Baroque Art History Final Notes

March 15, 2011- Rembrandt

o (1606-1609)o was not steeped in the Italianate Classical tradition, and does not fit the model of

art evolving from the High Renaissanceo many Self-portraitso born in Leiden and works in Amsterdam

Protestant culture; strong work ethic = blessings from God; desire for material wealth

o Lived close to the Jewish Quarter and identified himself w/ the Jews Hence Old Testament stories

o A little formal educationo 300 paintings, 600 prints, 1000 drawingso Traveled very littleo Learned Italian art through print collectiono Art collector of prints, coins, and exotic costumeo Financial problems due to buying up beautiful things o Domestic life

complex marital dowry issues’ moved a lot due to not being able to pay rent

o rarely signed paintings; had students and active studio; and later artists started signing his name to increase profits

creates controversy of authenticity to some works Rembrandt Research Project

o 1624 Age 18 Studies w/ Lastman (in Leiden?)

Large religious subjects, dramatic emotion (ex. Sacrifice of Isaac) Lastman studied in Italy, influenced by Caravaggio and Utrecht

artistso 1631

Lived in the house of Uylenbourgh (in Amsterdam?) Father of the daughter Saskia

o 1633 Marries Saskia

Her class was higher than his Very good marriage Moved to the Rembrandt House in the Jewish Quarter Poses her as muse subjects (ex. as Flora)

o Slight Classical suggestiono Printmaking

Very prolific and loved the possibilities of the medium Can rework and reprint through different States

Etching and engraving Metal plate

o Helps to rework over and over again Etching

Cover plate w/ asphaultum rubber which is cut into w/ a sharp tool to create the image, then dipped into acid. The acid cuts into the plate where the asphaultum is cut out

Engraving Sharp instrument to cut right into the metal plate (no acid)

Drypoint Similar to Engraving

o Drypoint on metal plate Often combined w/ Etching to create details

As small as 3” square prints, o 1630’s and 1640’s spot-lighting details of costume w/ backlight glow behind

figure in background Seen in self-portraits of this time Also large spaces w/ pools of light

o Light and shadow Caravagesque tenebrism - strong light and dark contrast (especially in 30’s

and 40’s) But also symbolical lighting

Ex. holy/spiritual figures; philosophers, and other important figures

shadows to suggest deatho Self-portrait

1658, Frick Collection As Old Testament king (David or Solomon)

As suggested by costumeo Not interested in accurate Classical Greek and Roman antiquity, but rather Jewish

Old Testament subjectso Later Self-portriat

Less of an external spotlight, less crisp and more of a sense of internal light emanating from the figure

o Attention to color and fabrico Poor and elderly subjects

Popular amongst the Dutch culture’s pride in longevityo Often biblical narrativeso Powerful figures in contemplation; history and passing of timeo Start with specific narrative but not too specific time o 1631-1636

Most prosperous time of his careero Group portraits

Similar to Halso Natural movement and emotion through use of light

o Blinding of Samson, 1636 Subject emphasizes light Precision and clarity of early Rembrandt

o Famous in his day People collected his drawings Starts tradition of trading prints with other artists

o Drawings Used as exercises Outdoor sketching as leisure

o 100 Guilder Print, 1647-49 Bought it back from himself for 100 guilders to raise its value Several states exist Christ healing the sick Individual ordinary figure ‘types’ Cross-hatching

How dark values are created in etchingo Night Watch, 1642

Varnish has darkened it over time Commissioned group portrait Large size (not original, cut on one side to fit the location after it was

moved) 11’ x 14’

