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Fountain of the Four c. 1648-1651 C.E.
P/S: Southern Baroque A
A: Gianlorenzo BerniniPa: Pope Innocent XL: In Piazza NovonaM/T: Travertine; Marble/ sculptingF: Political Allegory; lots
movement its an allegorC: Occupies center of fouDT: Masterpiece of spectIdeas: Rock-form at bottdepicts a horse, palm trelion; caved in situ; also e
person depicted in this w
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DT: Intense emotion and drama;fidelityIdeas: Interlocking components,chiaroscuro
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Ideas: completed withaccordance with the calendar ofsaints; honors founding of Rome
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Beata Ludovica Albertonic. 1671-1674 C.E.
P/S: Southern Baroque Art
A: Gianlorenzo BerniniPa: Cardinal Paluzzi degliAlbertoniL: San Francesco a Ripa, RomeM/T: Marble/ H-R sculptingF: From the Alberti Chapel in the
Roman Church of San Francescoa RipaC: White marble figurerepresents the nun LudovicaAlbertoni, a distant relative ofthe Cardinal, on her deathbed
DT: Mortal suffering, reliecstasy, surrounded by prising holy spiritIdeas: One of the last sc
of Bernini because of his
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Faade of IL Gesuc. 1575-1584 C.E.
P/S: Southern Baroque AA: Giacomo della PortaPa: UnspecifiedL: Rome, Italy
M/T: Unspecified; concreF: Head Church of Jesuit C: Column groupings emcentral doorway; tympanpediment over central dostories separated by corn
united by scrollsDT: Slight cresando of fotoward at center;Ideas: framing niche actunifying device; interior aisles, meant for grand
ceremonies
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Faade of Saint Petc. 1607-1612 C.E.
P/S: Southern Baroque AA: Carlo MadernoPa: UnspecifiedL: Rome, ItalyM/T: UnspecifiedF: Wide and low faade;
originally conceived withbellC: faade and nave addeMichelangelos design ma Latin cross planDT: Rounded engaged p
columns around the cent
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Ideas: Emphasis on the centerof the faade with pedimenthighlighting the main door
Santa Susanac. 1585-1603 C.E.
P/S: Southern Baroque AA: Carlo Maderno
Pa: UnspecifiedL: Rome, ItalyM/T: UnspecifiedF: Roman Catholic ParishC: Protrusion and increascentral decoration add
complexity to the structu
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DT: Dynamic rhythm of columnsand pilasters, crowded centrallyIdeas: Entrance and roof aresurrounded by pediments;
windows replace niches,incipient playfulness with rulesof classic design, while stillmaintaining rigor; great naveand circular apse
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Colonnade of Saint Petersc. 1656-1657 C.E.
P/S: Southern Baroque Art
A: Gianlorenzo BerniniPa: UnspecifiedL: Rome, ItalyM/T: UnspecifiedF: Huge plaza that can hold halfa million people
C: Wanted to achieve asurprising transition b/w thecrowded streets of Rome andgiant vista of Saint PetersDT: Colonnade dramaticgesture; symbolically bring the
faithful into the building
Ideas: Shaped=skeletonkeyhole; Saint Peter holdOval centered around Egobelisk; trapezoid shape
church
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Scala Regia
c. 1663-1666 C.E.
P/S: Southern Baroque AA: Gianlorenzo BerniniPa: Unspecified
L: Rome, ItalyM/T: UnspecifiedF: Flight of steps/stairs toVatican City and is a partformal entrance to the VaC: Narrow silvery land be
church and palace; awkwshaped with irregular conwallsDT: Typically theatrical, elements;Ideas: Exaggerated the
distance; coat of arms of
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Alexander VII at the entrance ofthe church and his equestrianstatue at the bottom of thesteps
San Carloc. 1634-1638 C.E.
P/S: Southern Baroque AA: Francesco BorrominiPa: Independent commiL: Rome, ItalyM/T: UnspecifiedF: Roman Catholic ChurcC: Located at the four cofountains set on the obliqintersection of two roads
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DT: Complex monastic building;monastic buildingIdeas: Ironic piece of Baroquearchitecture; financial difficulties
with this project; plan shows acramped and difficult site, onthe corner of a cloister
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St. Ivoc. 1642-1660 C.E.
