Art History
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Post_ART102-Unit4.pdf
ART102 Art History II
Unit 4 LectureThe Baroque in Italy and Spain 17th century
The Baroque in the Netherlands 17th century
The Baroque in France 17th century
Baroque is a style associated with 17th century Europe. It is sometimes considered the final phase of the Renaissance, but it holds up well on its own. Again, inspired by the Renaissance, the Baroque artists expand that knowledge into a dynamic style with dramatic lighting and expressive style.
Baroque
Caravaggio: The Entombment of Christ. Ca. 1602-1603. Oil on canvas. Vatican City, Rome.
The Baroque in Italy and Spain 17th century
Baroque
The Calling of St. Matthew
Judith and Her Maidservant with the Head of Holfernes
The Ecstasy of St. Teresa
Bernini’s David
Colonnade of St. Peter’s
Las Meninas
Juan de Pareja
The Baroque in the Netherlands 17th century
The Baroque in France 17th century
Caravaggio is an Italian Baroque artist that revolutionized the art styles of the 17th century.
Rather than idolizing the human forms as in the Renaissance, he painted models of everyday life, directly onto the canvas. His paintings are filled with ordinary people, because he painted the people and surroundings that he knew.
Jesus is hidden in the shadows, within a crowd of commoners. The dramatic scene is heightened by the extreme spotlight and spaces obscured by blackness. This extreme lighting is called chiaroscuro.
Caravaggio The Calling of St. Matthew Ca. 1599-1600 Oil on canvas Contarelli Chapel, San Luigi dei Francesi, Rome
The Baroque in Italy and Spain 17th century
Baroque
The Calling of St. Matthew
Judith and Her Maidservant with the Head of Holfernes
The Ecstasy of St. Teresa
Bernini’s David
Colonnade of St. Peter’s
Las Meninas
Juan de Pareja
The Baroque in the Netherlands 17th century
The Baroque in France 17th century
Our first female artist!
Gentileschi was the daughter of a painter, and so she had the ability to study painting without facing the societal standards in place for women’s roles.
Her collection of work is outstanding. She paints in the Baroque style with expression, dramatic lighting, and technical ability that surpasses her male contemporaries.
The fact that she is a woman is the only reason she wasn’t as famous as the male artists, so we will honor her success here.
Artemisia Gentileschi Judith and Her Maidservant with the Head of Holfernes Ca. 1625 Oil on canvas The Detroit Institute of Art
The Baroque in Italy and Spain 17th century
Baroque
The Calling of St. Matthew
Judith and Her Maidservant with the Head of Holfernes
The Ecstasy of St. Teresa
Bernini’s David
Colonnade of St. Peter’s
Las Meninas
Juan de Pareja
The Baroque in the Netherlands 17th century
The Baroque in France 17th century
The flair for drama and expression in the Baroque period is also evident in their sculpture.
Bernini was a sculptor as well as architect, and his style is energized, dynamic, and deeply emotional.
Gianlorenzo Bernini The Ecstasy of St. Teresa Ca. 1645-1652 Marble Cornaro Chapel, Santa Maria della Vittoria, Rome
The Baroque in Italy and Spain 17th century
Baroque
The Calling of St. Matthew
Judith and Her Maidservant with the Head of Holfernes
The Ecstasy of St. Teresa
Bernini’s David
Colonnade of St. Peter’s
Las Meninas
Juan de Pareja
The Baroque in the Netherlands 17th century
The Baroque in France 17th century
Gianlorenzo Bernini David Ca. 1623 Marble Galleria Borghese, Rome
Bernini’s expressive style is evident in his sculpture of David, especially if we compare it to the previous ones by Donatello and Michelangelo.
Bernini’s David is alight with action, he is in the process of taking down his enemy Goliath. His face shows powerful emotion.
The Baroque in Italy and Spain 17th century
Baroque
The Calling of St. Matthew
Judith and Her Maidservant with the Head of Holfernes
The Ecstasy of St. Teresa
Bernini’s David
Colonnade of St. Peter’s
Las Meninas
Juan de Pareja
The Baroque in the Netherlands 17th century
The Baroque in France 17th century
Gianlorenzo Bernini Colonnade of St. Peter’s Vatican City, Rome
Bernini designed the colonnade of St. Peter’s square. Using grand architectural elements reminiscent of Ancient Rome, he created a circular enclosure, which he meant to be “the embrace of the Mother church.”The Baroque in
Italy and Spain 17th century
Baroque
The Calling of St. Matthew
Judith and Her Maidservant with the Head of Holfernes
The Ecstasy of St. Teresa
Bernini’s David
Colonnade of St. Peter’s
Las Meninas
Juan de Pareja
The Baroque in the Netherlands 17th century
The Baroque in France 17th century
Diego Velazquez Las Meninas (The Maids of Honor) Oil on canvas Museo del Prado, Madrid
Velazquez was a prominent Spanish painter, inspired by the dramatic style of Caravaggio. His Maids of Honor is the masterpiece he is most known for.