Spot-lighting effect March 31, 2011

o 1644 Mid-career

o Biblical subjects o Fantastic setting and archetctureo Vision of antiquity

From Lastman Bibilical figures w/ elaborate costume in elaborate spaces; heavy,

rich tapestry costume different than biblical scenes of the Italianate Classical tradition of

togas and classical outfits/costumeso jewelry or metallic to reflect lighto Christ and the Woman Taken in Adultery, 1644

symbolic expressive glowing light to help define the form light emanating/illuminating/originating from within figures themselves difficult to pinpoint light source

o Holy Family with Angels, 1645 Combines religious subject w/ contemporary domestic subject

o Landscapes The Mill, 1645-48 The Dutch in general are more literal and less concerned with traditional

compositional elements of artists like Claude and Poussin. Dutch conventions

horizon 1/3 up from the bottomo Aristotle contemplating the Bust of Homer, 1653

Many Dutch still interested in studying the Classicso Descent from the Cross by Torchlight, 1654

8”x6” print Creates narrative and drama using ‘torchlight’to create extreme lights and

darks Expressive divine light

o Ecce Homo (Christ before the People, 1655 Multiple states of the print

o Bathsheba at her Bath, 1654 Used his wife as a model

Based on observationo not the Italianate form of Classical sculpture

voluminous tapestry garment inner light glow expression - sense of the unknown

o Supper at Emmaus, 1629 & 1648 Biblical subject post-Resurrection Both use expressive light 1629

Emphasis of the disciple’s response Dramatic Baroque dramatic instant quality

1648 More symmetry, organization Relationship between figures and setting More sophisticated composition, light and details More of a gradual moment

o Peter Denouncing/Denying Christ, 1660 Peter - patriarchal figure w/ beard Gestures help tell the story Nightscene torchlight

Reflective metalo Syndics of the Drapers Guild, 1662

Group portrait of the businessmen of the guild Guilds - set prices and had monopolies Think Hals group portraits As if the viewer has just interrupted their conversation

o Scumbling flecks of light Seen in Velazquez and Rubens

o Moral issues from biblical or Classical sources

Dutch Baroque- Fabritius- Vermeer

o 1632-1675

o Born in Delfto Married and entered painter’s guild in 1663o 40 paintings extant works attributed to himo Debt, large familyo May only had one patron

28 paintings in one auctiono Most likely studied prints

Source of influence of the Italianate Classical tradition subjectso Combines domestic setting with Classical Italianate themes and gestureso Light and dark Caravagesque contrastso Voluminous drapery

April 5, 2011o Used camera obscura

Due to depth of field issues Flecks of light (circles of confusion)

o Often dramatic spotlighting effecto Precise patterning and emphasis on texture in fabricso Subjects and lessons of moralityo Curtains - creates illusionism

Voyeuristic qualityo Maps - social comment on Dutch tradeo Focus on visible surface textures and reflections, not muscles and bones like the

Classical tradition, or Rubenso View of Delft, 1660

Moved the buildings to balance composition Combined important buildings to celebrate the town bouncing back

from the disastrous explosion Horizon - 1/3 of the way up

o Milkmaid, 1658 Typical raking light usually from the upper left Highlights on cloth and bread Domestic scene celebrating middle class virtues

Homeliness, youthfulness, well-prepared food, clean interiors, working busily

Woman - substantial physical type Foot-warmer

o Gender assumption that women were cold, and men were hot

Eucharistico Prominent breado Milk could symbolize the wine

o Woman with a Balance, 1664 Religious message

Woman weighing her jewelry

Focus on material possessions and oblivious to Last Judgement painting on the wall (the weighing of souls)

o Girl with the Pearl Earring Light reflection in the eye and earring Hals quality of turning figure just about to speak

o Art of Painting or Artist in his Studio, 1665-67 Typical Vermeer allegory Rooted in reality - model dressed up

But also represents Fame or Muse of Historyo Trumpet, music, poetryo Focus on the wreath in the painting

Similar to Velazquez’s Las Meninas Artist making statement about his place in history

Map - celebrates Holland Curtain

Heavy drapery dividing a room

April 7, 2011 (Absent)- Hooch

o A Courtyard of a House in Delft, 1658

- Borcho Paternal Admonition, 1654

April 12, 2011- Ruisdael

o Dutch Landscape painter Often a human figure for scale doing ordinary/mundane tasks Horizon 1/3 of the way up from bottom Reddish brown tonality in clouds

