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ITALY AND SPAIN, 1600-1700 GARDNER CHAPTER 24-1 PP. 649-657.

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Presentation on theme: "ITALY AND SPAIN, 1600-1700 GARDNER CHAPTER 24-1 PP. 649-657."— Presentation transcript:


2 BAROQUE Baroque art is a blanket term that encompasses a broad range of developments, both historic and artistic During the 17th century, dramatic theatricality, grandiose scale, and elaborate ornateness, all used to spectacular effect, characterized Italian Baroque art and architecture Italian 17th century art and architecture visualized the renewed energy of the Catholic Counter-Reformation & communicated it to the populace Gianlorenzo Bernini, an architect, a painter, and a sculptor, was the most important & imaginative artist of the Italian Baroque era

3 SANTA SUSANNA CARLO MADERNO, Santa Susanna, Rome, Italy, 1597–1603

4 MADERNO AND SAINT PETERS CARLO MADERNO, facade of Saint Peters, Vatican City, Rome, Italy, 1606– 1612 Façade and nave added to Michelangelos design Wide and low façade Emphasis on center of façade -> pediment highlighting main door Pilasters on each end; rounded engaged columns around the central door


6 BERNINI –> COLONNADE OF SAINT PETERS CARLO MADERNO, plan of Saint Peters, Vatican City, Rome, Italy, with adjoining piazza designed by GIANLORENZO BERNINI Huge plaza that can hold half a million people Bernini wanted a surprising transition between the crowded streets of Rome and giant vista of Saint Peters Colonnade -> embracing arms/skeleton keyhole -> Saint Peter holds the keys to the kingdom

7 Aerial view of Saint Peters, Vatican City, Rome, Italy, 1506– Bernini designed this huge oval piazza around existing buildings as well as an obelisk from Egypt and Maderno's fountain. The oval is formed by colonnades which connect with straight colonnades joined to the ends of the facade. Bernini compared the design to the maternal embracing arms of the church

8 BALDACCHINO, SAINT PETERS GIANLORENZO BERNINI, baldacchino, Saint Peters, Vatican City, Rome, Italy, 1624–1633. Gilded bronze, approx. 100 high Over the main altar of Saint Peters -> four twisting corkscrew columns that spiral upward Acts as a shrine and canopy over the grave of Saint Peter -> buried under the basilica Bees and suns appear prominently on top corners -> symbols of the patrons -> the Barberini family Symbol of Counter-Reformation spirit in Rome Feat of bronze casting

9 SCALA REGIA GIANLORENZO BERNINI, Scala Regia, Vatican City, Rome, Italy, 1663–1666 The monumental Scala Regia built by Bernini connects the papal apartments to the portico and narthex of Saint Peter's. The design illusionistically conceals the increasing narrowness of the passageway as the stairway ascends

10 BERNINI - DAVID GIANLORENZO BERNINI, David, Marble, approx. 5 7 high In mid-action -> swing the slingshot Harp at his feet symbolizes his role as a psalmist

11 Berninis idealized self- portrait in the face of David Intensive gaze Meant to be seen from multiple angles Use of negative space animates sculpture and surroundings


13 ECSTASY OF SAINT TERESA GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11 6 Sculptural interpretation of Saint Teresas diary in which she tells of her visions of God -> many involving and angel descending with an arrow and plunging it into her Stagelike setting with the patrons, the Cornaro family, sitting in theatre box looking on


15 Figures seem to float in space -> the rays of Gods light symbolically illuminating the scene from behind Mysticism What is she experiencing?

16 The white marble group of swooning saint and smiling angel appears to float as a vision might in the cleverly illuminated central niche

17 SAN CARLO ALLE QUATRO FONTANE FRANCESCO BORROMINI, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1665–1676 Unusually small site Alternating convex and concave patterns and undulating façade Façade higher than rest of building

18 Interior dome oval shaped and coffered Borromini worked in in shades of white

19 CHAPEL OF SAINT IVO FRANCESCO BORROMINI, Chapel of Saint Ivo, College of the Sapienza, Rome, Italy, begun 1642 Borromini employed concave and convex forms in the design of the façade of the Chapel of Saint Ivo. The dome, which is supported by a convex, drumlike structure, is topped by an ornate, spiralling lantern. The star shape of the centralized plan rises through the interior elevation from the floor into the dome to create a single, dynamic, unified, and cohesive space

20 Chapel of Saint Ivo (view into dome), College of the Sapienza, Rome, Italy, begun 1642.

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