pictures.

Caravaggio

accomplished this

by using pictorialdevices such as

showing action

taking place in the

foreground; low

horizon line;dramatic light.


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Tenebroso

Shadowymanner of

dark settingsenveloping their

occupants.


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Caravaggio

David Victor ious over Gol iath

oil on canvas

43 1/4 x 35 7/8 in.


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Caravaggio

Entombment

Chapel of Pietro Vittrice,Santa Maria in Vallicella

Rome, Italy

ca. 1603

oil on canvas

9 ft. 10 1/8 in. x 6 ft. 15/16 in.


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Self-Portrait as a Martyr


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Artemisia Gentileschi

Judith Slaying Holofernes

ca. 1614-1629

oil on canvas

6 ft. 6 1/3 in. x 5 ft. x 4 in.

Characters from the Apocryphal Book of

Judith; Holofernes was an Assyrian general

who was seduced by Judith and then

beheaded by her.

Techniques:

Artemesia uses tenebrism, spurting

blood, the physical strain of the

women struggling with the sword, and

controlled highlights on the action inthe foreground to portray the drama

of the theme.


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Judith Slaying Holofernes

(Caravaggio).

c. 1598-1599

Oil on canvas

1.44m by 1.92m

Galleria Nazionale d'Arte

Antica,

Barberini, Rome.

The artists most influenced the style of

Artemesia Gentileschi was Caravaggio and her

father, Orazio Gentileschi.

O f A t i i ' b t k thi i


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Judith and her Maidservant

ca. 1612-1613

oil on canvas

44 7/8 x 36 13/16 in.

One of Artemisia's best works, this scene is

tense with imminent danger as Judith and

Abra prepare to flee Holofernes's tent with

his severed head. Dramatic and unusual

chiaroscuro, especially the shadows

Judith's hand casts on her face, together

with vigilant expressions and posture, add

urgency to the scene.

Artemisia chose another biblical theme picturing a


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Jael and Sisera.1620.

Oil on canvas.

0.923m by 1.275m

Szepmuveszeti Museum, Budapest.

Artemisia chose another biblical theme picturing a

woman slaying an aggressor. Sisera was a cruel

Canaanite leader who ruled the Israelites for twenty

years. Barak defeated his nine hundred charioteers by

a surprise Israelite attack. Sisera escaped and sought

refuge in the tent of Jael, wife of Heber the Kenite.

She gave the terrified Canaanite sanctuary. When he

fell asleep, she drove a tent peg into his brain. The act

fulfilled the prediction of Debora, prophetess and

Israelite leader, who foresaw that a woman would

slay Sisera.


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Susannah and the Elders

1610

oil on canvas

66 7/8 x 46 7/8 in.


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Three assumptions that were basic to the teaching of art at

the Bolognese academy.Art can be taught.

The teaching of art must include the classical and

Renaissance traditions.

The teaching must also include the study of anatomy andlife drawing.


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Annibale Carracci

F li ght into Egypt1603-1604

oil on canvas4 ft. x 7 ft. x 6 in.

Ann ibale Carracci is credited with developing the "classical"

or "ideal" landscapeIts roots were the landscape backgrounds of Venetian

Renaissance paintings.


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Annibale Carracci

Loves of the Gods

Gallery, Palazzo Farnese

Rome, Italy

1597-1601fresco

Carracci achieved heightened

illusionism as the chiaroscuro is

not the same for both the

paintings and the figuressurrounding them. The painter

modeled the figures inside the

quadri in an even light. The

outside figures seem to be lit

from beneath, as if they wereactual three-dimensional beings

or statues illuminated from below.


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Annibale Carracci

Loves of the Gods


Rome, Italy

1597-1601

fresco

quadro riportato


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Annibale Carracci

Loves of the Gods, Tri umph of Bacchus


Rome, Italy

1597-1601fresco

Transferred frame painting, or simulation of easel painting for

ceiling decoration. The framed pictures are flanked by polychrome

figures who turn their heads to gaze at the scenes around them,

and by Atlas figures painted to resemble marble statues.


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Annibale Carracci

Loves of the Gods

Polyphemus, Acis and Galatea


Rome, Italy

1597-1601

fresco

Two influences blended by Reni in his Aurora fresco:


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Guido Reni

Aurora

Ceiling fresco in the Casino Rospigliosi, Rome, Italy1613-1614

fresco

Roman reliefs.

Coins depicting emperors in triumphal chariots accompanied by flying

Victories and other personifications.


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Pietro da Cortona

Triumph of the Barberi ni

ceiling fresco in the Gran Salone

Palazzo Barberini, Rome, Italy1633-1639

fresco


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Pietro da Cortona

Triumph of the Barberi ni

ceiling fresco in the Gran Salone

Palazzo Barberini, Rome, Italy

1633-1639

fresco

Three ways in which Pietro da

Cortonasfrescoed cei l ing in the

Palazzo Barberini praised hispatron:

Divine Providence holds a crown of stars to

bestow eternal life on the Barberini family.

