Baroque Chapter 17. The Baroque Period The desire of 17century painters to achieve naturalism in their works marks a shift away from Classical ideals.

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Presentation transcript:

Baroque Chapter 17

The Baroque Period The desire of 17century painters to achieve naturalism in their works marks a shift away from Classical ideals. Patrons are willing to be portrayed, "warts and all”- a huge change. Caravaggio takes this notion to an extreme, and was famously persecuted because of it.

The Baroque Period New patrons There is an emergence of a middle-class art- buying public in Holland.

The Baroque Period middle-class art-buyers are interested in genre scenes, landscapes, and still life These styles of art gained new status in the 17 th century

Baroque The 17 th century is a time of Religious conflict Political struggles Great scientific advances New scientific knowledge conflicts with teachings of the Church

Baroque This upheaval contributed to the Period’s relatively unrestrained, overly emotional, and more energetic style

Baroque The name was given to this period later on as a bit of an insult

Later styles came to re embrace the Classical ideals of the Renaissance and felt that the Baroque period was the total opposite…

Harmony Balance Proportion VS Dynamic Drama Passion

ITALIAN FRENCH SPANISH FLEMISH DUTCH Bernini, Borromini, Caravaggio, Poussin, Lorrain Velazquez Rubens, Van Dyck, Hals, Rembrandt, Vermeer

Italian Baroque Goals during the COUNTER-REFORMATION : deliberately evoke intense emotional response from the viewer To create dramatically lit, often theatrical compositions

Italian Baroque BERNINI The colonnade of St. Peter’s Piazza The baldacchino on the St. Peter’s altar sculpture of David Ecstasy of St. Theresa sculpture

A baldacchino is a canopy made of cloth or stone erected over an altar, shrine, or throne in a Christian church.. Italian Baroque

Gianlorenzo Bernini, baldacchino, Saint Peter’s, Vatican City, Rome Italy Bernini’s bronze baldacchino is above the altar under the dome. It marks the tomb of Saint Peter. It is almost 100 feet high. ). Italian Baroque

Gianlorenzo Bernini, “David”, Galleria Borghese, Rome, 1623 Italian Baroque Bernini’s David is dramatic. It catches a split second in time. It has violent, pivoting motion It demands space all around it.

Donatello (Early Italian Renaissance) Michelangelo (High Italian Renaissance) Bernini (Italian Baroque)

Bernini “Ecstasy of Saint Theresa”,, Rome Italy, 1650 Italian Baroque Saint Theresa was a nun- her conversion occurred when she fell into a series of trances, saw visions, and heard voices. Feeling a persistent pain, she attributed to “ the fire tipped arrow of Divine love ” that an angel had thrust repeatedly into her heart. Bernini depicted the saint in ecstasy, mingling spiritual and physical passion, swooning back on a cloud while the smiling angel aims his arrow.

Bernini Italian Baroque Pluto and Proserpina, Marble. Rome

View of the Square from St. Peter’s Dome

Borromini, facade of “San Carlo alle Quattro Fontane”, Rome, Italy, 1675 Italian Baroque

Borromini Italian Baroque

Annibale Carracci, Loves of the Gods, 1600 Italian Baroque Loves of the Gods shows a variety of earthly and divine love in classical mythology Annibale Carracci

Giovanni Battista Gaulli “Triumph in the Name of Jesus”, Church of Il Gesu, Rome, 1680 Gaulli’s composition focuses on the joyful rise of spirits to Christ’s aura. His work celebrates the glory of Christ and His Church. Italian Baroque

Giovanni Battista Gaulli, “Triumph in the Name of Jesus”, Church of Il Gesu, Rome, Italy, ITALIAN BAROQUE

Versailles FRENCH Baroque

Versailles FRENCH Baroque Hall of Mirrors, Versailles, c1680.

Versailles FRENCH Baroque Hall of Battles, Versailles, c1680.

Michelangelo Merisi ( Caravaggio ) Conversion of Saint Paul, Italian Baroque Dramatic lighting gives the work a sense of mystery Caravaggio

Conversion of Saint Paul, 1601

Caravaggio “Calling of Saint Matthew” Rome 1600 Italian Baroque

Caravaggio, Crucifixion of St. Peter, 1600

Caravaggio. Flagellation of Christ. c Oil on canvas.

Caravaggio, The Taking of Christ, 1602.

Caravaggio “Supper at Emmaus” National Gallery, London 1601 Italian Baroque

Caravaggio “The Incredulity of St. Thomas”, 1602 Italian Baroque

Caravaggio, “Entombment” 1603 Caravaggio pulls the viewer right into the picture. He uses common citizens as his models He has no use for classical idealism Italian Baroque

Artemisia Gentileschi “Judith Slaying Holofernes” ca Gentileschi used what might be called the “dark” subject matter Caravaggio that favored. Significantly, Gentileschi chose a narrative involving a heroic female, and favorite theme of hers. The story, from the work of the Old Testament, the Book of Judith, relates the delivery of Israel from its enemy, Holofernes. Having succumbed to Judith’s charms, the Assyrian general Holofernes invited her to his tent for the night. When he fell asleep, Judith cut off his head. In this version of the scene, Judith and her maidservant are beheading Holofernes. Italian Baroque YOU GO GIRL!

Judith Beheads Holofernes In Other Works, Too! Artemisia Gentileschi “Judith and Maidservant With Head of Holofernes” ca

Judith Beheads Holofernes In Other Works, Too! Artemisia Gentileschi “Judith and Maidservant Beheading Holofernes” ca