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European Baroque ArtCHAPTER 11.3 & 11.4
Baroque refers to the 17th century period and style of European art. Artwork was typically exuberant, large, ornate, and filled
with swirling lines and intense color and light.
Artists were highly skilled at drawing and painting the human figure from every possible angle, delighting in theatrical
and extravagant artworks.
VOCABULARY:Tenebrism: The use of strong, exaggerated contrasts of light
and dark in a pictureBaldachin: A canopy of wood, stone or fabric over an altar,
throne or doorway
Baroque in Flanders, Holland and Spain
During the 17th century, Flanders, comprising the southern part of the Low Country provinces, was Catholic and under Hapsburg and Spanish domination. Holland,
the northern part of the Low Country, had gained independence
from Spain and had become Protestant and democratic.
These changes meant that art in Holland was no longer financed by
the church, court or nobility. Dutch artists were mainly supported by middle class
customers who wanted paintings for their homes. Subject matter
changed as well, with artists now painting landscapes, cityscapes,
still lifes and portraits.
Peter Paul Rubens (1577-1640)
The Lion HuntOil on panel, 1616
97 x 146”Rubens uses the
lances and swords to stabilize the
composition and lead the viewer’s eyes back
to the central area. The low eye level
increases the dramatic upward thrust of the
action. Notice the severe foreshortening,
vivid color and intense lighting.
Peter Paul Rubens
(1577-1640)Allegory of the
Outbreak of WarRubens was the greatest Flemish
painter of the Baroque era. He studied in Italy
for eight years, absorbed the work of
Titian and Michelangelo, and
brought the Baroque style to France,
Flanders and Holland. His pictures are filled with turbulent activity and twisting, turning
bodies of humans and animals.
Peter Paul Rubens
(1577-1640)The Rape of
the Daughters of Leucippus
Oil on canvas 1617 7’ x 7’
Rubens created a spiral
composition, revolving in a
great stream of energy. The solid forms are built up
in color and defined by light.
Peter Paul Rubens
(1577-1640)Henri IV
Receiving the Portrait of Marie d’
Medici1621
Anthony van Dyck (1599-
1641)Portrait of Charles
I in Hunting Dress
Oil on canvas, 16359’ x 7’
This Flemish artist assisted Rubens in his
Antwerp workshop, and
went on to be the court painter for
Charles I of England. Notice
the dramatic foreshortening
where the elbow bends in this
portrait intended to flatter the
subject.
Frans Hals (1580-1666)
“Malle Babbe”Oil on canvas
30 x 25” 1650
Hals was a famous Dutch portraitist. He developed a
painting technique
utilizing very active, energetic,
slashing brushstrokes
which appear to be loose and
spontaneous, but which capture a great amount of
detail, visual texture and character.
Frans Hals (1580-1666)
Yonker Ramp and His SweetheartOil on canvas
41 x 31”Hals shows his friend in a happy scene at a local Dutch tavern.
Notice the strong diagonal thrust from
top left corner to lower right corner, which helps define this composition.
The color palette is limited, but the paint medium is handled in a very exuberant manner—and the sense of light, as well as contrast is
very strong.
Frans Hals (1580-1666)
Hals was able to convey a great
variety of delicate detail using a very expressive brush
stroke and a painterly application
of oil paint.
Notice in this composition how
the negative space balances the active
area where the figure is located.
The artist manipulates light, contrast and focus
to help the man seem to emerge from the picture
plane towards the viewer.
Frans Hals (1580-1666)
Boy with a Skull, 1625
With a few simple brush strokes, Hals
has managed to convey the fluffiness of
feathers in the boy’s hat. Notice
the careful presentation of the boy’s foreshortened
hand, and the specific way the light falls on his
individually defined fingers.
Most of the brightly lit areas appear in
contrast to neighboring dark
passages.
Frans Hals (1580-1666)
Officers of the Haarlem Militia
Company of Saint Adrian
1627The repetition of
white collars, broad-brimmed black hats, and colorful sashes
adorning the men creates a strong
visual rhythm. The composition is
stabilized by the strong central geometrical
presence of the window.
