weekly response

Question: Discuss the approach to and meaning of realism in Baroque art using at least three examples.

“During the 17th century, Europe experienced yet another prominent evolution in art history with the onset of Baroque art, in which “artists embraced dynamism, theatricality, and elaborate ornamentation…to spectacular effect” (Kleiner). While Renaissance art focused on mathematical and scientific elements, Baroque art shifted its attention to the theatrical experience created by each piece. Realism in Baroque art is characterized by the depiction of more normal, everyday subject matter which otherwise could have even been deemed too inappropriate. Artists approached realism in Baroque art through the incorporation of religious propaganda, sensual ecstasy, and even violence that is in reality common in life.

“Prime examples of the theatrical and dramatic themes in Baroque art lie in Gianlorenzo Bernini’s sculptures, such as the emotional David from the Villa Borghese as well as Ecstasy of Saint Teresa in the Cornaro Chapel. In David, the spectator is drawn in by the immense amount of movement contained in the stationary sculpture. In his depiction of David and Goliath’s spar, “Bernini selected the most dramatic of an implied sequence of poses…[and] David moves out into the space surrounding it…” (Kleiner). The amount of emotion illustrated in David’s facial and bodily expressions is almost overwhelming, especially because of the stress and anger shown through his pinched eyebrows and his pose that suggests he turning his muscular body to deliver a powerful blow to his opponent. Such realism is unparalleled to anything seen in previous sculptures. Similarly, in Ecstasy of Saint Teresa, the subject matter is passionate and sensual. Teresa is portrayed in a blissful state that may have previously been deemed inappropriate but is realistic. In the same way that Bernini humanized David’s anger, Teresa’s feeling of ecstasy is almost written on her face through her thrown back head, closed eyes, and her loose posture. As common in this period, Teresa’s feelings are dramatically displayed. Although Bernini uses marble to create his sculptures, his sculptures are as fluid in their movements as paint can be.

“Additionally, realism is seen in Baroque art through Caravaggio’s piece Calling of Saint Matthew. Caravaggio reduces religious and “sacred subjects to…human dramas played out in the harsh and dingy settings of his time and place” (Kleiner). Specifically, the setting of the piece is familiar in that it is a realistic tavern. The realism is amplified in Caravaggio’s use of his own elements, chiaroscuro that contrasts dark and bright colors and tenebrism that causes the figures to emerge from a shadow, as if they are truly on a theatrical stage. While Bernini’s sculptures were dynamic in their movement, Caravaggio’s paintings have dynamic movement and meaning in the various lightings he creates. The ray of light in Calling of Saint Matthew illuminates the tax collectors and is what beckons them to convert to Christianity. This piece can be considered religious propaganda in that it promotes the conversion to Christianity, which was a very prominent agenda of many people during this period of time. Similar to how Bernini drew in the viewers of his pieces, Caravaggio leaves a space empty in the background, inviting the spectators to the stage of his painting to join the tax collectors in religious conversion.

“Overall, the Baroque period in art history was one of new, dramatic, and dynamic works that covered a broader range of subjects that could be considered more realistic. The level of complexity and emotion in every piece is unparalleled to previous eras, allowing Baroque art to live up to the irregularity suggested by its name.”