P/S: Southern Baroque ArtA: Francesco BorrominiPa: UnknownL: Rome, ItalyM/T: UnspecifiedF: Roman Catholic ChurchC: Corkscrew influence upon thechurch design and structure;devoted to Saint YvesDT: Masterpiece of RomanBaroque architecture;remarkable DomeIdeas: Design chosen thatresembles the Star of David;
merged the faade of thecourtyard with the palaccentralized church; bothconcave and convex of d
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St. Agnesc. 1652-1660 C.E.
P/S: Southern Baroque AA: Francesco BorrominiPa: Pope Innocent XL: Rome, ItalyM/T: Stucco, unspecifiedF: Basilica Church in RomC: Greek cross plan; intehighly decorated with paportraying her martyrdomDT: Marble relief in the altar;Ideas: Location where SAgnes was martyred; altdedicated to someone e
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has passed away; concavevolume seen in the work;restrained creation
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Santa Maria della Salutec. 1631-1687 C.E.
P/S: Southern Baroque ArtA: Baldassare LonghenaPa: UnspecifiedL: Venice, ItalyM/T: unspecifiedF: Roman Catholic Church and aminor basilica; vast octagonalbuilding; two domes bell tower;
C: Stands between Grand Canaland San Marco structure; the greatdome represents the crown ofwhich she woreDT: Fashionable Palladian StyleIdeas: Plague struck the city of
Venice and this church name was
changed to suite thecircumstances underwent Venice; most artwork insidreference to the Black Dea
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Chapel of the Holy Shroud
c. 1631-1687 C.E.
P/S: Southern Baroque ArtA: Guarino GuariniPa: Unspecified
L: Turin, ItalyM/T: unspecifiedF: Chapel ChurchC: Extremely complex BarspaceDT: Illusion of endless spa
kaleidoscope like inside thinteriorIdeas: Diminishing hexagocross one another creatingdomed space of dazzling iinterior centered around apointed start with the Holy
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Chapel hold the controversialshroud of Turin
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Versaillesc. 1669 C.E.
P/S: Central Baroque ArtA: Jules Hardouin-Mansart and
othersPa: UnspecifiedL: Versailles, FranceM/T: unspecifiedF: Centered in vast garden andtown complex
C: Central building was that ofLouis XIV;s bedroom, or audiencechamber; all aspects of designradiate like raysDT: Reorganization andremodeling of hunting lodge intoan elaborate palace
Ideas: subdued exteriordecoration on faade; undof projecting members isunderstated; Hall of mirrobarrel vaulted painted cei
flickering use of light
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Banqueting Housec. 1669 C.E.
P/S: Baroque ArtA: Inigo JonesPa: UnspecifiedL: London, EnglandM/T: unspecified
F: Unspecified purpose; hocommerce typeC: Inspired by Palladio; intthe Palladian style to EnglaDT: Modest emphasis on cfaade; central bay of six w
framed by engaged columIdeas: flat pilasters recessaround outer windows; rubasement level; two storiewindows disguise one largon the interior; balustrade
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Saint Paulsc. 1675-1710 C.E.
P/S: Baroque Art
A: Christopher WrenPa: UnspecifiedL: London, EnglandM/T: unspecifiedF: Gothic building site stoobefore
C: Faade-front piece projfront of building creating dcontrast in the center; emon center-sides recedeDT: 3 Domes-inner woodelow and curved, painted;structural, holding up the l
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exterior dome fills up spacegraciouslyIdeas: Bell towersgreatcomplexity graceful volumes andrhythmic movement; influenced
by the tempietto design
Blenheim Palacc. 1705 C.E.
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P/S: Baroque ArtA: John VanbrughPa: England itself to Duke ofMarlboroughL: Woodstock, England
M/T: unspecifiedF: Reward prize for winning battleof Blenheim in War of SpanishSuccessionC: Emblems all about complex:trophies, cannonballs, flaming
urns, statuaryDT: Projecting pavilions; accent oncentral core of nine bays and thecorner towersIdeas: Italian Baroque complexityof design; faade echoes patternsof advance and retreat; basement
has porthole windows=Vamotif; grand majestic palastructure
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