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Southern Baroque 1 - WORLD.ARTvisa · 2020. 1. 24. · Isaw"in"his"hand"along"spear"of"gold,"and"atthe"iron's"pointthere"seemed"to"be"a li7le"fire."He"appeared"to"me"to"be"thrus

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Page 1: Southern Baroque 1 - WORLD.ARTvisa · 2020. 1. 24. · Isaw"in"his"hand"along"spear"of"gold,"and"atthe"iron's"pointthere"seemed"to"be"a li7le"fire."He"appeared"to"me"to"be"thrus

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Page 2: Southern Baroque 1 - WORLD.ARTvisa · 2020. 1. 24. · Isaw"in"his"hand"along"spear"of"gold,"and"atthe"iron's"pointthere"seemed"to"be"a li7le"fire."He"appeared"to"me"to"be"thrus

I  saw  in  his  hand  a  long  spear  of  gold,  and  at  the  iron's  point  there  seemed  to  be  a  li7le  fire.  He  appeared  to  me  to  be  thrus<ng  it  at  <mes  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.  The  soul  is  sa<sfied  now  with  nothing  less  than  God.  The  pain  is  not  bodily,  but  spiritual;  though  the  body  has  its  share  in  it.  It  is  a  caressing  of  love  so  sweet  which  now  takes  place  between  the  soul  and  God,  that  I  pray  God  of  His  goodness  to  make  him  experience  it  who  may  think  that  I  am  lying  

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Page 3: Southern Baroque 1 - WORLD.ARTvisa · 2020. 1. 24. · Isaw"in"his"hand"along"spear"of"gold,"and"atthe"iron's"pointthere"seemed"to"be"a li7le"fire."He"appeared"to"me"to"be"thrus

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Page 4: Southern Baroque 1 - WORLD.ARTvisa · 2020. 1. 24. · Isaw"in"his"hand"along"spear"of"gold,"and"atthe"iron's"pointthere"seemed"to"be"a li7le"fire."He"appeared"to"me"to"be"thrus

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Page 5: Southern Baroque 1 - WORLD.ARTvisa · 2020. 1. 24. · Isaw"in"his"hand"along"spear"of"gold,"and"atthe"iron's"pointthere"seemed"to"be"a li7le"fire."He"appeared"to"me"to"be"thrus

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Page 6: Southern Baroque 1 - WORLD.ARTvisa · 2020. 1. 24. · Isaw"in"his"hand"along"spear"of"gold,"and"atthe"iron's"pointthere"seemed"to"be"a li7le"fire."He"appeared"to"me"to"be"thrus

Bernini  the  sculptor  •  Like  Michelangelo  he  was  a  man  of  many  talents  –  architecture  and  sculpture  •  His  sculpture  is  expansive,  theatrical  and  the  element  of  <me  usually  plays  an  important  role  in  it  •  His  David  differs  fundamentally    -­‐  Michelangelo  shows  David  before  the  ac<on  and  Donatello  aOerwards  •  Bernini  chose  to  show  the  combat  itself  –  capturing  the  split  second  of  maximum  ac<on.  He  is  caught  in  the  

moment  where  he  is  launching  the  stone  into  the  air  •  Whereas  the  Greek  Discuss  thrower  captures  a  moment  of  s<llness  before  ac<on  Bernini  selected  the  most  

drama<c  pose  of  a  sequence  of  mo<on  –  causing  the  viewer  to  become  enraptured  at  the  peek  of  the  plot  •  Michelangelo  shows  us  a  figure  perfectly  beau8ful.  And  so  we  have  the  full  flowering  of  the  Renaissance  

idea  that  man  is  created  in  God's  image.  Bernini  shows  us  David  ac8vely  figh8ng  Goliath  -­‐-­‐  with  God  on  his  side.  Perhaps  the  way  the  church  itself  felt  as  they  were  baDling  against  Luther.  

