Jude: The Acts of the Apostates (Jude vv.1-4).pptx
The baroque art in the spanish monarchy
1.
2. • The XVII th century remained in history as the “Siglo de Oro” in
the spanish art.
• The Spanish Baroque was different from the rest of Europe.
•Philip II was really conservative and didn t want that the
counter-reformative ideas corrupt the catholic faith.
• The Baroque Art finally entered in the Iberian Peninsula with
“escurialense” influence.
• The art was depleted because of the wrong political and
economical administration.
• It is surprising that although all these disadvantages, the arts at
this time were so brightful.
3.
4. - During this period a lot of “plazas mayores”, palaces and religious constructions.
- Used of poor materials.
- It was a progresive developement of the “ornamentacion”.
5. -During this period the style that influenced most in the architecture was the herrerian
Style and the transition of the new ways of architecture from Italy.
- The most famouses architects of this period were:
- Juan Gomez de Mora: The townhall of Madrid andthe “plaza mayor” of Madri
- Alonso Carbonell: Exterior afferes ministry.
6.
7. During this period the style that influenced most was the “churrigueresco” style of
Jose de Churriguera. Also the decoration is mora marked and developed.
The most important architects of this period are:
- José Benito de Churriguera: Altarpiece of the convent of Saint Esteban.
- Pedro de Rivera: Hospicon of Saint Fernando.
- Alonso Cano: Facade of the cathidral of Granada.
8.
9. During this period they take the decorative exuberance to the limit, tjhis was called
rococo.
There are not changes in the composition of the architecture but the are changes in
the decoration inside the architecture.
-The most important architects during this period are:
- Fernando de casas y Novoa: facade of the Obradoiro of the cathedral of
Santiago.
- Narciso Tome: Transparent of the Cathedral of Toledo.
- Jaime Bort: Cathedral of Murcia.
12. GENERAL FEATURES
Religious themes. Mythological and
secular themes absent.
The material used is wood. Stew
technique was abandoned.
Realism. Thanks to the inserts. They
create images of clothing.
Expression of feelings in the figures.
Purpose: to suggest profound religious
emotion with the spirit of the Catholic
Counter-Reformation.
13. LARGE SCHOOLS
1. Andalusian School.
Classical Realism: Juan
Martínez Montañés.
2. Castilian School. Violent
and pathetic realism:
Gregorio Fernández.
3. Murcia: Francisco
Saltillo.
14. ANDALUSIAN SCHOOL
Classic and serene realism.
Stew technique.
Two creative centers: Sevilla, with
Juan Martínez Montañés and Juan de
Mesa, and Granada with Alonso Cano
and Pedro de Mena.
15. JUAN MARTÍNEZ MONTAÑÉS
Serenity and classic Castilian against
dramatic pathos.
Linked in with the Renaissance
tradition.
Perfect knowledge of the nude. Child
sculpture creator.
16. CRISTO DE LA CLEMENCIA
Christ is still alive, it
avoids exaggeration.
Realistic but idealized
image, serenity.
Anatomical model is
smooth and balanced.
More exquisit.
18. JUAN DE MESA
Pupil of Martínez Montañés.
Greater drama and violence at work.
Cristo de la Buena
Muerte
19. ALONSO CANO
Disciple of Montañés.
Expression and classicism of the form.
Taste for stylization and simplification.
Linked to the Renaissance.
Evolution from the serenity of Montañés
to the sensitivity prior to Rococó.
20. LA INMACULADA
CONCEPCIÓN
Youthful
face, pious
attitude.
Verticality, sm
all sice.
21. PEDRO DE MENA
Mystical and dramatic representations.
Triumph of the feelings.
San Francisco de Asís Magdalena Penitente Ecce Homo
22. CASTILIAN SCHOOL
Violent realism.
It enhances the pain and pathos.
The best exponent: Gregorio
Fernández.
23. GREGORIO FERNÁNDEZ
LA MUERTE DE ECCE
CRISTO: HOMO:
Violent realism. Strong anatomical
Anatomical modeling figures.
perfection of bodies.
24. LA PIEDAD
The central group is composed of
diagonal: the Virgin’s right arm raised
in sorrow, while her left hand holds
firmly the Son, who rests on his lap.
Both figures are treated with beauty
and elegance, while the two thieves
are superb anatomical studies.
26. MURCIA
Fashion of the cribs, the manages of
Nápoles.
Sweetness and elegance with a
predominance of pastel colours.
27. FRANCISCO SALZILLO
Transition between Baroque and
Rococó.
Delicated and feminine sensitivity, fragile
beauty.
Taste for motion and color.
Expressive force.
30. GENERAL CHARACTERISTICS:
• “ Mecenazgo” of the Court and Church.
• Absence of the heroic and sizes larger than the natural ones.
They prefered a balance naturalism, a simple composition and no
theatrical or scenographical.
• Predominance of the religious themes, with an ascetic or mystical
expression, and treated with simplicity and credibility.
• Absence of sensuality.
• Influence of the realism and tenebrism of italian origin.
• Other themes are: the portrait, the mythology, the “bodegon”,
specially in Zurbarán and Sánchez Cotán, Velázquez incorporated
the landscapes, the pagan fable and the historical genre.
• There are three artistic sources: Valencia (Ribera y Ribalta),
Sevilla (Zurbarán, Murillo y Valdés Leal) and Madrid (Velázquez).
