1. BAROQUE ART Revision

2. Cronology and geography

From the end of 16th century until 1750.

Geography: whole Europe+ America.

Characteristics of the period:

• Religious and political conflicts

• Geographical colonization

• Scientific development

• New astrological discoveries Sun centre of Universe

3. Baroque Style

The word means imperfection

New naturalism that reflects the scientific advances

Taste for dramatic action and emotion:

• Colour and light contrasted

• Rich textures

• Asymmetrical spaces

• Diagonal plans

• New subjects: landscape, genre, still-life

4. Baroque Style

Variety within the style

Art at the service of power

Two main centres:

• Rome: Popes authority

• France: powerful monarchy

Influence of the Counter-Reform

Worry about plastic values

5. Architecture: Characteristics

Long narrow naves replaced by broader or circular forms

Dramatic use of light

Opulent use of ornaments

Large-scale ceiling frescoes

External faade with dramatic central projection

Interior a shell for painting and sculpture

Illusory effects

Onion domes in Eastern Europe

6. Architecture: Italy

They evolved from the Renaissance forms

Movement toward grand structures with flowing, curving shapes

Landscape was frequently incorporated

New elements as gardens, squares , courtyards and fountains.

Influence of the rebuilding of Saint Peter, in which classical forms integrated with the city.

7. Architecture: Italy

Maderno

• He made the Vaticans faade

• His work destroyed partially Michelangelos design

• His work combined the dome with the creation of an space where the Pope could appear publicaly

• Other works:

• • Santa maria della Vittoria

• • Palazzo Barberini

8. Architecture: Italy

Longhena

• He worked mainly in Venice

• His design was selected for building Santa Maria della Salute

• It is building of central plan with a great dome that became the symbol of Venice.

9. Architecture: Italy

Bernini

• He created a fusion of architecture, painting and sculpture

• He used false perspective and trompe-l oeil to impact

• He used a palace faade that became a model with massive pilasters above a rusticated base.

• Works:

• • Saint Peters square

• • Baldaquin

10. Architecture: Italy

Borromini

• His works spring from the contrast between convention and freedom

• He used tradition as a basis, but not as a law

• Works:

• • San Carlo alle Quattro Fontane

• • San Carlo Borromeo

• • Oratorio degli Fillipenses

11. Architecture: France

It was elegant, ordered, rational and restraided

It is a rectilinear model, closer to classicism

It aimed at showing the power of Louis XIV monarchy.

The main works are:

• Louvre: Le Vay and Perrault

• Versailles: Le Brun, Le Vau, Le Notre

12. Architecture: Central Europe

It began later due to the Thirty Years War

Austria developed the Imperial style with Fischer von Erlach and Hildebrandt

In Germany, in the Catholic South Jesuit models were followed while in the Protestant North works were less important

Palace architecture was important in the whole area

13. Architecture: England and Russia

In England is important Wren

Baroque was the style used to design town planning

In Russia it is very decorative, in quite traditional churches sometimes made of brick; later it was imported from the Low Countries and finally it became an extravagant art.

14. Architecture: Spain

At the beginning it continued the pattern of the Escorial

Decoration tends to concentrate just in the faade

The Rococo was the time of the development of the Churrigueresque style, with exaggerated decoration around the door

The Plateresque (last Renaissance that imitates the work on silver) and the Churrigueresque were exported to America, mainly to Mexico.

15. Sculpture

It is one of the most popular arts.

The clients are the church and the nobility.

It is the way of expression of different religious believes.

It was used as a way of advertising power

Works are located in public places, such as courtyards and fountains.

16. Sculpture: Characteristics

Creation of images that can be seen from different points of view.

Tendency to open structures.

Complicated lines, being the diagonal the most used.