Technically, the painting ground is a mid-value reddish browno Jewish Cemetery, 1660

More obvious symbolism, complexity and Italianate sensibility than most of Dutch landscapes

Captures silhouettes Darkened landscape - due to clouds Windmill with village further behind

o Bleaching Grounds Near Haarlem, 1670 Bleaching cloth

Local industry Nationalistic trade

Church dominates the landscape behindo Windmill at Wijk, 1670

Clouds Silhouette - strong windmill form silhouetted against the landscape

- Hobemmao Less brooding than Ruisdaelo Delicate handling of treeso Still strong silhouetteo Popular amongst later Impressionistso Loves watermills

- Cuypo sea, river, marinescapes and shipso Claudian golden lighto Cattle scenes

- Pottero Cattle sub-genre within landscape painting

- van de Veldeo ship paintings

- note: the Dutch ruled the seas in the later 17th cent and traded far and wide. Seascape paintings reminded them of the power of Dutch trade

- Saenredamo Church interior architectureo Emphasized perspective which he adjusts for dramatic purposes

Heightened illusion of the real place Shows more than what the eye can see

o Sketch on site, large construction drawing, then the oil on canvaso Due to the Reformation

Protestant churchs had stark interiors, lack of sculpture, and no stain glass Leads to a very analytical rendering

o Figures for scaleo Architectural painting has origins in Flemish paintingo “first portraitist of architecture”o Very neat and precise

Dutch Still-Life- Disguised symbolism as well as merely beautiful description

o Another level of meaning/symbolism- Holland in 1650s

o Very wealthy society, though frugalo Still lives very popularo Used to brighten up the home in he wintero Orderliness virtues of Holland

- Academic bias against still-life in France and Englando Ranked low compared to any painting with a human figure

Not so much an issue in Holland- Has origins in Renaissance paintings with Virgin Mary with flowers, for ex.- Valuable objects within the painting

o Imported objects and food such as lemons and seafood aphrodisiacs, as well as local common domestic products such as cheese and butter

- mix of food not eaten, as well as food already cut into and eateno unexplained sense someone has been interrupted from their meal

- liquid, glass and metal reflections and textures- often objects like a knife or plate on edge of table to lead viewer’s eye into the

composition through the picture plane o from Caravaggio and Italian sourceso again suggests the idea of interruption

suggests the presence of people, as well as death- high degree of illusionism- van Schooten- Gillis- Claesz

o Vanitas Still-life, 1630 Vanity

Self-absorbed with beauty, narcissism Death will come whether you are ready or not, and there are more

important things than material wealth Over-turned glass

o Suggests interruption Skull

o Somber and obviouso Resting on stack of manuscripts or prints

- de Heemo flower still-lifeso sometimes bird’s nestso musical instrumentso world and science exploration

Dutch importso pulled-back table clotho rare and unusual objectso butterflieso often a sense of crowdedness

suggests mid-17th century of latero some flowers are imported and some flowers depicted don’t bloom in the same

time of the yearo Flower Still-life with Crucifix and Scull

Obvious Vanitas theme- Heda

o Breakfast still-lifes Show meatpie breakfast meals

o Objects entering viewer’s spaceo Vanitas themes

Overturned glasses, clocks/watches/timepieceso Hasty interruption

Overturned/broken glass, partially eaten food

- Kalfo Very luxurious items

Drinking horns, silver objects, decorative vessels, nautilus chalices, collectibles, imported seafood, exotic imported carpets etc.

French Baroque Architecture

- Mansarto Influenced by Italian Classicism through prints

Classical symmetryo Berniniesque paired columnso Curved Baroque shapes o Strong roof shapeso Balleroy Chateau, 1626

Style of Henry IV Symmetry, quoins, tall ‘Mansart’ roofs, More subdued than other Italian Baroque churches, for ex.

