1600-1750

Baroque looks dynamic, Reaissance static

Time acquiers a new scientific as well as personal and religous meaning

Science: matter in motion through space, time, and light--increasingly precise measurements

three paths: naturalists, classicists, Rubens/Bernini

conflict of reason and passion

extreme ornamentalism--dramatic, sensuous elaborateness

Italy

Catholic repsponse to the Protestants helped bring about Baroque art

more unified and intense--CARLO MADERNO facade of St. Peters--almost a unified design

GIANLORENZO BERNINI (1598-1680)--most characteristic and sustaining spirit of the Baroque--piazza for St. Peter’s--embraces the enviornment, not standing by itself as in Renaisance--optical effect accounts for the excess width of the façade

Baroque delight in illusionistic devices--BERNINI’s Scala Regia (vatican stairs)

BERNINI--1656-1666--Cathedra Petri (Chair of St. Peter)--dramatic--"The Cathedra Petri is the quintessence of Baroque composition. Its forms are generated and grouped not by clear lines of structure but by foreces that unfold from a cetner of violent energy. Everything moves, nothing is distinct, light dissolves firmness, and the effect is visionary." p. 825

BERNINI-David 1623--active--the energy held up in Michelangelo’s David is released here--a particular instant in the action is recorded--the sculpture breaks out of itself and into its surroundings--implied time

BERNINI--uses the Cornaro Chapel as a stae for the portayal of the Ecstasy of St. Theresa--1645-1652--lots of very differnt elements ellegantly harmonized in visual effect

Facade of San Carlo alle Quattro Fontante -- 1665-1676--dynmic, moving facade--curved lines moving in and out instead of the classical straightness of BERNINI’s--none of the segmentation of Renaissance architecture

Chapel of St. Ivo, College of the Sapienza, Rome 1642--use of concave and convex surfaces--dynamic and cohesive self--unlike Renaissance the dome is an integrated part of the structue and motion of the rest of the building--horizontal motion moves nearly seamlessly into the vertical motion of the dome

Palazo Carignano--1679-1692--three units--elegant use of convex/concave--well unified--good central element: arches

Chapel of the Snata Sindone--flat, heavenly perfect dome not used, instead a mathematically perfect one with interlocking shapes

BALDASSARE LONGHENA--Stanat Maria della Salute, Venice, 1631-1648--generally Renaissance design, but the double domes, the rounded curly butresses are clearly Baroque

The Baroque is the merger of the classical and High Renaissance ideals

ANNIBALE CARRACCI "Loves of the Gods" Palazo Farnese 1597--non-christian, outright pagan themes. lots of human nudes--dramatic chiaroscuro--panneled scenes idea from the Sistine Chapel--borrowing from all of the High Renaissance artists

GUIDO RENNI "Aurora" 1613--copies from Raphael’s technique

tries to bring the viewer in and connect

"Conversion of St. Paul" 1601--natural, nothing extrodinary about the characters--horse takes up most space

"Calling of St. Matthew" 1597--dramatic use of light to choose Matthew--worldly, not holy

"Judith and Maidservant with the Head of Holofernes" 1625--"night paintng" with darkness and one light source--still see their emotions and clothes

becomes a real artform--still want it to be perfect and ballanced

Baroque uses the ceiling to project into space--Michelangelo used it to put scenes on--new sense of realism and connection with the paintings

FRA ANDREA POZZ "Glorification of St. Ignatius" 1691--great use of perspective--integrates with the architecture of the building

"Medieval humanity aspired to Heaven; Baroque humanity wanted Heaven to come down to their station, where they might see it, or even inspect it."

Spain

FRANCISCO DE ZURBARAN--often one sided dark lighting--deep connection with God "St. Francis in Meditation" 1639

Baroque interestes in human "types"

"Los Borrachos" 1628--plainly human visit of the God Bacchus--almost portratiur like apperances, but still personality types--heavy reality

Portraits--rejects the Baroque complexities, simple, neutral backgrounds with simple poses--almost pios poses--lighter strokes, somewhat more impressionistic

"Las Meninas" 1656 --uses great variations in tone to create the figures--they are not sculpted but rather suggested by the light

Flanders

"Abduction o fthe Daughters of Leucippus" 1617 -- figures fomed by color and light--tense action--Castor and Pallox are not straining to pick up the women--diagonal lines give a sense of motion

"Elevation of the Cross" 1610 -- very strong diagonal line--emphesis on the straining actions of he participants, everyone is taught and working hard--light and dark used excellently--brighter colors than most of his works

"Lion Hunt" 1617 -- great motion and action--tremendous vitality--detailed, rich, magnificent pomp, but accurate

"Arrival of Marie de’ Medici at Marsellies" 1622 -- tremendous motion encirciling her, the heaven and earth are meeting--extreme detail and magnificence--meant to show her royalty and right to it

"Charles I Dismounted" 1635--simple with an unqquestionable magesty--off center, with pages, showing his superiority

Holland

First marketet painting--non-religious--catering to the middle class public--landscapes, seascapes, genre, everyday paintings-- "night paintings" hidden light sources

Portrait of "Willem Coymans" 1645--expressive, relaxed pose, rough brushwork conveys the feeling of the painting--not very formal for such an important painting

"Arhers of St. Hadrian" 1633 --group portrait whihc both conveys the personalities of he individuals as well as somethign of the setting and activities--elegantly grouped

first private portraits which reveal the inner feelings of the people

motion of th elight expresses the emotion of the picture

figures are made up of optical effects no the underlying structure and mass of the High Renaissance

almost stage like maneuvers and lighting in his paintings

calm quietness

"Self Portrait" 1659 --reveals an old aging man--not idealized--wide strokes

"Syndics of the Cloth Gild" 1662 -- excellent depth into the minds and souls of each person as well as arrangment in a meaningful way--they look out towards the viewer

"Young Woman with a Water Jug" 1665-- simple scene and setting so elelgantly done that it looks pios and religious--astonishing illusion of demension through out of focus blurs of light showing depth of field

photorealistic still lifes

amazing detail, particlarly with optical efffects of light

France

"Adoration of the Shepherds" 1645--very simple view--no magesty or miracle--just curioisity--no motion or jestures--dramatic but natural light--

brought classical art into the French Baroque--restraint and moderation--idealism--Age of Reason

"Embarkation of the Queen of Sheba" 1648 -- ideal classical world bathed in baroque sunlight of infinite space

softened Poussin’s hard manner

"polished dignity and sobriety" less "daring, excited, and fanciful than the Baroque in Italy"

"strong rectilinear organization and design in repeated units--emphasis on one focal point

Louis XIV supports the creation of large monuments in his glory

mirrors were facvorite element of baroque interior design as they showed illusion

really big

the park appears very tight and formal but really presents an ulimited number of vistas

the harsh at the moment style was not popular with the King, so a more classical one won out

England

CHRISTOPHER WREN St. Paul’s cathederal in London--1675--baroque towers with classical columns nicely foils the dome behind