Interest for the effects of light:

• different treatment of surfaces

• Resource to breaking wall to get the ideal illumination

17. Sculpture: Characteristics

Combination of different materials in the same work

Grandiloquence of the gestures

Human treatment of the depicted characters

Mythological and religious images frull of humanities and passions

Perfect organisation of the volumes to obtain the desired effect

18. Sculpture: Characteristics

Tension and drama: moment of maximum tension

Violent contrast of light and shadows

Types of sculptures:

• Relief

• Portrait

• Equestrian portrait

• Allegories

• Mythological stories

• Religious

• Easter sculptures (Spain)

• Fountains

• Pantheons

Regional differences

19. Sculpture: Italy

Bernini

• He created a new style in sculpture

• Sources of inspiration were the paintings of his contemporaries

• Sense of drama and naturalism (following Caravaggio)

• Captured in stone frozen moment of human bodies in motion

• Works:

• • Apollo and Daphne

• • Sainte Therese Ecstasy

• • Fountain of the Four Rivers

• • Fountain of the Triton

20. Sculpture: France

Girardon

• Quite classical conception

• He worked for Louis XIV

• Author of fountains (Apollo Tended by Nymphs), pantheons (Richelieu)

Puget

• Impassioned work

• Formed in Italy

• Expressed physical vigour and emotional intensity

• Work: Milon of Crotona

21. Sculpture: Spain

Religious sculpture had an important development

It is realised for the Easter parades.

Characteristics:

• Humanity (passions, mainly sufferance)

• Symbols of sufferance: blood

• Individual or group images

• Wood is the most used material (polychrome)

• Additional elements: real clothes, glazed eyes, hair

• Common images:

• • Painful Virgin (Dolorosa)

• • Ecce Homo (Christ tied up to a column)

• • Death Christ

• • Calvary

22. Sculpture: Spain

Castilian School: Gregorio Fernandez

• His style evolved from the refinement and elegance of Court Mannerism to Baroque naturalism

• Master in depicting the human body with anatomical detail, tension in muscles, strength of bones and softness of flesh and skin

• Clothing heavy and flat, with rigid and angular folders, producing contrast of light and shadows

• Dramatic expressions

• Simple polychromes (flat colours)

• Works: Virgin with the Dead Christ, Road to the Calvary, Saint Theresa

23. Sculpture: Spain

Andalusian School:

Greater classical tradition

Artist maintained the aesthetic of latter Mannerism (athletic figures, elegant composition, and idealised beauty)

Incorporation of the effects of naturalism in emotions

Artists: Martinez Montaes, Alonso Cano, Pedro de Mena, Jose de Mora

24. Sculpture: Spain

Andalusian School:

• Martinez Montaes: The God of Wood

• • Combined love of beauty and serenity of the Mannerism with the naturalism of the Baroque

• • Elegant figures in restful poses

• • Human and contained emotions

• • Saint John the Evangelist

• Alonso Cano

• • Combines classicism and Baroque

• • Purity of form, delicacy and contaiment of expression

• • Careful anatomy and slender outline

• • Oval faces, eyes with melancholic and pensive gaze

• • Saint John the Baptists

25. Sculpture: Spain

Andalusian School:

• Pedro de Mena:

• • Greater simplification of form

• • Spiritual content

• • Pure sentiments or states of mind: ecstasy

• • Saint Peter of Alcntara, Ecce Homo

• Jose de Mora:

• • Simplicity and expression

• • Realistic pain

• • Faces with expression of introspection and sad gazes

• • Impossibility of consolation

• • Virgin of Solitude

26. Sculpture: Spain

Pasos or processional scenes

• Made of light but fragile materials at the beginning

• Wooden carvings popular since 17th century

• Polychrome and with fake additions: glass eyes and tears, ivory teeth, hair

• Viewpoints should be taken into account

• Different work in characters:

• • Goodies: meticolous, pretty to look, dressed in timeless clothing

• • Baddies: less detail, no additions, ugly and unpleasant, clothing from the time they were made

27. Sculpture: Spain

• Mounted in wooden platforms: scenes seemed almost alive with the movement

• Main images desmounted and put in altars and baddies packed

• There were famous those of Valladolid, made by Gregorio Fernandez

• Decadence during the 18th century

28. Sculpture: Spain

In the late Baroque there were French and Italian influences

Creation of a new classicism

Murcia took relevance: Salcillo

• Influenced by the Neapolitan school (Belen tradition)

