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Europe, 1600-1700
The baroque uses the same system of forms, but in place of the perfect,
the completed, gives the restless, the becoming, in place of the limited
the conceivable, gives the limitless, the colossal. The ideal of beautiful
proportion vanishes, interest concentrates not on being, but on
happening. The masses, heavy and thickset, come into movement…The
relationship of the individual to the world has changed, a new domain of
feeling has opened, the soul aspires to dissolution in the sublimity of the
huge, the infinite. "Emotion and movement at all costs."
-from The Principles of Art History by
Heinrich Wolfflin, 1915
Europe in the 17th
Century
• Period of unrest &
uncertainty - prosperity
and decline
• Widespread warfare
(Thirty Years War)
• Continued conflict
between Catholics and
Protestants
• Expanded worldwide
markets for goods (coffee,
tea, sugar)
• Colonialism & the slave
trade
• Oil on canvas
• Art as propaganda for
patrons, church & state
Europe in 1648 after the Treaty
Of Westphalia, fig.10-1
Dates and Places:
• 1600 to 1700
• Italy (Rome), Spain, Dutch
Republic (Holland), France
People & Events:
• Catholic church & Counter
Reformation
• Protestantism (Dutch Republic)
• Powerful leaders: Pope Urban VIII
(Rome), Philip III & IV (Spain),
Louis XIV (France)
• Imperialism & colonialism (Spanish
rule of Netherlands & New World;
Dutch in Africa, China, Japan)
• Merchant & upper middle class
(Holland)
• More successful female artists
(Gentileschi, Leyster, Ruysch)
• French Royal Academy
Saint Peter’s, 1506–1666. Fig. 10-3.
“the motherly arms of
the church” by Bernini
Europe in the 17th
Century
Themes:
• Life of Christ, Virgin Mary, Saints
• Mythology (Classical forms)
• Allegory
• Portraiture
• Genre scenes (landscape, still life)
Forms:
• Baroque
• Unity of arts for dramatic/theatrical
effect (mixed media)
• Large scale (Italy, Spain, France)
vs. small scale (Dutch Republic)
• Dynamic illusionism
• Dramatic chiaroscuro, tenebrism
• Painterly (loose brushwork)
• Elaborate ornamentation
• Realism (everyday life)
Hiroshi Sugimoto, from his
Theaters series, 1970-present
Europe in the 17th
Century
David Matures…
Donatello, 15th
century Michelangelo, 16th
Century Bernini, 17th
Century
Italy
Bernini, Cornaro Chapel
Sta Maria della Vittoria, Rome
1645-52
Italy
• 16th
cent. Spanish mystic
• Unity of arts to achieve
dramatic effect (theatrical)
• Virtuoso treatment of marble
(wool, gauze, feathers)
• Hidden window
• Animated & ecstatic poses
• Jesuit ideas (Ignatius Loyola
– 16th
cent. founder of order)
BERNINI, Ecstasy of Saint
Teresa, 1645–1652.
Fig. 10-6.
I saw in his hand a long spear of gold, and at
the iron's point there seemed to be a little
fire. He appeared to me to be thrusting it at
times into my heart, and to pierce my very
entrails; when he drew it out, he seemed to
draw them out also, and to leave me all on
fire with a great love of God. The pain was so
great, that it made me moan; and yet so
surpassing was the sweetness of this
excessive pain, that I could not wish to be rid
of it... -St. Teresa of Avila
Italy
CARAVAGGIO, Conversion of
Saint Paul, ca. 1601.
Fig. 10-10.
“the anti-Christ of painting”
(detail from David)
Caravaggio:
Italy
• Brutal realism (publicly
denounced classical masters)
• Despised by critics, beloved
by artists
• Dramatic chiaroscuro &
tenebrism (shadowy
background cut by harsh
light) - symbolic
• Strong diagonals &
foreshortening
• Humanity of characters
• Sacred scenes set on the
rough streets of
contemporary Rome
• Counter-Reformation strategy CARAVAGGIO, Conversion of Saint
Paul, ca. 1601. Fig. 10-10.