Both a group portrait and a genre scene, Velazquez places himself within the crowd of royals, standing with his palette and brushes in front of the 10 ½ foot tall canvas, which will become this painting.
The central figure is a young Princess Margarita, surrounded by her maids. A mirror on the back wall reflects her parents, the King and Queen of Spain, in an homage to Van Eyck’s Arnolfini Portrait.
By presenting this scene from many vantage points, the viewer as well as the painter become a part of the scene, rather than simply looking on.
The Baroque in Italy and Spain 17th century
Baroque
The Calling of St. Matthew
Judith and Her Maidservant with the Head of Holfernes
The Ecstasy of St. Teresa
Bernini’s David
Colonnade of St. Peter’s
Las Meninas
Juan de Pareja
The Baroque in the Netherlands 17th century
The Baroque in France 17th century
It has been mentioned that Titian and Tintoretto painted with more openness, leaving brushwork in the paint to reveal the painter’s process. Here, we start to see that expressive paint handling in Velazquez’s portrait Juan de Pareja.
The most astonishing aspect of this technique is this: we see the pattern of the paint and how it was brushed on without any fussiness, and yet the image still appears life-like.
Diego Velazquez Juan de Pareja Ca. 1650 Oil on canvas The Metropolitan Museum of Art, New York
The Baroque in Italy and Spain 17th century
Baroque
The Calling of St. Matthew
Judith and Her Maidservant with the Head of Holfernes
The Ecstasy of St. Teresa
Bernini’s David
Colonnade of St. Peter’s
Las Meninas
Juan de Pareja
The Baroque in the Netherlands 17th century
The Baroque in France 17th century
In the Netherlands, the Baroque style was defined by Ruben’s monumental achievements in religious and secular images.
Peter Paul Rubens The Raising of the Cross Ca. 1610-1611 Triptych Antwerp Cathedral, Belgium
The Baroque in Italy and Spain 17th century
The Baroque in France 17th century
The Baroque in the Netherlands 17th century
The Raising of the Cross
Marie de Medici
Portrait of Charles I Hunting
Married Couple in a Garden
The Night Watch
A Maid Asleep
Peter Paul Rubens Marie de Medic Ca. 1622-1625 Oil on canvas Musee du Louvre, Paris
Ruben’s style is characteristic of the Baroque, with dramatic lighting, complex compositions, and energetic scenes. Nothing could further from the truth when viewing his Marie De Medici painting: he has made the simple task of walking off a ship into a grand event!
The image of the walk down the plank is flanked by allegorical figures, both in the sea as well as the sky, and they seem to be celebrating Marie’s arrival.
The manner in which Rubens handles paint is similar to Velazquez, and in the tradition of Titian and Tintoretto: the brushstrokes energetic and bold, and that type of surface on a painting adds to the energy of the scene.
The Baroque in Italy and Spain 17th century
The Baroque in France 17th century
The Baroque in the Netherlands 17th century
The Raising of the Cross
Marie de Medici
Portrait of Charles I Hunting
Married Couple in a Garden
The Night Watch
A Maid Asleep
Anthony van Dyck Portrait of Charles I Hunting Ca. 1635 Oil on canvas Musee du Louvre, Paris
Anthony van Dyck was the only other Flemish painter besides Rubens that achieved national acclaim during his lifetime. An apprentice to Rubens, van Dyck used his knowledge of the Baroque style and established himself as painter to the English court.
Van Dyck’s style for royal portraits is vastly different from that of Holbein and the Tudor portrait. Instead of displaying his power and wealth through expensive clothing and setting, Charles I is pictured in a natural landscape with his horse, after a hunt.
This natural setting and relaxed attitude was the standard used for a century of portraits, including many early portraits of U.S. Presidents.
