southern baroque art

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    Fountain of the Four c. 1648-1651 C.E.

    P/S: Southern Baroque A

    A: Gianlorenzo BerniniPa: Pope Innocent XL: In Piazza NovonaM/T: Travertine; Marble/ sculptingF: Political Allegory; lots

    movement its an allegorC: Occupies center of fouDT: Masterpiece of spectIdeas: Rock-form at bottdepicts a horse, palm trelion; caved in situ; also e

    person depicted in this w

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    DT: Intense emotion and drama;fidelityIdeas: Interlocking components,chiaroscuro

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    Ideas: completed withaccordance with the calendar ofsaints; honors founding of Rome

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    Beata Ludovica Albertonic. 1671-1674 C.E.

    P/S: Southern Baroque Art

    A: Gianlorenzo BerniniPa: Cardinal Paluzzi degliAlbertoniL: San Francesco a Ripa, RomeM/T: Marble/ H-R sculptingF: From the Alberti Chapel in the

    Roman Church of San Francescoa RipaC: White marble figurerepresents the nun LudovicaAlbertoni, a distant relative ofthe Cardinal, on her deathbed

    DT: Mortal suffering, reliecstasy, surrounded by prising holy spiritIdeas: One of the last sc

    of Bernini because of his

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    Faade of IL Gesuc. 1575-1584 C.E.

    P/S: Southern Baroque AA: Giacomo della PortaPa: UnspecifiedL: Rome, Italy

    M/T: Unspecified; concreF: Head Church of Jesuit C: Column groupings emcentral doorway; tympanpediment over central dostories separated by corn

    united by scrollsDT: Slight cresando of fotoward at center;Ideas: framing niche actunifying device; interior aisles, meant for grand

    ceremonies

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    Faade of Saint Petc. 1607-1612 C.E.

    P/S: Southern Baroque AA: Carlo MadernoPa: UnspecifiedL: Rome, ItalyM/T: UnspecifiedF: Wide and low faade;

    originally conceived withbellC: faade and nave addeMichelangelos design ma Latin cross planDT: Rounded engaged p

    columns around the cent

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    Ideas: Emphasis on the centerof the faade with pedimenthighlighting the main door

    Santa Susanac. 1585-1603 C.E.

    P/S: Southern Baroque AA: Carlo Maderno

    Pa: UnspecifiedL: Rome, ItalyM/T: UnspecifiedF: Roman Catholic ParishC: Protrusion and increascentral decoration add

    complexity to the structu

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    DT: Dynamic rhythm of columnsand pilasters, crowded centrallyIdeas: Entrance and roof aresurrounded by pediments;

    windows replace niches,incipient playfulness with rulesof classic design, while stillmaintaining rigor; great naveand circular apse

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    Colonnade of Saint Petersc. 1656-1657 C.E.

    P/S: Southern Baroque Art

    A: Gianlorenzo BerniniPa: UnspecifiedL: Rome, ItalyM/T: UnspecifiedF: Huge plaza that can hold halfa million people

    C: Wanted to achieve asurprising transition b/w thecrowded streets of Rome andgiant vista of Saint PetersDT: Colonnade dramaticgesture; symbolically bring the

    faithful into the building

    Ideas: Shaped=skeletonkeyhole; Saint Peter holdOval centered around Egobelisk; trapezoid shape

    church

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    Scala Regia

    c. 1663-1666 C.E.

    P/S: Southern Baroque AA: Gianlorenzo BerniniPa: Unspecified

    L: Rome, ItalyM/T: UnspecifiedF: Flight of steps/stairs toVatican City and is a partformal entrance to the VaC: Narrow silvery land be

    church and palace; awkwshaped with irregular conwallsDT: Typically theatrical, elements;Ideas: Exaggerated the

    distance; coat of arms of

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    Alexander VII at the entrance ofthe church and his equestrianstatue at the bottom of thesteps

    San Carloc. 1634-1638 C.E.

    P/S: Southern Baroque AA: Francesco BorrominiPa: Independent commiL: Rome, ItalyM/T: UnspecifiedF: Roman Catholic ChurcC: Located at the four cofountains set on the obliqintersection of two roads

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    DT: Complex monastic building;monastic buildingIdeas: Ironic piece of Baroquearchitecture; financial difficulties

    with this project; plan shows acramped and difficult site, onthe corner of a cloister

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    St. Ivoc. 1642-1660 C.E.