Judith Slaying Holofernes by Artemisia Gentileschi, ca.1614-20, oil on canvas
The
Caravaggisti
(followers of
Caravaggio)
• Gentileschi
• Velazquez
• Rubens
• Rembrandt
Class Activity
Principles of Art History*
Heinrich Wolfflin, 1915
1) Linear vs. painterly
2) Planar vs. recession
3) Closed form vs. open form
4) Multiplicity vs. unity
5) Absolute vs. relative clarity
* Applied to Renaissance vs. Baroque art
(also classical vs. non-classical art)
Example – Renaissance vs. Baroque
MASACCIO, Holy Trinity, ca. 1424–1427
PETER PAUL RUBENS, Elevation of the Cross, 1610. Fig. 10-17.
FRANCESCO BORROMINI, San Carlo alle Quattr
Fontane, 1665–1676. Fig. 10-7.
#1 – Italian Architecture
15th
vs. 17th
Century
LEON BATTISTA ALBERTI, Santa Maria Novella,
Florence, 1456–1470. Fig. 8-33.
Italy
Italy
• Sculptural treatment of
architecture
• Projection and recession of
façade (2) and interior,
undulating motion (concave
and convex)
• Oval: dynamic shape vs.
static circle
• Dramatic effects of light and
shadow
BORROMINI, San Carlo alle Quattro
Fontane, 1665–1676.
Fig. 10-7.
MICHELANGELO BUONARROTI, ceiling,
Sistine Chapel, 1508–1512.
FRA ANDREA POZZO,
Glorification of Saint Ignatius, 1691-94
Italy – #2 ceiling fresco 16th
vs. 17th
century
Italy
• Illusionistic ceiling fresco
(painter wrote treatise on
perspective)
• Single viewpoint for correct
perspective (marked by disc
in nave floor)
• Seems to extend and
open church architecture
• Allegory of triumph of
Society of Jesus; theatrical
• Christ receives St. Ignatius,
figures around them
symbolize 4 corners of world
FRA ANDREA POZZO, Glorification of Saint
Ignatius, Sant’Ignazio, Rome 1691–1694.
Fig. 10-13.
DIEGO VELÁZQUEZ, Las Meninas, 1656. Fig. 10-16.
#3 – 16th
vs. 17th
Century Painting
Italy vs. Spain
RAPHAEL, Philosophy (School of Athens), 1509–1511.
Fig.9-7.
Spain
Spain
• Royal portrait without
definitive subject (Philip IV)
• Enigmatic image of
absolute monarchy
• Artist’s noble status as
member of court (in artist’s
studio, Order of Santiago)
• Natural light & loose
brushwork
• Large scale
• Earthy palette (grey, brown)
• Vision, space, reflection
(viewer occupies same space as
king & queen)
• Art of painting as subject
(the gaze & visual complexity)
DIEGO VELÁZQUEZ, Las Meninas, 1656.
Fig. 10-16.. 10’ x 9’
Copies of paintings
by Rubens
Las Meninas and Contemporary Art
Las Meninas, Pablo Picasso, 1957
89 Seconds at Alcazar,
Eve Sussman, 2004, video
REMBRANDT VAN RIJN, The Company of Captain
Frans Banning Cocq (Night Watch), 1642, oil on
canvas, Fig. 10-22.
#4 – 15th
Century Italian vs. 17th
Century Dutch Painting
Perugino, Christ Giving the Keys to St. Peter, 1481
Sistine Chapel, Vatican, Rome, Italy
Dutch Republic
Dutch Republic
• Civic militia group portrait for
assembly hall (Musketeers) in
Amsterdam
• Acquired shortened title later after
varnish had darkened
• Cropped in 18th
cent. – arch, balustrade,
steps in front gone
• Challenge to represent participants
(each (16) paid fee)
• Selection of spontaneous moment (in
act of organizing, arming themselves)
• Light as dramatic device
• Subtle modulation of light
and shadow for mood
Peter Greenaway’s Rembrandt’s J’Accuse
http://www.youtube.com/watch?v=ZSAg5EqgiMI
REMBRANDT VAN RIJN, The Company of
Captain Frans Banning Cocq (Night
Watch), 1642. Fig. 10-22., 11’ x 14’
Captain Cocq and
lieutenant
14’
12’
Girl is allegory of group –
dead chicken symbol of
guns used, arquebusiers,
and victory over adversary
Dutch
Republic
JAN VERMEER, Allegory of
the Art of Painting,
1670–1675. Fig. 10-26.