The laurel wreath, another symbol of

immortality.

The papal tiara and keys announcing the

personal triumphs of Urban VIII.


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Giacomo della Porta

faade of I l Ges

Rome, Italy

ca. 1575-1584

Three devices he used to achieve


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Giovanni Battista Gaulli

Triumph i n the Name of Jesus

ceiling fresco with stucco figures

in the vault of Il Gesu, Rome, Italy1676-1679

fresco

Effect Gaulli created with the

fresco he painted on theceiling of Il Ges in Rome:

A dramatic, transcendent

spiritual environment as well

as the glory and power of theCatholic Church.

Three devices he used to achieve

that effect :

Gilded architecture opens up in the

center of the ceiling to offer viewers a

glimpse of Heaven.Jesus is represented as a barely

visible monogram in a blinding

radiant light that floats heavenward.

Gaulli painted many of the sinners on

three-dimensional stucco extensionsthat project outside the paintings

dome.

Th i t b id G lli h k d f th J it i RThe device did he use to merge heaven and earth was he


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Fra Andrea Pozzo

Glori fi cation of Saint I gnatius


in the nave of SantIgnazio, Rome, Italy

1691-1694fresco

The painter beside Gaulli who worked for the Jesuits in Rome

was Fra And rea Pozzo. He painted the ceiling of the church of

SantIgnazioin Romefor them.

The device did he use to merge heaven and earth was he

illusionistically continued the churchs own architecture into the

vault so that the roof seems to be lifted off.


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Fra Andrea Pozzo

Glori fi cation of Saint I gnatius


in the nave of SantIgnazio, Rome, Italy

1691-1694

fresco


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Jos de Ribera

Martyrdom

of Saint Phil ip

(Bartholomew)ca. 1639

oil on canvas7 ft. 8 in. x 7 ft. 8 in.

The goal of many

Spanish Baroque

religious artists was to

move viewers and toencourage greater

devotion and piety.

A theme that was

particularly popularamong them was

death and martyrdom

scenes.

Ribera's style was

influenced by the

"dark manner" ofCaravaggio.


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Francisco de Zurbarn

Saint Serapion1628

oil on canvas3 ft. 11 1/2 in. x 3 ft. 4 3/4 in.

The type of lighting did Zurbaran

use in his pating of Saint

Serapionwas Bright light shining

on the figure with a darkbackground, to call attention to

the saints death and to increase

the dramatic impact of the

image.


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Stil l L ife with Pottery Jarsoil on canvas

18 1/8 x 33 1/8 in.


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Agnus Deioil on canvas

15 x 24 3/8 in.


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Alonso Cano

Saint Bernard and the Virginoil on canvas

105 1/8 x 72 7/8 in.


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Bartolom Esteban MurilloThe Immaculate Virgin of Soultc. 1678

oil on canvas

107 7/8 x 74 3/4 in.


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V l t


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Diego Velzquez

Water Carr ier of Sevil leca. 1619

oil on canvas

3 ft. 5 1/2 in. x 2 ft. 7 1/2 in.

Velazquez was court

painter to King Phillip IV.


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Diego Velzquez

Los Borrachosca. 1619

oil on canvas

64 3/8 x 87 7/8 in.

Velasquezs Surrender of Breda commemorate the Spanish


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Diego Velzquez

Sur render of Breda1634-1635

oil on canvas

10 ft. 1 in. x 12 ft. 1/2 in.

Velasquez s Surrender of Bredacommemorate the Spanish

victory over the Dutch in 1625.


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Diego Velzquez

King Phi li p I V of Spain

(Fraga Phil ip)1644

oil on canvas

4 ft. 3 1/8 in. x 3 ft. 1/8 in.

The subject of LasMeninas is the InfantaThe composition extends indepth both in front of (through


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Diego Velzquez

Las Meninas1656

oil on canvas

approximately 10 ft. 9 in. x 9 ft.

Meninas is the Infanta

Margarita with her two

maids-in-waiting, her

favorite dwarfs, and alarge dog, as well as a

man and a woman in the

background.

depth both in front of (through

the mirror and the gazes of the

figures) and behind the painting

(through the open door). Formand shadow are represented

realistically. A great number of

intermediate values of gray

come between lights and darks,

instead of putting them side by

side as Caravaggio did.


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Diego Velzquez

Las Meninas

1656

oil on canvas



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Diego Velzquez

Las Meninas

1656

oil on canvas



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Diego Velzquez

Las Meninas

1656

oil on canvas



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baroque italy and spain

Documents

high5282018 baroque

typicalof baroque art

carlo madernosanta susanarome

thechurch of il gesu

central doorway

central axis

early renaissance

horizontal lower story