- Le Vauo Great organizer, head of team of craftsman, landscapers, artists, sculptors and

architects, father was a master masono Designed ‘hotels’ - grand townhouseso Vaux-le-Viconte, 1657-61

Clear symmetry and proportions Highly organized Classical structure Tower and oval dome Garden view/façade/front

The back of the building Le Notre

Gardens here and at Versailes Louis XIV confiscated and gains property of the house and all the workers

now became under his control/employment, including Le Vau who would later go on to work on Versailles Palace

- Le Brun- Le Notre

April 14, 2011- Louis XIV

o Bust by Bernini, 1665o Full length portrait by Rigaud, 1701o Surrounded himself with clever people with art interestso 1661-83

Golden Age for France, unified, successes in War Established Academy and Tapestry factory

Following the tradition of grand tapestries of the Renaissance

o Colbert arts and architect advisor for Louis XIV Assisted by Le Brun

o Le Brun Dictator of the arts in France at this time Organizer, designed tapestries, locks and sculpture Ensemble decorations at Versailles

o Institutions brought together the greatest thinkers, artists, writers and scientists Endorsed their art through exhibitions and competitions Conservative - no opportunities for young artists

- Palace Versailleso Louis needed a palace to suite his aspirations, diversion for the nobles, and

impressive to foreignerso Poussin as compositional influenceso Gobelins Manufactory Academy

Tapestry and upholstery Le Brun supervised 250 workmen

engravers, painters, dyers, goldsmiths, mosaics school that replaced the old guild had to master drawing fundamentals French Academy for painting and sculpture began in 1648 Organized by Colbert and Le Brun Hierarchy of students and teachers Taught the arts by rational means, lectures and discussion Influenced by Italian Baroque Classical tradition

o The existing 1624 chateau was enlarged by Le Vau in 1669o Exterior

Statues on either side Rusticated base, with more finished stone on top Classical influence

First story has Ionic Order Repetitive structure and symmetry but this grand French Classicism is not as energetic and is more

repetitive than the Italianate Classical traditiono Gardens

Planned by Le Notre in 1660s Symmetry, order, geometry grand fetes theaters, suppers, fireworks displays terraces give views of the landscape water fountains overall sense of symmetry, balance and organization hand trimmed sculpted geometric hedges, plants organized to create

patterns imported plants

reflects colonial interest of around the world

Grotto of Apollo and the Nymphs 1670

o Interior Grand to suggest courtly power and the reception of nobility Designed by Le Brun 1671-81 Decorated ceilings, illusionistic panels, marble floors Trompe l’eoil effects Apartments relate to the planets and Roman deities

Leads to the Hall of Mirrorso Added by Mansart

Stair of the Ambassadors Designed by Le Vau Long narrow form, marble panels, imitation tapestries with

allegorical figures Room of War and Room of Peace

Medallion forms with relief sculpture or painting relating to the theme

Mars Drawing Room Ceiling paintings related to Mars

King’s Suite Grand but private

King’s Bedroom Rather plain wood structure but elaborate fabrics on bed Railing - traditional, highly formalized, separates king from the

people Rank and statues determined how close you got to the king Canopy over bed - suggests Roman canopy over a monarch’s

throne Hall of Mirrors

Late 1670s Mansart and Le Brun False windows with mirrored glass, and clear glass the gives a

view of the garden Gilded candleholders and chandeliers Paintings by Le Brun the celebrates the glory of Louix XIV and

France Chapel Royal

1710 Classical style

- Poussino born in Normandy in 1594, Paris by age 18o studied Raphael prints, took in by a Medici court official and took him to Rome in