The Baroque in Italy and Spain 17th century
The Baroque in France 17th century
The Baroque in the Netherlands 17th century
The Raising of the Cross
Marie de Medici
Portrait of Charles I Hunting
Married Couple in a Garden
The Night Watch
A Maid Asleep
Frans Hals captures the essence of the Baroque of the Netherlands. Compared to Van Eyck’s Arnolfini Portrait, Hals’ double portrait is casual and relaxed. The couple are comfortable together, and their faces are animated, as if drawn from life.
Frans Hals Married Couple in a Garden Ca. 1622 Oil on canvas Rijkmuseum, Amsterdam
The Baroque in Italy and Spain 17th century
The Baroque in France 17th century
The Baroque in the Netherlands 17th century
The Raising of the Cross
Marie de Medici
Portrait of Charles I Hunting
Married Couple in a Garden
The Night Watch
A Maid Asleep
Rembrandt’s commission for a group self-portrait is pivotal in the way portraits have been seen. Every member of this group paid an equal share to be in this painting, and yet Rembrandt painted them without equal visual importance. He refused to ignore his desire for a dynamic painting, rich with drama and light.
Rembrandt van Rijn The Night Watch Oil on canvas Rijkmuseum, AmsterdamThe Baroque in
Italy and Spain 17th century
The Baroque in France 17th century
The Baroque in the Netherlands 17th century
The Raising of the Cross
Marie de Medici
Portrait of Charles I Hunting
Married Couple in a Garden
The Night Watch
A Maid Asleep
Vermeer’s paintings epitomizes all that classifies the Dutch Baroque’s “Golden Age”.
His paintings are intimate, quiet genre scenes of simple, everyday life.
The light he captures in his work is softly diffused, and the interiors from his own home.
Vermeer had a mastery in replicating fabrics, objects, people, and space. So much so, modern scholars question whether he used a camera obscura, an early devise used as a simple camera, that can project images onto canvas.
Johannes Vermeer A Maid Asleep Oil on canvas Metropolitan Museum of Art New York
The Baroque in the Netherlands 17th century
The Raising of the Cross
Marie de Medici
Portrait of Charles I Hunting
Married Couple in a Garden
The Night Watch
A Maid Asleep
The Baroque in Italy and Spain 17th century
The Baroque in France 17th century
The Baroque in France is very different, due to the totalitarian power of the French Kings and Court.
Here, we see the style Poussin, who looked to create idealizes historical paintings inspired by classical art of antiquity. Dramatic light is not employed here, instead a highly descriptive narrative is preferred. Poussin spent most of his career in Rome.
Nicolas Poussin The Death of Germanicus Oil on canvas Minneapolis Museum of Art
The Baroque in France 17th century
The Death of Germanicus
Landscape with St. John on Patmos
Portrait of Louis XIV
Hall of Mirrors
The Baroque in Italy and Spain 17th century
The Baroque in the Netherlands 17th century
Poussin is also the painter most noted for his idealized landscapes, serene images of well balanced landscapes of no particular location. They are filled with references to the Bible as well as Ancient Roman traditions, which symbolize the time’s influence.
Nicolas Poussin Landscape with St. John on Patmos Oil on canvas Art Institute of Chicago
The Baroque in France 17th century
The Death of Germanicus
Landscape with St. John on Patmos
Portrait of Louis XIV
Hall of Mirrors
The Baroque in Italy and Spain 17th century
The Baroque in the Netherlands 17th century
In this life-sized portrait of King Louis XIV, we can see his authority, power, and wealth in the image.
Draped in his coronation robe, surrounded by opulent fabrics and objects, with an air of confidence and authority, there is no doubt King Louis XIV had immense power.
Hyacinthe Rigaud Portrait of Louis XIV Oil on canvas Musee du Louvre, Paris
The Baroque in France 17th century
The Death of Germanicus
Landscape with St. John on Patmos
Portrait of Louis XIV
Hall of Mirrors
The Baroque in Italy and Spain 17th century
The Baroque in the Netherlands 17th century
King Louis XIV moved his entire court to reside in Versaille, so that he could enjoy the splendor of his Palace. The Hall of Mirrors is so luxurious, it has been called one of the seven wonders of the world, and was the location of the Treaty signing that ended WWII.
Hall of Mirrors Palace of Versaille
The Baroque in France 17th century
The Death of Germanicus
Landscape with St. John on Patmos
Portrait of Louis XIV
Hall of Mirrors
The Baroque in Italy and Spain 17th century
The Baroque in the Netherlands 17th century
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