    P/S: Southern Baroque ArtA: Francesco BorrominiPa: UnknownL: Rome, ItalyM/T: UnspecifiedF: Roman Catholic ChurchC: Corkscrew influence upon thechurch design and structure;devoted to Saint YvesDT: Masterpiece of RomanBaroque architecture;remarkable DomeIdeas: Design chosen thatresembles the Star of David;

    merged the faade of thecourtyard with the palaccentralized church; bothconcave and convex of d

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    St. Agnesc. 1652-1660 C.E.

    P/S: Southern Baroque AA: Francesco BorrominiPa: Pope Innocent XL: Rome, ItalyM/T: Stucco, unspecifiedF: Basilica Church in RomC: Greek cross plan; intehighly decorated with paportraying her martyrdomDT: Marble relief in the altar;Ideas: Location where SAgnes was martyred; altdedicated to someone e

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    has passed away; concavevolume seen in the work;restrained creation

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    Santa Maria della Salutec. 1631-1687 C.E.

    P/S: Southern Baroque ArtA: Baldassare LonghenaPa: UnspecifiedL: Venice, ItalyM/T: unspecifiedF: Roman Catholic Church and aminor basilica; vast octagonalbuilding; two domes bell tower;

    C: Stands between Grand Canaland San Marco structure; the greatdome represents the crown ofwhich she woreDT: Fashionable Palladian StyleIdeas: Plague struck the city of

    Venice and this church name was

    changed to suite thecircumstances underwent Venice; most artwork insidreference to the Black Dea

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    Chapel of the Holy Shroud

    c. 1631-1687 C.E.

    P/S: Southern Baroque ArtA: Guarino GuariniPa: Unspecified

    L: Turin, ItalyM/T: unspecifiedF: Chapel ChurchC: Extremely complex BarspaceDT: Illusion of endless spa

    kaleidoscope like inside thinteriorIdeas: Diminishing hexagocross one another creatingdomed space of dazzling iinterior centered around apointed start with the Holy

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    Chapel hold the controversialshroud of Turin

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    Versaillesc. 1669 C.E.

    P/S: Central Baroque ArtA: Jules Hardouin-Mansart and

    othersPa: UnspecifiedL: Versailles, FranceM/T: unspecifiedF: Centered in vast garden andtown complex

    C: Central building was that ofLouis XIV;s bedroom, or audiencechamber; all aspects of designradiate like raysDT: Reorganization andremodeling of hunting lodge intoan elaborate palace

    Ideas: subdued exteriordecoration on faade; undof projecting members isunderstated; Hall of mirrobarrel vaulted painted cei

    flickering use of light

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    Banqueting Housec. 1669 C.E.

    P/S: Baroque ArtA: Inigo JonesPa: UnspecifiedL: London, EnglandM/T: unspecified

    F: Unspecified purpose; hocommerce typeC: Inspired by Palladio; intthe Palladian style to EnglaDT: Modest emphasis on cfaade; central bay of six w

    framed by engaged columIdeas: flat pilasters recessaround outer windows; rubasement level; two storiewindows disguise one largon the interior; balustrade

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    Saint Paulsc. 1675-1710 C.E.

    P/S: Baroque Art

    A: Christopher WrenPa: UnspecifiedL: London, EnglandM/T: unspecifiedF: Gothic building site stoobefore

    C: Faade-front piece projfront of building creating dcontrast in the center; emon center-sides recedeDT: 3 Domes-inner woodelow and curved, painted;structural, holding up the l

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    exterior dome fills up spacegraciouslyIdeas: Bell towersgreatcomplexity graceful volumes andrhythmic movement; influenced

    by the tempietto design

    Blenheim Palacc. 1705 C.E.

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    P/S: Baroque ArtA: John VanbrughPa: England itself to Duke ofMarlboroughL: Woodstock, England

    M/T: unspecifiedF: Reward prize for winning battleof Blenheim in War of SpanishSuccessionC: Emblems all about complex:trophies, cannonballs, flaming

    urns, statuaryDT: Projecting pavilions; accent oncentral core of nine bays and thecorner towersIdeas: Italian Baroque complexityof design; faade echoes patternsof advance and retreat; basement

    has porthole windows=Vamotif; grand majestic palastructure

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