Dutch Republic
• Quiet, peaceful domestic scenes
of Dutch middle-class life
• Women are primary subjects
• Smaller scale
• Careful rendering of objects
(tapestries, clothing, jewelry)
• Study of natural light (usually
from one window on the left)
• Pearly, light dabs of paint for
shimmering, soft surface texture
• Optical devices (camera obscura)
• Allegory of the art of painting
• History as muse: model’s laurel
wreath, book, artist’s costume
JAN VERMEER, Allegory of the
Art of Painting, 1670–1675.
Fig. 10-26.
3’
4’
self-portrait
in costume
Map of Dutch
Republic
Clio
Girl with a Pearl Earring, 2003
http://www.youtube.com/watch?v=m5ljByvlDP4
“Camera Obscura” scene
France
HYACINTHE RIGAUD, Louis
XIV, 1701. Fig. 10-31.
“The Sun King”
I am the
state!
France
• Theatrical approach to
absolute monarch (red curtain)
• Propaganda and surrogate for
king (aged 63)
• Attributes: ermine coronation
robe, scepter, curtain, crown,
fleur-de-lis
• Showing off legs, platform
shoes for extra height (was
ballet dance as youth)
• Establishes Royal Academy
which serves king’s artistic
needs & champions classical
tradition
• Courtiers not allowed to turn
back on painting
HYACINTHE RIGAUD, Louis XIV,
1701. Fig. 10-31.
5’4”
(without heels)
France
JULES HARDOUIN-MANSART, CHARLES LE BRUN, and ANDRÉ LE NÔTRE,
Versailles Palace, begun 1669. Fig. 10-32.
France
• Louis XIV moves court
• Proper setting for absolute
monarch
• Axes meet at bedroom
• Outfitted by Royal
Academy
• Symbolic vocabulary of
mythology, Apollo (god of
light and sun)
• Windows, chandeliers,
Venetian mirrors bathe
room in light
• Controlled nature:
fountains, grounds
JULES HARDOUIN-MANSART and
CHARLES LE BRUN, Galerie des Glaces
(Hall of Mirrors), ca. 1680. Fig. 10-33.
http://www.youtube.com/watch?v=-1C0vXtqcnU
Marie Antoinette, Sofia Coppola, director, 2006

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Europe, 1600 1700

  • 1. Europe, 1600-1700 The baroque uses the same system of forms, but in place of the perfect, the completed, gives the restless, the becoming, in place of the limited the conceivable, gives the limitless, the colossal. The ideal of beautiful proportion vanishes, interest concentrates not on being, but on happening. The masses, heavy and thickset, come into movement…The relationship of the individual to the world has changed, a new domain of feeling has opened, the soul aspires to dissolution in the sublimity of the huge, the infinite. "Emotion and movement at all costs." -from The Principles of Art History by Heinrich Wolfflin, 1915
  • 2. Europe in the 17th Century • Period of unrest & uncertainty - prosperity and decline • Widespread warfare (Thirty Years War) • Continued conflict between Catholics and Protestants • Expanded worldwide markets for goods (coffee, tea, sugar) • Colonialism & the slave trade • Oil on canvas • Art as propaganda for patrons, church & state Europe in 1648 after the Treaty Of Westphalia, fig.10-1
  • 3. Dates and Places: • 1600 to 1700 • Italy (Rome), Spain, Dutch Republic (Holland), France People & Events: • Catholic church & Counter Reformation • Protestantism (Dutch Republic) • Powerful leaders: Pope Urban VIII (Rome), Philip III & IV (Spain), Louis XIV (France) • Imperialism & colonialism (Spanish rule of Netherlands & New World; Dutch in Africa, China, Japan) • Merchant & upper middle class (Holland) • More successful female artists (Gentileschi, Leyster, Ruysch) • French Royal Academy Saint Peter’s, 1506–1666. Fig. 10-3. “the motherly arms of the church” by Bernini Europe in the 17th Century
  • 4. Themes: • Life of Christ, Virgin Mary, Saints • Mythology (Classical forms) • Allegory • Portraiture • Genre scenes (landscape, still life) Forms: • Baroque • Unity of arts for dramatic/theatrical effect (mixed media) • Large scale (Italy, Spain, France) vs. small scale (Dutch Republic) • Dynamic illusionism • Dramatic chiaroscuro, tenebrism • Painterly (loose brushwork) • Elaborate ornamentation • Realism (everyday life) Hiroshi Sugimoto, from his Theaters series, 1970-present Europe in the 17th Century
  • 5. David Matures… Donatello, 15th century Michelangelo, 16th Century Bernini, 17th Century
  • 6. Italy Bernini, Cornaro Chapel Sta Maria della Vittoria, Rome 1645-52
  • 7. Italy • 16th cent. Spanish mystic • Unity of arts to achieve dramatic effect (theatrical) • Virtuoso treatment of marble (wool, gauze, feathers) • Hidden window • Animated & ecstatic poses • Jesuit ideas (Ignatius Loyola – 16th cent. founder of order) BERNINI, Ecstasy of Saint Teresa, 1645–1652. Fig. 10-6. I saw in his hand a long spear of gold, and at the iron's point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it... -St. Teresa of Avila
  • 8. Italy CARAVAGGIO, Conversion of Saint Paul, ca. 1601. Fig. 10-10. “the anti-Christ of painting” (detail from David) Caravaggio:
  • 9. Italy • Brutal realism (publicly denounced classical masters) • Despised by critics, beloved by artists • Dramatic chiaroscuro & tenebrism (shadowy background cut by harsh light) - symbolic • Strong diagonals & foreshortening • Humanity of characters • Sacred scenes set on the rough streets of contemporary Rome • Counter-Reformation strategy CARAVAGGIO, Conversion of Saint Paul, ca. 1601. Fig. 10-10.
