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{ Baroque Art Italy and Flanders.  1600-1725 Europe  Counter-Reformation: effort by Catholic Church to lure people back and to regain its power  Baroque.

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Presentation on theme: "{ Baroque Art Italy and Flanders.  1600-1725 Europe  Counter-Reformation: effort by Catholic Church to lure people back and to regain its power  Baroque."— Presentation transcript:

1 { Baroque Art Italy and Flanders

2  1600-1725 Europe  Counter-Reformation: effort by Catholic Church to lure people back and to regain its power  Baroque style: characterized by movement, vivid contrast and emotional intensity. Characteristics of Baroque Era

3  Appeal to emotions and the desire for magnificent ornamentation  Appealed to the Church and middle class…glorified the Church.  Unify ornamentation through variation on a single theme.  Objective is realism. Characteristics of Baroque Style

4  Color and grandeur emphasized, dramatic use of light and shade.  Composition emphasizes feeling over form, emotion over intellect.  Viewer is invited to share in the emotion, not just observe it.  Open composition (pictures cut off by frames) Characteristics of Baroque Style (Cont.)

5  Revival of Church Building and remodeling.  Characteristics  Huge sculptured scrolls at each side of the upper story  used to unite the side sections of the wide façade (front of the building) to central portion Baroque Architecture

6  Francesco Borromini – architect  San Carlo alle Quattro Fontane  Façade features:  concave and convex surfaces; result is appearance of elasticity  three-dimensional: overall effect of movement, contrast, and variety Baroque Architecture (cont.)


8  Characteristics:  Emphasis on mood and drama  Little interest in ideal or realistic beauty  Use of deep undercutting to create shadows and sharp contrasts of light and dark values Baroque Sculpture

9  Merging of sculpture, painting, and architecture  The Entrance of St. Ignatius into Paradise  By Fra Andrea Pozzo  Where does the architecture end and the painting begin? Baroque Sculpture (cont.)


11   Gianlorenzo Bernini   The Ecstasy of St. Theresa   use of space and light   figures appear to float in space Baroque Sculpture (cont.)

12   David   Movement: coiled stance, flexed muscles, determined expression   Use imagination to place Goliath in front of David Bernini (cont.)

13  Michelangelo da Caravaggio  Studied and painted the world around him  Light an important part of his painting: to illuminate figures and expose their imperfections Baroque Painting

14  The Conversion of St. Paul  Space projects outward from the picture plane to include the viewer as eyewitness  Use of light to add drama to the scene:  Chiaroscuro  Controversy: use of ordinary people to portray religious subjects Michelangelo de Caravaggio (cont.)


16  First woman in the history of western art to have a significant impact on the art of her time.  Characteristics of her style:  Lifelike treatment of subject matter  Use of light and dark contrasts reminiscent of Caravaggio  Storytelling skills Artemisia Gentileschi

17  Judith and the Maidservant with the Head of Holofernes  background: dark and cramped  foreground: illuminated by single candle

18  Influenced by Titian, Tintoretto, Michelangelo, and Caravaggio.  Titian: rich colors  Tintoretto: dramatic design  Michelangelo: powerful, twisting figures  Caravaggio: use of light to illuminate important parts of paintings  Other Flemish influences: realistic detail Peter Paul Rubens

19  Other characteristics  Avoids stiff, geometric forms to give pictures feeling of energy and life  Use of curving lines to create feeling of movement  Place figures against background of color to soften contours. Peter Paul Rubens (cont.)

20  The Raising of the Cross  figures arranged to form solid pyramid of straining bodies  figures strain to regain balance  strong diagonal axis line follows the vertical section of the cross

21  Daniel in the Lions’ Den  Natural poses of lions & emotion of scene

22 { Chapter 19: Lesson Two Dutch Art

23  Genre: scenes from every day life  Dutch didn’t want religious paintings and sculptures in their churches  wanted secular works instead.  Dutch artists begin to specialize Dutch Genre Paintings

24  Frans Hals  Specialized in portraits  Characteristics  quick, dashing brush strokes  captures fleeting expressions Dutch Genre Painting (cont.)

25  Portrait of a Member of the Haarlem Civic Guard  Officer looks as if just looked over his shoulder Dutch Genre Painting: Frans Hals (cont.)

26  Characteristics  Painted portraits, everyday events, historical subjects, landscapes  Refused to specialize  Work is by, for, and about the middle class. Rembrandt van Rijn

27  Human emotion and psychology, the human spirit  Uses suggestion, not details because the human spirit is intangible Rembrandt van Rijn (cont.)

28  The Night Watch  Original group portrait of the military  portrayed as if on duty, not in a social scene  A "celebration of chaos, symbolic of a free people.“ Rembrandt van Rijn (cont.)

29 No natural light source…how are the figures illuminated? Figures fade into shadow or are hidden by another's hand

30  The Mill  Largest and most famous landscape  Darkness, shadows move slowly = Peaceful and still;  feeling of solitude and loneliness a reflection of his feelings for the loss of his wife. Rembrandt van Rijn (cont.)


32  Group only doing genre style paintings  Jan Steen  Jan Vermeer  Judith Leyster Little Dutch Masters

33  Characteristics and Style  good humored and observant – amateur actor and an innkeeper  paintings carry good moral message  moral messages repeated in form of inscriptions on walls of his paintings Little Dutch Masters: Jan Steen

34  Characteristics and Style (cont.)  Majority of paintings: the folly children get into when not raised properly  Other typical themes: lovesick maidens and groups of merry, carefree people Little Dutch Masters: Jan Steen

35  St. Nicholas’ Day  various reactions to gifts in stockings  use of diagonal Little Dutch Masters: Steen (cont.)

36  Painter of interiors…people in paintings less important than composition and effect of light on textures.  The Love Letter  figures surrounded by light and air = feeling of deep space  paintings in the background of the painting Little Dutch Masters: Jan Vermeer

37 Viewer looks into the scene from a closet Black & white tiles lead to scene Facial expressions of both say letter is special

38  Influences  Caravaggio’s dramatic use of light and dark  Hals – not so much the impression of fleeting moment, but the effect of achieving a feeling that care and time have been taken to achieve an elegant effect Little Dutch Masters: Judith Leyster

39  Self-Portrait  P sychological interaction between subject and viewer Little Dutch Masters: Leyster (cont.)

40 { Chapter 19: Lesson Three Spanish Art

41  Painted more realistic saints, crucifixions, and martyrdoms Spanish Art

42 . Jusepe de Ribera  avoided painting masses of active people  avoided excitement and action in favor of calmness Spanish art (cont.)

43 The Blind Old Beggar

44 St. Paul the Hermit

45  Worked in the Palace of King Phillip IV  The Surrender of Breta (fig. 19.21b)  Spanish victory  commanders placed directly in the center  erect lances show victory of Spaniards Spanish Art: Diego Velázquez

46 Figures on left and far right bring viewer into the picture by looking at the viewer

47  Las Meninas -- The Maids of Honor  Illusion of space  scene stretches out before you  Artist painted in the picture Spanish Art: Diego Velázquez (cont.)

48 Reflection in mirror brings the scene behind you into it. Room beyond glimpsed through open door

49  Bartolomé Esteban Murillo  Worked for monasteries and convents.  The Return of the Prodigal Son  contrast between excitement and calm  avoided sharp lines and color contrasts to keep it simple and harmonious Spanish Art (cont.)


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