31. • The best exponent of the current spanish tenebrista
was Jose Ribera who was born in Jativa (Valencia) in 1611.
• He was established in Italy, received the nickname of
“spagnoleti”, nevermore would return to Spain, settling in Naples in
1616.
• His work flourishes in Italy.
• He was looking for simple works with religious themes, portrait or
mythological to exalt the monarchy.
• He was the best representative of the tenebrism.
• His style was care and natural.
32. • It was painted in
1630.
• It is one of the best
works of Rivera.
• This work represent
imbalance, because in
the left side of
the picture we can
see strength, and in
the right, weakness.
• It is a work with great
realism and
expressiveness.
33. In his works also showed the ugly and deformed with dignity
and realism:
34. •Other important works
highlighted by the beauty
of women are :
• “La Virgen en la Inmaculada”
(1635), “el triunfo de María
Magdalena” (1636), and
some holy ones as Santa
Inés (1641).
•These works are from the most
crucial period of his artistic
career.
•From the decade of the 40s, it
exceeds the starting tenebrismo.
35. • Born in Fuente de Cantos, he moved to Sevilla in 1614, forming in
the workshop of Pedro Diaz de Villanueva.
• He is the main representative of the religious themes.
• His work is very abundant, and we can differentiate two periods:
a first period in which there is a presence of tenebrism and
spiritualism; and a second period from mid century with soft and
delicate forms.
•This period coincides with a crisis in the career of Zurbarán, which
also coincides with the climax of Murillo.
36. • The most known works of Zurbaran are the saints of the Religious
Orders, which gives to his figures a great naturalist and a religious
spirit.
• His conventual works can be divided in three series:
• “La vision de San Pedro
De Nolasco” was
painted in 1628.
(Since 1637)
(1638-1645).
37. • Other important theme are the paingtings of “Santas y Mátires”
where the saints or Martyrs are dressed like great ladies.
•And the other one important theme is
“Naturaleza Muerta”, where the
objects are in a black backgrownd
to project them. This was a typical
paint, the “bodegones”.
38. • Other of his themes was the historical themes:
39. • Borned in Sevilla, where he lived most of his life.
• He began his training for ten years with Juan del Castillo, but
was influenced by Zurbarán and Ribera. The influence
of these teachers is evident in his early works.
• Is one of the most popular painters in and out of Spain.
• His painting was delicate and soft.
• Murillo didn t paint saints, his painting is closer to the familiar,
to the intimate.
40. • This work has a tenebrist
tendency
• Is a natural and tender
domestic scene.
• The work is composed of
two pyramidal structures.
• This work has also a
tenebrist tendendency and
is a natural domestic
scene, where we see the
child with more light than
the rest of the work.
41. • In a lot of his works, he painted
a virgin dressed in white which
represents the purity of the
Virgen Maria.
• Another common element on his
works was the number of angels.
• The blue mantle represents the
eternity.
42. These are two examples of the naturalness of his works,
representing daily scenes.
43. DIEGO RODRÍGUEZ DE SILVA Y VELÁZQUEZ
(1599-1660)
Two stages:
1. Formation stage (1617-1622)
2. Mature stage (1623-1660)
44. FORMATION STAGE:
The characteristics of this period are the tenebrism, with
strong contrasts between lights and shadows, predominance
of earthy colours, and simplicity in the composition.
Old woman frying eggs
1618 National Gallery of Scotland,
Edinburgh
45. MATURE STAGE:
This period can also be subdivided in three:
• 1623-1631: First “madrileña” stage and first trip to Italy:
he travelled to the Court and focused his in paintings in the
portrait genre.
These portraits were
characterized by:
simplicity in the composition
realism
elegance
statism
Philip IV
46. MEETING WITH THE FLEMISH ARTIST RUBENS
His meeting with Rubens orientated his paintings to the humanism and
mythology. Rubens encouraged him to study in Italy.
The main
characteristic of
his myttholigic
painting is it’s
burlesque and
ironic conception.
The Triumph of Bacchus
47. First trip to Italy (1629-1631)
During his first trip to Italy he will see all the romans and venetians
renaissance painters’ works.
His paintings will have the italian painters’influence.
The forge of Vulcan
48. • 1631-1648: Second “madrileña” stage:
When he returned form Italy his style became softer and more colorful.
The italian influence made his drawing became looser, he started using
the aerial perspective. We can find:
Religious paintings Portraits:
Christ on the cross The Conde-duque de Olivares on horseback
49. Jesters portraits
Pablo de Valladolid
The Surrender of Breda (The Lances)
1635 Museo del Prado, Madrid
50. • 1648-1660: Second trip to Italy and thrid “madrileña” stage
His second trip to Italy was between 1649 and 1651. Velázquez had the
royal comission of acquiring paintings and antiquities for the hispanic royal
galeries.
In this period, he improved
the technique, he captured the
aerial perspective, he used less
amount of pictorical paste in his
loose brushstroke and he took
care of the ambience and details.
The pavilion
Ariadna in the Medicci garden
in Rome
Museo del Prado,
Madrid
52. • The last “madrileña” stage and the culmination of Velázquez:
Veláquez returned to the Court and to Madrid in 1651 after
three years in Italy. This last stage is the stylistic culmination
of the sevillian master.
From this period belong some
portraits as:
La reina Doña Mariana
Infante Felipe Próspero
Kunsthistorisches Museum, de Austria
Vienna Museo del Prado, Madrid