•  Michelangelo  is  asking  us  to  sit  and  contemplate  the  incredible  beauty  of  David,  and  through  contempla8ng  beauty,  and  the  beauty  of  man,  God's  greatest  crea8on,  we  come  to  know  God.  So,  we  could  say  that  the  path  to  God  in  the  Renaissance  was  through  the  mind    

•  The  Path  to  God  in  the  Baroque  Era:  On  the  other  hand,  the  path  to  God  in  the  Baroque  era  is  much  more  direct,  more  emo8onal,  more  bodily,  and  that  of  course  relates  to  the  embaDled  posi8on  of  the  Church,  which  felt  as  though  it  needed  to  appeal  very  directly  to  the  faithful  

•  The  Baroque  statues  seems  to  be  moving  through  <me  and  space  •  The  diagonal  line  immediately  suggests  movement  and  energy  and  drama  -­‐-­‐  very  different  from  the  immobility  

of  the  pyramid  shape!    •  NO  NEED  FOR  CONTRAPOSTO  •  It’s  unrestrained  ac<on  moves  into  our  space  and  requires  space  around  it  •  David’s  face  is  not  calm  –  ra<onal  and  composed  •  His  expression  is  one  of  intense  physical  concentra<on  on  the  ac<on  –  he  is  an  ac8on  hero  or  a    major  league  

pitcher  winding  up  to  throw  a  95  miles  an  hour  fastball  –  magnifying  the  drama<c  impact  of  the  sculpture  •  David  is  the  church’s  warrior,  with  God  on  his  side  he  will  defeat  his  enemies  –  the  protestant  here8cs  who  

try  to  stop  the  truly  faithful.  

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Page 7: Southern Baroque 1 - WORLD.ARTvisa · 2020. 1. 24. · Isaw"in"his"hand"along"spear"of"gold,"and"atthe"iron's"pointthere"seemed"to"be"a li7le"fire."He"appeared"to"me"to"be"thrus

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Page 8: Southern Baroque 1 - WORLD.ARTvisa · 2020. 1. 24. · Isaw"in"his"hand"along"spear"of"gold,"and"atthe"iron's"pointthere"seemed"to"be"a li7le"fire."He"appeared"to"me"to"be"thrus

Saint  Teresa    •  She  converted  to  Catholicism  aOer  the  death  of  her  father,  which  brought  on  a  spiritual  experience  •  Saint  Teresa  a  nun  who  was  canonized    in  part  because  of  the  spiritual  visions  she  experienced.  She  lived  

during  the  middle  of  the  16th  century  in  Spain—height  of  the  Reforma<on.    

•  She  fell  into  a  series  of  trances,  saw  visions  and  heard  voices.  Teresa  experienced  a  persistent  pain  which  she  likened  to  the  fire  8pped  arrow  of  divine  love  that  an  angel  repeatedly  thrust  into  her  heart.  The  pain    both  physical  and  spiritually  upliVing  

Bernini  •  Bernini  was  a  devout  Catholic,  and  understood  Igna<us’  belief  that  the  theatricality  and  sensory  impact  of  the  

art  would  upliO  and  transport  the  spirit  of  the  viewer  and  thus  help  increase  devo<on,  piety  and  faith  in  the  church  

•  Bernini  had  studied  theater  produc<on  and  design,  and  designed  this  chapel  much  like  a  theater  itself  •  The  chapel  became  a  theater  for  the  produc8on  of  this  mys8cal  drama  –  mys8cal  and  spiritual  experience  

were  used  by  the  church  as  a  tes8mony  of  the  Catholic  Church’s  importance  and  favor  in  the  eyes  of  God  •  The  niche  in  which  it  all  takes  place  appears  as  the  stage  in  front  of  the  curtain  –  capped  with  a  broken  

pediment  and  ornamented  with  luxurious  marble  

•  The  curtain  is  drawn  back  to  reveal  Teresa  –  illuminated  by  drama<c  heavenly  light  •  We  see  her  enraptured  in  the  moment  of  spiritual  pleasure  –  like  the  David  sculpture  it  is  the  peak  of  the  

drama  

•  Spiritual  and  physical  passion  cause  her  to  swoon  as  the  angel  pieces  her  heart  with  divine  love  –  thus  the  church  can  enliven  the  senses  and  bring  a  divine  pleasure  to  man    