  • 10. Judith Slaying Holofernes by Artemisia Gentileschi, ca.1614-20, oil on canvas The Caravaggisti (followers of Caravaggio) • Gentileschi • Velazquez • Rubens • Rembrandt
  • 11. Class Activity Principles of Art History* Heinrich Wolfflin, 1915 1) Linear vs. painterly 2) Planar vs. recession 3) Closed form vs. open form 4) Multiplicity vs. unity 5) Absolute vs. relative clarity * Applied to Renaissance vs. Baroque art (also classical vs. non-classical art)
  • 12. Example – Renaissance vs. Baroque MASACCIO, Holy Trinity, ca. 1424–1427 PETER PAUL RUBENS, Elevation of the Cross, 1610. Fig. 10-17.
  • 13. FRANCESCO BORROMINI, San Carlo alle Quattr Fontane, 1665–1676. Fig. 10-7. #1 – Italian Architecture 15th vs. 17th Century LEON BATTISTA ALBERTI, Santa Maria Novella, Florence, 1456–1470. Fig. 8-33. Italy
  • 14. Italy • Sculptural treatment of architecture • Projection and recession of façade (2) and interior, undulating motion (concave and convex) • Oval: dynamic shape vs. static circle • Dramatic effects of light and shadow BORROMINI, San Carlo alle Quattro Fontane, 1665–1676. Fig. 10-7.
  • 15. MICHELANGELO BUONARROTI, ceiling, Sistine Chapel, 1508–1512. FRA ANDREA POZZO, Glorification of Saint Ignatius, 1691-94 Italy – #2 ceiling fresco 16th vs. 17th century
  • 16. Italy • Illusionistic ceiling fresco (painter wrote treatise on perspective) • Single viewpoint for correct perspective (marked by disc in nave floor) • Seems to extend and open church architecture • Allegory of triumph of Society of Jesus; theatrical • Christ receives St. Ignatius, figures around them symbolize 4 corners of world FRA ANDREA POZZO, Glorification of Saint Ignatius, Sant’Ignazio, Rome 1691–1694. Fig. 10-13.
  • 17. DIEGO VELÁZQUEZ, Las Meninas, 1656. Fig. 10-16. #3 – 16th vs. 17th Century Painting Italy vs. Spain RAPHAEL, Philosophy (School of Athens), 1509–1511. Fig.9-7. Spain
  • 18. Spain • Royal portrait without definitive subject (Philip IV) • Enigmatic image of absolute monarchy • Artist’s noble status as member of court (in artist’s studio, Order of Santiago) • Natural light & loose brushwork • Large scale • Earthy palette (grey, brown) • Vision, space, reflection (viewer occupies same space as king & queen) • Art of painting as subject (the gaze & visual complexity) DIEGO VELÁZQUEZ, Las Meninas, 1656. Fig. 10-16.. 10’ x 9’ Copies of paintings by Rubens
  • 19. Las Meninas and Contemporary Art Las Meninas, Pablo Picasso, 1957 89 Seconds at Alcazar, Eve Sussman, 2004, video
  • 20. REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642, oil on canvas, Fig. 10-22. #4 – 15th Century Italian vs. 17th Century Dutch Painting Perugino, Christ Giving the Keys to St. Peter, 1481 Sistine Chapel, Vatican, Rome, Italy Dutch Republic
  • 21. Dutch Republic • Civic militia group portrait for assembly hall (Musketeers) in Amsterdam • Acquired shortened title later after varnish had darkened • Cropped in 18th cent. – arch, balustrade, steps in front gone • Challenge to represent participants (each (16) paid fee) • Selection of spontaneous moment (in act of organizing, arming themselves) • Light as dramatic device • Subtle modulation of light and shadow for mood Peter Greenaway’s Rembrandt’s J’Accuse http://www.youtube.com/watch?v=ZSAg5EqgiMI REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Fig. 10-22., 11’ x 14’ Captain Cocq and lieutenant 14’ 12’ Girl is allegory of group – dead chicken symbol of guns used, arquebusiers, and victory over adversary
  • 22. Dutch Republic JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Fig. 10-26.