• Movement, delicacy and tender beauty

• Perfection of form, serch of elegance and refinement

• Great dynamism

• Added materials and polychrome

Luisa Roldan

• Larger sife sized an small terra-cotta compositions

29. Painting

Subjects: religious and profane (mythological, allegorical, historical or portraits)

Composition: complicated; taste for big groups, with different centres of attention. Portraits are just essential

Lines: dynamic and complicate. Diagonal is the most used or combinations of horizontal and vertical

Colour: rich, with great effects due to the use of oil and contrast depending on the areas

Strange elements: secondary plans, mirrors

30. Painting

Kinds of depiction:

• Religious: martyrdoms, sufferance and blood

• Mythological: generally developed with contemporary characters

• Allegorical: virtues and sins portrayed as humans

• Portraits: royal, bourgeois (doelen), beggars, handicapped

• Customs: every days life

• Historical: bear witness of historical events

• Landscapes: never quiet sceneries

• Still-life: food and vegetables, flowers, animals

• Vanities or vanitas: remainders of the egalitarian role of death

31. Painting: Italy

Caravaggio

• Very naturalist

• Theologically incorrect

• Enormous contrasts of light

• Difficult compositions

• Known as the creator of tenebrism

• Works: Supper at Emmaus, the Death of the Virgin, Saint Mathews Conversion

32. Painting: Italy

Carracci

• He received Caravaggios influence

• Naturalism

• Perfect and idealised world

• His works are completely different from those of Caravaggio

• Works: Cerasi Chapel

33. Painting: Flanders

Rubens

• He was a complete artist

• Gifted with organization and a sense for realism and idealism

• He enjoyed harmonys enviable balance of opposites

• Romantic but rooted in classical tradition

• Works: The Three Graces, The Garden of Love, Catalina of Medicis Portrait

34. Painting: Flanders

Van Dyck

• He was Rubens s student

• In his works there in a languid melancholic mood

• Portraits of the aristocracy

• Works: Charles I

Jordaens

• Specialized in genre and banquet scenes

• Strong contrasts of light and shade

• Realistic images

• Works: The King Drinks

35. Painting: Netherlands

Rembrant

• Thunderous use of light and shade

• Dramatic figures filling the picture surface

• Fluid and vigorous brushwork

• He substituted the exact imitation of form by the suggestion of it: painting looked to be unfinished

• Limited palette but able to depict colours

• He worked in complex layers

• Great care to the physical qualities of the medium

• Works: The Nights Ronda, Saskia having a Bath, The Jew Bridegroom, The Philosopher

36. Painting: Netherlands

Hals

• He brought life to groups

• Portraits as a snapshot

• Unconventional work for his moment

• Quick depictions with a few touches of light

• Works: The Gipsy Girl

Vermeer

• Domestic interiors

• Serene sense of compositional balance and spatial order

• Mundane, domestic or recreational activities

• He used the camera obscura to exaggerate perspective

• Works: Girl with the Pearl Earring, View of Delft, the Procuress, The Geographer

37. Painting: France

Poussin

• Founder of the classical school

• Myths, essential subject and sensuality

• Works: Et in Arcadia Ego

La Tour

• Preocupation with the realistic rendering of light

• Effects of chiaroscuro and diffusion of artificial illumination

• Works: Marie Magdalene

Le Nain

• Common life, peasants and poor people

• Grave presences, not comic or gallant, neither picaresque or satirical

• Works: Peasants Family

38. Painting: Spain

Zurbarn

• He was a portrait painter

• Main subjects: religious (saints, monastic orders members)

• Austere, harsh, hard edged style

• Still-lives

• Works: Paintings of the Guadalupe Monastery, Sainte Casilde, Still-life with lemons

39. Painting: Spain

Velzquez

• He painted any kind of subjects

• He was Court Painter and travelled to Italy to buy art works and he knew classical masters works

• Portraits: include royal family and nobility, some of them equestrian, but also normal people of the court or even beggars (Olivares, Juan de Pareja, Esopo, Meninas)

• Religious paintings are treated as common subjects, with great importance given to daily life objects (Christ in Martha and Marys house)