•  The  family  of  Cardinal  Cornaro  watch  from  the  side  balconies  as  if  they  are  at  the  theater  •  Behind  them  Bernini  created  illusion  of  architectur.  It  feels  as  though  we've  got  the  best  seats  in  the  house!  

This  is  a  typical  feature  of  Baroque  art—breaking  down  the  barrier  between  the  work  and  the  viewer,  to  involve  us.  

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Page 9: Southern Baroque 1 - WORLD.ARTvisa · 2020. 1. 24. · Isaw"in"his"hand"along"spear"of"gold,"and"atthe"iron's"pointthere"seemed"to"be"a li7le"fire."He"appeared"to"me"to"be"thrus

Overview  •  Originally  Bernini  was  not  invited  to  submit  and  entry  for  this  commission  because  

Pope  Innocent  associated  the  ar<st  with  Pope  Urban  –  who  spent  so  much  on  art  he  nearly  bankrupted  the  church  

•  Bernini  snuck  in  a  model  an  the  Pope  could  not  refuse  him  

•  The  fountain  is  in  the  Piazza  Navona  in  front  of  the  Pope’s  family  palace  

Visual  and  Historical  Analysis  

•  It  is  a  gro7o  suppor<ng  a  large  and  ancient  obelisk  –  the  obelisk  is  taken  from  the  circus  of  the  Emperor  Maxen<us  on  the  Via  Appia  

•  4  statues  personifying  the  4  major  rivers  of  the  con<nents  of  world  hold  up  the  obelisk  

•  They  twist  the  ges<culate  with  Baroque  drama  

•  The  Nile  (Africa)    covers  his  face  because  at  this  <me  they  did  not  know  the  source  of  the  river  

•  The  Rio  de  la  Plata  (America)    has  a  hoard  of  coins  symbolizing  the  wealth  of  the  New  World  

•  The  Ganges  (Asia)    holds  an  oar  signifying  that  it  is  easily  navigated  •  The  Danube  (Europe)    awesruck,  reaches  up  to  the  Papal  coat  of  arms  –A    

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Page 10: Southern Baroque 1 - WORLD.ARTvisa · 2020. 1. 24. · Isaw"in"his"hand"along"spear"of"gold,"and"atthe"iron's"pointthere"seemed"to"be"a li7le"fire."He"appeared"to"me"to"be"thrus

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Page 11: Southern Baroque 1 - WORLD.ARTvisa · 2020. 1. 24. · Isaw"in"his"hand"along"spear"of"gold,"and"atthe"iron's"pointthere"seemed"to"be"a li7le"fire."He"appeared"to"me"to"be"thrus

•  The  Old  Saint  Peter’s  had  a  large  square  courtyard  or  atrium  •  In  585  Pope  Sixtus  V  brought  in  an  Egyp<an  Obelisk  as  a  symbol  of  Chris<an  

triumph  in  Rome  •  Bernini  was  given  the  task  of  crea<ng  a  new  piazza  entry-­‐way  that  would  

accommodate  both  the  obelisk  and  the  church’s  new  façade  and  fountains  •  He  did  so  by  crea<ng  two  large  oval  colonnade  (each  made  of  4  rows  of  columns)  –  

which  end  in  small  temples  that  reflect  the  church’s  temple  like  facade  •  The  colonnades  extend  like  arms  that  will  embrace  all  who  enter  the  piazza  –  this  

dran<c  gesture  symbolizes  the  welcome  the  Church  gave  its  members  during  the  counter  reforma<on  

•  “The  Welcoming  Arms  of  Saint  Peters”  

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