Rembrandt van Rijn(1606-1669)
Self Portrait, Oil on Canvas
Rembrandt lived in Amsterdam, a thriving
Dutch city where he painted portrait
commissions, as well as landscapes and Biblical
subjects. He refined light and shade into fine nuances, expressing
emotion, character and mood. Portraits probed
the human soul.
His work shows the influence of Caravaggio, with the frequent use of
chiaroscuro and tenebrism.
Rembrandt van Rijn (1606-1669) The Syndics of the Cloth Guild, Oil on Canvas, 1662, 75 x
110” During the height of his artistic popularity, Rembrandt received
many important portrait commissions. Each face was treated with individuality and depth of character.
Rembrandt van Rijn (1606-1669) Self
PortraitOil on Canvas As Rembrandt’s
career progressed his work became more painterly, with expressive
brushstokes describing
physical surfaces.
Rembrandt van Rijn
(1606-1669) Self Portrait with
a Palette Oil on Canvas
1660 45 x 37”
As Rembrandt’s career progressed his work became more painterly, with expressive
brushstokes and a very distinctive
golden light.
Rembrandt van Rijn
(1606-1669) The Sacrifice
of Isaac Oil on Canvas 1635 76 x 52”
Although Protestant
Holland did not have the same official church
support for religious painting
as Catholic countries, Rembrandt
continued the tradition of
creating Bible scenes to fulfill
his own personal interests and
beliefs.
Caravaggio (1571-1610) ItalianThe Sacrifice of Isaac, Oil on Canvas
1601 Rembrandt van Rijn(1606-1669) Dutch The Sacrifice of Isaac, Oil
on Canvas 1635 76 x 52”
Contrast and compare these two different treatments of the same subject. Notice how the shape of the canvas changes the visual
drama.
Rembrandt van Rijn (1606-1669) The Night Watch, Oil on Canvas 1641 141 x 173”
Rembrandt van Rijn
(1606-1669) Self Portrait at
Age 52Oil on Canvas 1658 53 x 41”
This painting is in the Frick Museum on 70th St. and Fifth Ave., NYC
Rembrandt van Rijn (1606-1669) Etching on paper Rembrandt’s mastery as a printmaker was probably more responsible for
establishing his outstanding artistic reputation than his paintings: Prints are made in editions
and can be easily distributed.
Rembrandt van Rijn (1606-1669)
Etching on paper
Etching is a technique in which a metal plate is either directly
drawn into with a sharp tool, or prepared with a wax surface
which the artist draws into with a tool. Once the drawing into the wax is complete, the plate is immersed in acid, which eats
into the metal wherever the wax has been removed by the drawing tool. The part of the
metal plate still covered in wax is not affected by the acid bath.
This process creates an image in the metal plate; after cleaning, it is inked and
pressed into paper on a printing press., which creates a reverse
image. Numerous duplicate images can be created. A set
of duplicate print images is called an edition.
Rembrandt van Rijn (1606-1669) Crucifixion Etching on paper
Rembrandt van Rijn (1606-1669) Christ healing the sick Etching on paper
Jacob van Ruisdael
(1629-1682)The Mill32 x 40”
In Holland, this artist was a master at
portraying the Dutch
landscape and the drama of
the sky, with its ever-changing and powerful
clouds.
Judith Leyster
(1609-1660) Self portrait Oil on Canvas
29 x 26” 1630Judith Leyster was the best-known Dutch
woman painter of the
seventeenth century. Her brushwork is very lively, describing delicate
textural details as well as
conveying a consistent source of
illumination.
Judith Leyster (1609-1660) Self portrait
Boy with Flute 29 x 25” 1635
This is a carefully balanced
composition, with the instruments
on the wall serving as a
counterbalance to the boy sitting on
the chair. The controlled light coming from an
unseen source on the left is an
important part of the picture.
Jan Steen (1625-1679)The Feast of St.
NicholasOil on canvas
1660-166532 x 28”
This Dutch artist painted humorous, cluttered, chaotic
scenes of everyday life.