40. Painting: Spain

• Mythological work appear normally in a secondary plan or represented by normal people (Spinners, Drunks)

• Historical scenes (Bredas Surrender)

• Nudes (Venus of the mirror)

• Landscapes (Villa Medicci)

• Genre scenes: same importance given to the tools or to people (Old Woman Cooking Eggs, Sevillas Water-Seller)

41. Painting: Spain

• Characteristics:

• • Great detail when wanted

• • Aerial perspective

• • Pre-Impressioniss (few matter and impression of unfinished work)

• • Special conception of the space (no divisions of it)

• • Resource to very baroque elements such as mirrors that create an illusionist space

• • Richness of colours

42. Painting: Spain

Murillo

• His work is not strong but his images are convincing

• Realism but a bit idealistic

• He is reputed as children painter, works in which beggars and poor children are depicted

• He created a model of Immaculate, moved by the wind and with a lot of putti

• Works: Children Eating Fruit, Two Women at a Window, the Holy Family of the Bird, Immaculate

43. Rococo

French style for interior decoration

It developped mainly at the end of 1720

It was used in other countries as a French Style

Characteristics:

• Galante: luxurious things

• Contraste: asymmety

• Chinoiserie: exotic character imitating Chinese arts

44. Rococo Architecture

It caught the public taste

Small and curious buildings

Elegant parlours, dainty sitting-rooms and boudoirs

Walls, ceiling, furniture and works of metal as decoration

Ensemble of sportive, fantastic and sculptured forms

Horizontal lines almost completely supressed

Shell-like curves

Walls covered by stucco

White and bright colours.

45. Rococo Sculpture

There is not a breaking with the former

The tune was set by courts and it is decorative

Staircases, columns with atlantes become common

Gardens and parks were adorned more than ever before with statues. These isolated and groups were placed on fountains

The social role of sculpture increased to show the power of dynasties and nobility, mainly when cities expanded

46. Rococo Sculpture

Taste for technical virtuosity, sheer brilliance of manner

Allegory was used because it had an elaborate system of symbols

Religion was a bit less used during the Enlightement

Portraits give importance to reallity with psychological quirks

Female portrait were less austere

Cult of great men

Increase of the number of equestrian statues

Funeral monuments

47. Rococo Sculpture

Bouchardon:

• Clean forms, can and harmonious rhythms

• Precursor of the Neoclassicism

• Works: Louis XIV

Houdon:

• Charming images a bit ambiguous

• • Works: Voltaire, La Frileuse

Pigalle: The Negro Paul, Tombe of Marshl Saxony

Falconet: Equestrian statue ofPeter the Great

48. Rococo Painting

Instead of portraying the moral depression of the time, they protrait high society and gallant festivals

Beautiful sensuality is masterly depicted through the colour

Conversations, rural pleasures, character as the Italian and French Commendians indicates the spirit of this art

Slim images, in unaffected pose, in rural sceneries and painted with the finest colours

49. Rococo Painting

France

• Wateau

• • He depicted mankind as the most interesting natural element: affinity toward them

• • Elegant characters in vibrant colours

• • Works: Embarkation to Citera, Gilles

• Fragonard

• • Rapid an spontaneous painter

• • He depicted the sense of human folly

• • Works: The Swing

• Chardin

• • Master of the still life

• • Paintings in brown colours with mids, but loyal to reallity

50. Rococo Painting

England

• Hogart

• • Caricature in his morality paintings

• • Fluent and vigorous brushwork

• • Works: Shrimp Girl

• Gainsborough

• • Artist of the landscape and the portrait

• • Ability to regard all creatures with sympathy

• • Works: Landscape with Gypsies, Sunset

51. Rococo Painting

Italy

• Tiepolo

• • Master of the decorative painting

• • He used the fresco

• • Works: Wurzburg Palace, Allegory of the Spanish Monarchy

• Canaletto

• • Townscapes painter (vedute)

• • He apparently painted directly from nature

• • He used the camera obscura

• • Works: Architectural Capriccio, The Bucintoro Returning to the Molo on Ascension Day