  • 23. Dutch Republic • Quiet, peaceful domestic scenes of Dutch middle-class life • Women are primary subjects • Smaller scale • Careful rendering of objects (tapestries, clothing, jewelry) • Study of natural light (usually from one window on the left) • Pearly, light dabs of paint for shimmering, soft surface texture • Optical devices (camera obscura) • Allegory of the art of painting • History as muse: model’s laurel wreath, book, artist’s costume JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Fig. 10-26. 3’ 4’ self-portrait in costume Map of Dutch Republic Clio
  • 24. Girl with a Pearl Earring, 2003 http://www.youtube.com/watch?v=m5ljByvlDP4 “Camera Obscura” scene
  • 25. France HYACINTHE RIGAUD, Louis XIV, 1701. Fig. 10-31. “The Sun King” I am the state!
  • 26. France • Theatrical approach to absolute monarch (red curtain) • Propaganda and surrogate for king (aged 63) • Attributes: ermine coronation robe, scepter, curtain, crown, fleur-de-lis • Showing off legs, platform shoes for extra height (was ballet dance as youth) • Establishes Royal Academy which serves king’s artistic needs & champions classical tradition • Courtiers not allowed to turn back on painting HYACINTHE RIGAUD, Louis XIV, 1701. Fig. 10-31. 5’4” (without heels)
  • 27. France JULES HARDOUIN-MANSART, CHARLES LE BRUN, and ANDRÉ LE NÔTRE, Versailles Palace, begun 1669. Fig. 10-32.
  • 28. France • Louis XIV moves court • Proper setting for absolute monarch • Axes meet at bedroom • Outfitted by Royal Academy • Symbolic vocabulary of mythology, Apollo (god of light and sun) • Windows, chandeliers, Venetian mirrors bathe room in light • Controlled nature: fountains, grounds JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), ca. 1680. Fig. 10-33. http://www.youtube.com/watch?v=-1C0vXtqcnU Marie Antoinette, Sofia Coppola, director, 2006

Notas del editor

  1. St. Peter’s completed Nave for processions Sculptural treatment of façade Effects of light and shadow Piazza in dynamic forms Visual trick to compensate for façade height
  2. Bernini wrote plays and produced stage designs; ignatius Loyola’s book Spiritual Exercises argued for rep. of spiritual experiences in art to increase devotion and pietry; bernini a devout catholic Jesuits (Society of Jesus) – catholic order known for missionary (to convert non-believers to catholics), education (classicism, renaissance humanism and theology) and charity work; founded in 16 th cent.; one of original goals was to counter spread of Protestantism; strict obedience to scripture and Pope; encouraged art and decoration in catholic ceremony as way of worshipping God, therefore many early jesuits were also artists (visual art, music, etc) ; advocated “finding god in all things”
  3. Pozzo a lay member of the jesuit order; jesuits active missionaries in 17 th cent Counter Ref. In asia, new world and elsewhere
  4. Velaz. Trained in seville, made two extended trips to italy but returned to madrid where he remained Chamberlain: a high-ranking official in a noble court Ptg hung in Philip IV’s office in palance
  5. Rembrandt most successful dutch artist of 17 th century—from leiden, moved to amsterdam in 1631 where he est his reputation primarily as an individual and group portraitist; his manner of rep. sitters with introspective demeanor and psychological complexity
  6. Vermeer—little known about him, was an inkeeper and art dealer; only 35 some works exist by him, painted interior scenes of quiet, affluent Dutch life