1. Chapter Fifteen: The Seventeenth Century: The Baroque Era
Culture and Values, 8th Ed.
Cunningham and Reich and Fichner-Rathus

2. The Counter-Reformation Spirit
Council of Trent ( )
Redefined doctrines, reaffirmed dogmas
Assertion of discipline, education
New artistic demands, purpose
Society of Jesus, Jesuits
Ignatius Loyola ( )
Missionaries, educational improvement

3. Seventeenth-Century Baroque
Decentralized styles
Art for the middle-class
Rich, ornate, elaborate, fanciful
Emotionalism
Psychological exploration
New techniques, virtuosity

4. 15.4 Saint Peter’s façade, Rome, Italy
15.4 Aerial view of Saint Peter’s, Rome, Italy. Façade 147´ high x 374´ long (44.8 x 114 m). St. Peter’s Square with Basilica and Vatican Palaces, Vatican State. Image © Alizarin/Art Resource, NY

5. The Baroque Period in Italy Baroque Sculpture and Architecture in Rome
Gian Lorenzo Bernini ( )
Chief architect of Counter-Reformation
Fountains, palaces, churches
Conflict with Borromini
Religious-themed sculptures
Baldacchino
David (1623)
The Ecstasy of Saint Teresa ( )

6. 15.6 Gian Lorenzo Bernini, Baldacchino, 1624-1633

7. 15.7 Gian Lorenzo Bernini, David, 1623
15.7 Gian Lorenzo Bernini, David, Marble, life size, 5´61⁄4˝ (1.7 m) high. Galleria Borghese, Rome, Italy//© Scala/Art Resource, NY

8. 15.8 Gian Lorenzo Bernini, The Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy
15.8

10. Gian Lorenzo Bernini, 
Pluto and Proserpina,
marble, (Galleria Borghese, Rome)

11. The Baroque Period in Italy Baroque Sculpture and Architecture in Rome
Francesco Borromini ( )
Brooding, melancholy
Obsessive elaboration of design
Highly complex structures
Church of San Carlo alle Quattro Fontane
Sinuous curves and counter-curves
Concave and convex walls

12. Francesco Borromini, San Carlo alle Quattro Fontane, begun 1638, façade finished Exterior façade 38′ (11.58 m) wide. Rome, Italy.

13. 15.10 Francesco Borromini, the dome of San Carlo alle Quattro Fontane, 1638-1641

14. The Baroque Period in Italy Painting in Rome
Annibale Carracci
Extreme emotion, realism of detail
Exuberant life, movement, sensuality
Galleria of the Palazzo Farnese

15. Annibale Carracci, The Loves of the Gods, 1597–1601
Annibale Carracci, The Loves of the Gods, 1597–1601. Ceiling frescoes in the gallery of the Palazzo Farnese, Rome, Italy.

16. The Baroque Period in Italy Painting in Rome
Caravaggio ( )
Dramatic naturalism, realism
Brutal, pessimistic
Emotional, psychological
Tenebrism
The Calling of St. Matthew ( )
Judith and Holofernes (1598)
Artemisia Gentileschi
Judith Decapitating Holofernes (1620)

17. 15.12 Caravaggio, The Calling of Saint Matthew, 1600-1602
15.12 Caravaggio, The Calling of Saint Matthew, c. 1600–1602. Oil on canvas, 11´1˝ x 11´5˝ (3.38 x 1.48 m). Contarini Chapel, Church of San Luigi dei Francesi, Rome, Italy//© Scala/
Art Resource, NY

18. Caravaggio, 
Deposition
oil on canvas, c.
(Pinocateca, Vatican) 

19. Caravaggio, The Crowning with Thorns, 1602-04, oil on canvas, 165
Caravaggio, The Crowning with Thorns, , oil on canvas, x 127 cm (Kunsthistorisches Museum, Vienna) 

20. The conversion of Saint Paul 1601

21. 15.14 Artemesia Gentileschi, Judith Decapitating Holofernes, ca. 1620

22. Caravaggio, Judith and Holofernes, ca. 1598
Caravaggio, Judith and Holofernes, ca Oil on canvas, 57″ × 77″ (145 cm × 195 cm). Galleria Nazionale d’Arte Antica, Palazzo Barberini, Rome, Italy.

