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 artbuying 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 17th century
Baroque
The 17th 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
Bernini, Borromini, Caravaggio,
FRENCH
Poussin, Lorrain
SPANISH
Velazquez
FLEMISH
Rubens, Van Dyck,
DUTCH
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
Italian Baroque
A baldacchino
is a canopy made
of cloth or stone
erected over an
altar, shrine, or
throne in a
Christian church.
.
Italian Baroque
Bernini’s bronze
baldacchino is
above the altar
under the dome. It
marks the tomb of
Saint Peter. It is
almost 100 feet
high.
).
Gianlorenzo Bernini,
1633. baldacchino,
Saint Peter’s, Vatican City, Rome Italy
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.
Gianlorenzo Bernini, “David”,
Galleria Borghese, Rome, 1623
Donatello
(Early Italian Renaissance)
Michelangelo
(High Italian Renaissance)
Bernini
(Italian Baroque)
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
“Ecstasy of Saint Theresa”,
, Rome Italy, 1650
Italian Baroque
Bernini
Pluto and Proserpina,
1622. Marble. Rome
View of the Square from St. Peter’s Dome
Italian Baroque
Borromini,
facade of “San Carlo alle Quattro
Fontane”,
Rome, Italy, 1675
Italian Baroque
Borromini
Italian Baroque
Annibale Carracci
Loves of the Gods
shows a variety
of earthly and
divine love in
classical
mythology
Annibale Carracci,
Loves of the Gods, 1600
Italian Baroque
Gaulli’s
composition
focuses on the joyful rise
of spirits to Christ’s aura.
His work celebrates the
glory of Christ and His
Church.
Giovanni Battista Gaulli
“Triumph in the Name of Jesus”,
Church of Il Gesu, Rome, 1680
Giovanni Battista Gaulli, “Triumph in the Name of Jesus”,
Church of Il Gesu, Rome, Italy, 1676-1679 ITALIAN BAROQUE
FRENCH Baroque
Versailles
FRENCH Baroque
Versailles
Hall of Mirrors, Versailles, c1680.
FRENCH Baroque
Versailles
Hall of Battles, Versailles, c1680.
Italian Baroque
Caravaggio
Dramatic lighting
gives the work a
sense of mystery
Michelangelo Merisi (Caravaggio)
Conversion of Saint Paul , 1601.
Caravaggio
Conversion of
Saint Paul, 1601
Italian Baroque
Caravaggio “Calling of Saint Matthew”
Rome 1600
Caravaggio,
Crucifixion of St. Peter, 1600
Caravaggio. Flagellation of Christ. c.1606-1607. Oil on canvas.
Caravaggio, The Taking of Christ, 1602.
Italian Baroque
Caravaggio
“Supper at Emmaus”
National Gallery, London 1601
Italian Baroque
Caravaggio
“The Incredulity of St. Thomas”, 1602
Italian Baroque
Caravaggio pulls the
viewer right into the
picture.
He uses common
citizens as his models
He has no use for
classical idealism
Caravaggio, “Entombment”
1603
Italian Baroque
YOU GO GIRL!
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.
Artemisia Gentileschi
“Judith Slaying Holofernes”
ca. 1614-1620
Judith Beheads Holofernes In Other Works, Too!
Artemisia Gentileschi
“Judith and Maidservant With
Head of Holofernes”
ca. 1612-1613
Judith Beheads Holofernes In Other Works, Too!
Artemisia Gentileschi
“Judith and Maidservant
Beheading Holofernes”
ca. 1625.