Unit 18-Baroque Art
Richard Ceballos
March 4, 2009
1600-1700
Chapter 24 and Chapter 25
I. Baroque Art

Roman Catholic church, counter-reformation, reenergize the faithful throughout
Europe

Style of persuasion, the word Baroque was a put down at the time

The work was meant to be overly dramatic, like going to a play

Meant to persuade the viewer, looks really over the top
Goals

Understand the influence of the Roman Catholic Church on art and architecture in 17 th
century Italy and Spain

Recall hallmark formal devices used by Baroque artists and architects

Identify representative Baroque artists and their works

Identify representative Baroque architects and their works

Recognize and cite artistic terminology from this period

Recognize the distinctive characteristics of the Baroque style

Understand the diversity of cultures and artistic styles throughout Europe
I. Baroque Art

Drama and theatricality

Grandiose scale

Ornate decoration
Baroque in Italy

Maderno

Bernini

Annibale Carracci

Caravaggio

Artemisia Gentileschi
A. Maderno
 Architect who finished St. Peter’s at the Vatican
Figure 24-2, CARLO MADERNO, facade of Santa Susanna, Rome, Italy, 1597–1603.

About verticality
Figure 24-3, CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy,
1606–1612.

Michelangelo built the dome

The Pope wanted the church to be changed to a basilica plan

Finished in 1626
 Moderno’s façade, enormous pilasters, columns, engaged columns

Up close view is awkward because of the change to basilican plan, can’t see the dome
B. Bernini
 Official “architect of St. Peter’s”


Worked as an assistant to Moderno
 Building large projects in Saint Peter’s
Figure 24-4, Aerial view of Saint Peter’s, Vatican City, Rome, Italy. Piazza designed by
GIANLORENZO BERNINI, 1656-1667.

Double colonnade, over life-sized statues of over 90 saints, (white marble)
 People gather at the place to receive the Pope’s blessing
 Colonnades, the church’s arms embracing and welcoming the audience
Figure 24-5, GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City,
Rome, Italy, 1624– 1633.

Needed a dramatic focal point, dramatic canopy

Directly under the dome, over the spot where Saint Peter was buried

Creates an overwhelming monument

Took bronze from the Pantheon, save money? Political statement?

Four enormous angels, globe with a cross on top
 Ornately decorated, columns with little bees on it, Pope (Pope’s family symbol was the bee), Pope wanted his family’s symbol to be included
Figure 24-6, GIANLORENZO BERNINI, Scala Regia (Royal Stairway), Vatican City,
Rome, Italy, 1663–1666.

Optical illusion, light
Figure 24-7, GIANLORENZO BERNINI, David, 1623.

Another David, uniquely Baroque, he is in action

Refers to the first Baroque statue

Involves the viewer (almost like the giant is behind you)
Figure 24-1, GIANLORENZO BERNINI, interior of the Cornaro Chapel, Santa Maria della vittoria, Rome, Italy, 1645-1652.

The ecstasy of Saint Teresa

Painting, sculpture, and architecture all combined, creates a stage
Figure 24-8, GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel,
Santa Maria della Vittoria, Rome, Italy, 1645–1652.

Fell into trances and had religious visions

Angel is stabbing her in the chest

The texture of the clouds, drapery, skin is carefully illustrated

The rays of light, hidden window that would allow for light to enter

Box seats, marble figures watching the scene (play)
C. Borromini

Undulating walls

Third architect

Bernino professional rival, wanted to more Baroque
Figure 24-9, FRANCESCO BORROMINI, facade of San Carlo alle Quattro Fontane,
Rome, Italy, 1665– 1676.

Undulating, convex and concave effects, looks like the columns are moving
Figure 24-10, FRANCESCO BORROMINI, plan of San Carlo alle Quattro Fontane,
Rome, Italy, 1638–1641.

The illusion of movement

Figure 24-11, FRANCESCO BORROMINI, San Carlo alle Quattro Fontane (view into dome), Rome, Italy, 1638-1641.

Cofferings, smaller as they move up, creates sense of movement

Dome and walls go together, made for the plan
Figure 24-12, FRANCESCO BORROMINI, Chapel of Saint Ivo, College of the
Sapienza, Rome, Italy, begun 1642.

Concave and convex working against each other
Figure 24-13, FRANCESCO BORROMINI, Chapel of Saint Ivo (view into dome),
College of the Sapienza, Rome, Italy, begun 1642.

Pretty insane dome