23. The Baroque Period Outside Italy Spain
Diego Velázquez ( )
Vitality of scene
Lives of ordinary people
Las Meninas (1656)
Color
Space
Reality of detail

24. 15.15 Diego Velazquez, Las Meninas (The Maids of Honor), 1656
15.15 Diego Velázquez, Las Meninas (The Maids of Honor), Oil on canvas, 10´5˝ x 9´ (3.18 x 2.74 m). Museo del Prado, Madrid, Spain//© Scala/Art Resource, NY

25. Diego Velázquez, The Surrender of Breda, , oil on canvas, 307 cm × 367 cm / 121 in × 144 in (Museo del Prado, Madrid)

26. The Baroque Period Outside Italy Flanders
Peter Paul Rubens ( )
The Rape of the Daughters of Leucippus
Restless energy, sense of action
Female nudity, ample proportions
Anthony Van Dyck ( )
Formal portraits
Refined tastes, noble patrons

27. 15.16 Peter Paul Rubens, The Rape of the Daughters of Leucippus, 1617
15.16 Peter Paul Rubens, The Rape of the Daughters of Leucippus, c Oil on canvas, 7´3˝ x 6´10˝ (2.21 x 2.08 m). Alte Pinakothek, Munich, Germany//© Scala/Art Resource, NY

28. Peter Paul Rubens, 
The Elevation of the Cross, 
1610,
oil on wood, 

29. Anthony van Dyck, Marchesa Elena Grimaldi, Wife of Marchese Nicola Cattaneo, ca Oil on canvas, 84⅞″ × 48½″ (242.9 × cm). National Gallery of Art, Washington, DC.

30. The Baroque Period Outside Italy The Dutch Republic (Holland)
Frans Hals (c )
Group portraits
Jan Vermeer ( )
Inner contemplation, repose
Light, stillness

31. 15.18
15.18 Frans Hals, Banquet of the Officers of the Civic Guard of Saint George at Haarlem, 1616

32. 15.26 Jan Vermeer, Young Woman With a Water Jug, 1665

33. The Baroque Period Outside Italy The Dutch Republic (Holland)
Rembrandt van Rijn ( )
Spiritual matters, problems of existence
The Night Watch (1642)
Self-understanding through self-portraits
Psychologically reflective
Tragic nature of human destiny
Emotionality through virtuosity

34. 15.21 Rembrandt van Rijn, The Sortie of Captain Frans Banning Cocq’s Company of the Civic Guard (The Night Watch), 1642
15.21 Rembrandt, The Sortie of Captain Frans Banning Cocq’s Company of the Civic Guard (The Night Watch), Oil on canvas, 11´91⁄2˝ x 14´21⁄2˝ (3.63 x 4.37 m). Rijksmuseum, Amsterdam, The Netherlands//© SuperStock, Inc./SuperStock

35. 15.19 Rembrandt van Rijn, Self-Portrait, 1652

36. Rembrandt van Rijn, The Anatomy Lesson of Dr. Nicolaes Tulp, 1632
Rembrandt van Rijn, The Anatomy Lesson of Dr. Nicolaes Tulp, Oil on canvas, 67″ × 85 ¼″ (170 × 217 cm). The Royal Picture Gallery Mauritshuis, The Hague, The Netherlands.

37. The Baroque Period Outside Italy France
Nicolas Poussin (c )
Protest against baroque excesses
Nostalgic yearning for idealized past
Georges de La Tour ( )
Restrained mood, repressed emotionality

38. 15.27 Nicholas Poussin, The Rape of the Sabine Women, ca. 1636-1637

39. 15.28 Georges de La Tour, The Penitent Magdalen, ca. 1640

40. The Baroque Period Outside Italy France
The Palace of Versailles
Louis XIV = the Sun King
Politics, psychology
Grandiose symbolism
Baroque extremes + Classical simplicity

41. Hyacinthe Rigaud, 
Louis XIV, King of France and Navarre,
oil on canvas,
1701
(Musée du Louvre, Paris)

42. 15.29 Palace of Versailles, begun 1669
15.29 Aerial view, Palace of Versailles, begun 1669, and a small portion of the surrounding park. Chateaux de Versailles et de Trianon, Versailles, France. Image © Réunion des Musées Nationaux/Art Resource, NY
15.29 Palace of Versailles, begun 1669

