The Baroque Period (1600-1750)
Look for:
- theatricality - combination of art forms (painting, sculpture, architecture)
- viewer participation - interact emotionally, spiritually
- sense of emotionalism / drama
- interest in naturalism, daily life
- tenebrism - extreme chiaroscuro
- use of classicism
- Conterreformation strongest in Spain and Italy
Gianlorenzo Bernini, Saint Peter’s Basilica, Piazza, 1656-1657
- where Pope resides
- Michelangelo’s plan was more simple with geometric shapes
- Pope wanted to extend wing to accomodate lots of people
- Moderno expanded
- Bernini decorated front facade, designed arms of columns
- monumentalism, emotionalism
- symbols of church everywhere, sculptures of saints
Bernini, David, marble, 1623
- more action
- looks like stone will actually hit you
- use of diagonals
- classical body
- dynamic, theatrical
Bernini, Cornaro Chapel with Saint Theresa of Avila in Ecstasy, 1645-1652
- uses painting, sculpture, and architecture
- funerary chapel
- known for having a pain in her side said to be from angel piercing her
- said it was ecstasy
- chapel is the stage, like an opera
- angels soar around walls, involving viewer
- can also be taken sexually
- ecstatic expression of Theresa
- delicate arrow hand, pleasured expression of angel
- extreme use of light
- outside source hits gold / bronze columns and lights stage
- meant to say that the best sensation you have ever known will be given to you better if you’re pious / faithful
- diagonals everywhere = more dynamic movement
Caravaggio, The Calling of St. Matthew, 1599-1602
- controvertial artist, drunk, violent
- life best constructed through police reports
- use of diagonal, movement
- use of everyday life
- opposed to artificiality of most Baroque art
- had mostly naturalistic style with just a little extravagance
- uses everyday people
- tax collector Matthew in bar
- Jesus and disciple enter on right
- Jesus identifiable by commanding stance and thin halo
- Matthew points at self like, “Who, me?” - theatricality
- individual characters spotlighted, extremely dark background
Caravaggio, The Entombment, 1603
- to anticipate viewer’s reaction, we are put at tomb level
- Mary Magdalene and Mary portrayed as real people with bowed heads
- uses big gestures
- tenebrism
- light comes from nowhere
- dark around edges
- figures jump out
- diagonal arrangement
Artemisia Gentileschi, Judith and Maidservant with Head of Holofernes, 1625
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Gentileschi, Self Portrait as the Allegory of Painting, 1630
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Rembrandt van Rijn, Captain Frans Banning Cocq Mustering His Company, 1642
- Holland won freedom against Spain
- Protestant Revolution
- paintings stress individualism, work, middle class
- portraits (single / group) are popular
- Rembrandt most popular Baroque artist
- Dutch Baroque often patronized by guilds
- is a portrait of a guild
- tenebrism
- everyday people
- diagonals
- marching out toward viewer
Rembrandt, Christ Preaching, or The Hundred Guilder Print, 1648
- wax or resin put on copper, carved away without engraving copper
- easier to make prints, same metal used over and over
- etchings look more like drawings
- sketchy figures create sense of opening and awe
Hyacinthe Rigaud, Louis XIV, 1701
- idealized
- emphasis on material
- not painterly
- looking down at viewer, on a raised pedestal
- blue and red dyes, gold fleur de dis - show wealth
- sword shows power
Jules Hardourin-Mansart, Hall of Mirrors, Versailles, 1668-1685
- Louis XIV began renovating and building onto existing Chateau built by
Louis XIII
- main floor had huge windows with ionic pillars
- balance of verticals and horizontals
- Venitian glass mirrors same size and shape as windows across them
- mirrors extremely rare
- reflect natural light - hall feels bigger and more open than it really is
- LeBrun ca 1685: Louis takes control from his Mother
- on Hall of Mirrors ceiling
- looks like Apollo the Sun God
- Sun King
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