1. Chapter 24
Italy and Spain
1600 – 1700
Baroque Art

2. Europe in the 17th Century

3. Figure 24-2 CARLO
MADERNO, Santa
Susanna, Rome, Italy, 1597–
1603

4. Figure 24-2 CARLO MADERNO, Santa Susanna, Rome, Italy, 1597–1603.

5. GIACOMO DELLA
PORTA, facade of Il
Gesù, Rome, Italy, ca.
1575–1584.

7. Figure 24-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.

8. Figure 24-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.

10. Figure 24-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.

15. CARLO MADERNO, plan of Saint Peter’s, Vatican City, Rome, Italy, with adjoining piazza designed by GIANLORENZO
BERNINI.

16. Bramante
Michelangelo

17. Figure 24-4 Gianlorenzo Bernini, Aerial view of Saint Peter’s, Vatican City, Rome, Italy, 1506–1666.

18. Figure 24-5 GIANLORENZO
BERNINI, baldacchino, Saint
Peter’s, Vatican City, Rome, Italy, 1624–
1633. Gilded bronze, approx. 100’ high.

19. Figure 24-5 GIANLORENZO
BERNINI, baldacchino, Saint Peter’s, Vatican
City, Rome, Italy, 1624–1633. Gilded
bronze, approx. 100’ high.

24. Figure 24-7 GIANLORENZO BERNINI, David, 1623.
Marble, approx. 5’ 7‖ high. Galleria Borghese, Rome.

26. MYRON, Diskobolos (Discus Thrower). Roman marble
copy after a bronze original of ca. 450 BCE, 5’ 1‖ high.
Museo Nazionale Romano—Palazzo Massimo alle Terme.

30. Figure 24-9 GIANLORENZO BERNINI, Ecstasy of Saint
Teresa, Cornaro Chapel, Santa Maria della
Vittoria, Rome, Italy, 1645–1652. Marble, height of group
11’ 6‖.

34. Figure 24-9 FRANCESCO BORROMINI, facade of San
Carlo alle Quattro Fontane, Rome, Italy, 1665–1676.

35. Figure 24-2 CARLO MADERNO, Santa
Susanna, Rome, Italy, 1597–1603

36. Figure 24-10 , 11FRANCESCO BORROMINI, plan
and dome of San Carlo alle Quattro
Fontane, Rome, Italy, 1638–1641.

37. Figure 24-18 CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, ca. 1597–
1601. Oil on canvas, 11’ 1‖ x 11’ 5‖.

40. Naturalism
Tenebrism (tenebroso)
Figure 24-17 CARAVAGGIO, Conversion of
Saint Paul, Cerasi Chapel, Santa Maria del
Popolo, Rome, Italy, ca. 1601. Oil on
canvas, approx. 7’ 6‖ x 5’ 9‖.

41. Figure 24-19 CARAVAGGIO, Entombment, from the
chapel of Pietro Vittrice, Santa Maria in
Vallicella, Rome, Italy, ca. 1603. Oil on canvas, 9’ 10 1/8‖
x 6’ 7 15/16‖. Musei Vaticani, Pinacoteca, Rome.

42. ROGIER VAN DER WEYDEN, Deposition, from Notre-Dame
hors-les-murs, Louvain, Belgium, ca. 1435. Oil on
wood, approx. 7’ 3" x 8’ 7". Museo del Prado, Madrid.

43. Figure 24-20 ARTEMISIA
GENTILESCHI, Judith Slaying
Holofernes, ca. 1614–1620. Oil on
canvas, 6’ 6 1/3‖ x 5’ 4‖. Galleria degli
Uffizi, Florence.

44. Quadro riportato – a
ceiling painting in
which painted scenes
resemble framed
figures transferred to
a curved ceiling.
Figure 24-16 ANNIBALE
CARRACCI, Loves of the Gods, ceiling
frescoes in the gallery, Palazzo
Farnese, Rome, Italy, 1597–1601.

47. Figure 24-21 GUIDO RENI, Aurora, ceiling fresco in the Casino Rospigliosi, Rome, Italy, 1613–1614.
quadro reportato – simulates a framed easel painting on the ceiling

48. Di sotto in su – illusionistic architectural
painting aimed at extending real
architecture into imaginary space ―from the
bottom up.‖
Figure 24-22 PIETRO DA
CORTONA, Triumph of the
Barberini, ceiling fresco in the Gran
Salone, Palazzo
Barberini, Rome, Italy, 1633–1639.

49. Figure 24-23 GIOVANNI BATTISTA
GAULLI, Triumph of the Name of Jesus, ceiling
fresco with stucco figures in the vault of the
Church of Il Gesù, Rome, Italy, 1676–1679.

50. Figure 24-24 FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of
Sant’Ignazio, Rome, Italy, 1691–1694.

51. Italian Baroque
•Establishment of trade routes, Europe becomes
secularized
•The importance of the Catholic church in
commissioning art for the purpose of exerting their
power and authority and encouraging a return to the
Church – Saint Peter’s
•Bernini’s work in architecture and sculpture—
innovations, use of materials, emotional impact
•The interest in creating drama in art -- strong light and
dark contrast (tenebrism,) dynamic
compositions, movement, and emotion
•Caravaggio’s innovative portrayal of religious subject
and his influence on other artists
•Gentileschi – her graphic and powerful religious
paintings
•Ceiling paintings as a means to glorify the church –
their stylistic characteristics

52. Spain
1600 – 1700
Baroque Art

53. Figure 24-26 FRANCISCO DE
ZURBARÁN, Saint Serapion, 1628. Oil
on canvas, 3’ 11 1/2‖ x 3’ 4 3/4‖.
Wadsworth Atheneum, Hartford (The
Ella Gallup Sumner and Mary Catlin
Sumner Collection Fund).

54. Figure 24-27 DIEGO VELÁZQUEZ, Water
Carrier of Seville, ca. 1619. Oil on canvas, 3’ 5
1/2‖ x 2’ 7 1/2‖. Wellington Museum, London.

56. Figure 24-30 DIEGO VELÁZQUEZ, Las
Meninas (The Maids of Honor), 1656. Oil
on canvas, approx. 10’ 5‖ x 9’. Museo del
Prado, Madrid.

63. Figure 24-30 DIEGO VELÁZQUEZ, Las
Meninas (The Maids of Honor), 1656. Oil
on canvas, approx. 10’ 5‖ x 9’. Museo del
Prado, Madrid.

64. Figure 20-13 JAN VAN EYCK, Giovanni Arnolfini and His
Bride, 1434. Oil on wood, approx. 2’ 8" x 1’ 11 1/2". National
Gallery, London.

66. Figure 24-29 DIEGO VELÁZQUEZ, Surrender of Breda, 1634–1635. Oil on canvas, 10’ 1‖ x 12’ 1/2‖. Museo del Prado,
Madrid.

67. Figure 24-28 DIEGO VELÁZQUEZ, King
Philip IV of Spain (Fraga Philip), 1644. Oil on
canvas, 4’ 3 1/8‖ x 3’ 3 1/8‖. The Frick
Collection, New York.

68. Baroque in Spain
•Dramatic paintings illustrating the martyrdom of saints- style of
Caravaggio
•Velazquez’s paintings of royalty in genre-like scenes, innovative brush
work, complex spatial construction (compare to High
Renaissance, Caravaggio)
End of Chapter 24