43. 15.30 Hall of Mirrors (Galerie des Glaces), begun 1676, Palace of Versailles

44. The Baroque Period Outside Italy New England
Anne Bradstreet
Thomas Smith

45. 15.31 Thomas Smith, Self-Portrait, ca. 1680

46. Baroque Music Emphasis on rhythm and melody
Listening pleasure and glory of God
Sacred music with universal appeal
Growing interest in secular music

47. Baroque Music: The Birth of Opera
Play in which text was sung, not spoken
Aristocratic and middle-class audience
Florentine Camerata
Objected to polyphonic style
Monody, recitative
Inspired by Greek drama, tradition
Jacopo Peri: Dafne, Euridice

48. Baroque Music: The Birth of Opera
Claudio Monteverdi ( )
L’Orfeo
Dramatic instinct, emotionality of music
Academic principles of Camerata
Opera houses
Audience appeal
Lavish stage spectacles, arias

49. Baroque Instrumental and Vocal Music
Oratoriio
Dietrich Buxtehude ( )
Chorale fantasies, suites for harpsichord
Domenico Scarlatti ( )
Harpsichord virtuoso, sonatas
Georg Frideric Handel ( )
Oratorios (Messiah)
Operas

50. Baroque Instrumental and Vocal Music: Johann Sebastian Bach (1685-1750)
Virtuoso of composition, performance
Complexity of musical thought
Polyphony, fugue, counterpoint
Expression of deep religious faith
Chorale preludes, cantatas
Brandenburg Concertos
Antonio Vivaldi
Concerto grosso (Vivaldi)

51. Philosophy and Science in the Baroque Period
“Coming of age” of modern philosophy
Philosophy as independent discipline
Objective demonstration vs. abstract generalization
Supernatural explanations insufficient

52. Philosophy and Science in the Baroque Period
Galileo Galilei ( )
Astronomy, physics
Heretical denunciation of Ptolemaic view
Support of Copernican theory
Experiment, observation
Telescope
Motion

53. Philosophy and Science in the Baroque Period
René Descartes ( )
Father of Modern Philosophy
Criteria for defining reality
“Cogito, ergo sum”
What is clearly perceived must exist
Argument for the existence of God

54. Philosophy and Science in the Baroque Period
Thomas Hobbes ( )
Materialism
Leviathan
Theory of society, no divine law
Offended theologians, rationalists
Personal liberty vs. security

55. Philosophy and Science in the Baroque Period
John Locke ( )
Predecessor to the Enlightenment
Nature of ideas
Perceptions, personal property
Limitations of human knowledge
Significance of experience

56. Seventeenth-Century: French Baroque Comedy and Tragedy
Molière ( )
Comedic drama deflates pretense, pomposity
Pierre Corneille ( )
Eternal truths about human behavior
Jean Racine ( )
Themes of self-destruction
Psychological explorations

57. Literature in the Seventeenth Century: The Novel in Spain: Cervantes
Picaresque novel
Don Quixote
Satire of medieval chivalric romances
Reality vs. Illusion
Relationship between art and life
Synthesis of comedy and tragedy

58. Seventeenth-Century Literature: The English Metaphysical Poets
King James version of the Bible
Metaphysical concern with self-analysis
John Donne ( )
Richard Crashaw ( )
Andrew Marvell ( )

59. Seventeenth-Century Literature: John Milton’s Heroic Vision
Paradise Lost (1667)
“justify the ways of God to men”
Biblical and Classical references
Humanist principles + Christian doctrine
Dramatic fervor, psychological insight

60. Chapter Fifteen: Discussion Questions
In what ways does Bernini’s sculpture of David highlight the characteristics of the Baroque period? Compare Donatello’s David and Michelangelo’s David with that of Bernini. What cultural and/or historical statements can be made about each of the David sculptures if they are viewed as “signs of their times”? Why would these artists choose David as their subject? Why does each artist depict him differently? Explain.
Despite the French dislike of the Baroque, how did the style permeate the art and architecture of France? Cite specific examples that illustrate the characteristics of the Baroque in seventeenth- and eighteenth-century France.
What contributed to the lack of wealthy and/or noble patrons of Baroque art in Northern Europe? In what ways did the intended audience influence the artwork? Explain, citing specific examples.
Explain the parallels and connections among Baroque art, philosophy, and literature. What elements of the Baroque are the most prevalent in our current culture?