April of 1623 where he settledo many French patronso Landscape as well as historical and allegorical paintingso Classical antique sculpture, structure and order

o Steeped in the arts and philosophy o Mythological, ancient literature subjectso Deep color highlights (though more somber/dull and unfinished figures who are

less important, w/ more detailed drapery on the more important figures), similar sensual outdoor compositions, and voluptuous clouds, of Titian

o Postures from Medici Tombso Bernini influenceso Mythological sources - ex. Ovid’s Metamorphosiso Often pairing with a moral lesson/theme to connect themo Every figure has different/variety of poses, responses, emotions, and hand and

body gestures and unique personality Very important in 17th century French art

Ex. Le Brun developed a tableau of human emotion Often dramatic narratives

o Triumph of Flora, 1631 Titianesque figures Moving procession

Similar to Caracci’s Triumph of Bacchos on Farnese Ceiling Ex. of Poussin’s early work of busy movement (not as busy or as

fast and dramatic as Bernini or Caravaggio) (Poussin’s later work becomes simplified

April 19, 2011

o Selene and Endymion, 1630 Selene - moon goddess Curtain - drawn open

Arrival of dawn Classical subject and figures Love story btwn. a god and a mortal Limited/somber palette Reserved action

o Architectural compositions More figures, smaller figures Buildings he would have seen in Rome Technical, precise perspective

Similar to Palladioo Rape of the Sabine Women, 1635

Patriotic subject To preserve Roman state, capture the women Suggests the triumph of Rome Precise architectural arrangement Ancient statue influences Individualized/different emotional responses and expressions Compare with Cortona’s of 1629

o Popular subjecto Cortona is more Baroque energy and twists,

contrasts/tenebrism of light and dark Poussin not as interested in using this expressive

lighto Religious Subjects

Gathering of Manna, 1638 Israelites in desert Organized grouping of masses Emphasis on outlines

o Groups easily identifiedo Outline of forms suggests study of Classical sculpture

Different/individualized emotional responses Unity of Action

o Starvation, Miracle, Conclusion (whole story) Very Renaissance (as opposed to the Baroque

moment) Needed an informed/educated audience

o Et in Arcadia Ego 1639-40 “Death is always present, even in Arcadia” Shepherd figures visiting a tomb Priestess - not as the same as the men

Muse or guide Very simplified in terms of the # of figures

o The Seasons series 1660-64 Represent seasons but also allegories of salvation/religious overlay Spring

Adam and Eve in Paradise Summer

Ruth and Boaz - marriage and fertility, Eucharistic bread Autumn

Old testament of the promised land Winter

Deluge/last judgment

- Claudeo 1600-1682o Working in Romeo More stagey and artificial than Poussin

Greater influence of the Northern tradition due to teacher who was a Flemish painter working in Naples

o Less interested in complex morality of Poussin excited about landscape in and of itself

o Liber Veritaties

a book of 195 prints of his work as a record early example of an artist being conscious about documenting his work helps scholars in dating and authenticity/connoisseurship issues 1000 documented Drawings

o Landscapes/Seascapes Pastoral Landscape, 1648 Mythological or religious subjects are not a part of the title Composition - figure in foreground, boat, ruin architecture in mid-ground,

deep space Based imagery on prints, using artistic license using a particular place but

shifts ruins, etc. Zig-zag movement into space Some narratives are more clearer than others

April 21, 2011 (Absent)o Embarkation of the Queen of Sheba, 1648

- La Touro St. Sebastian Attended by St. Irene, 1630

- Le Naino The Peasant Meal, 1642o The Forge or Blacksmith at his Forge, 1640

- Champaigneo Ex Voto or The Two Nuns of Port Royal, 1662

April 28, 2011- Puget

o Frencho Milo of Crotona, 1682

Dramatic Classical story Le Brun-like expressions Similar to Laocoon in facial expression, twists and drapery

- Joneso Architect, stage designer, organizero Replacing Medieval architecture in England with Renaissance Classicismo Admired Palladio and based his work on the Italian emphasis on perspectiveo Scenic court masque designs based on Medici Court entertainment of classical

playso Collected prints and sculptureo Traveled to Italy in 1613-14 where he studied Palladian architecture and bought

four books on architecture by Palladioo Court official for Charles Io Elaborate costume designero Queen’s House, 1616-17, 1630-40

Symmetrical Palladian qualities Columns and balustrades Classical fireplaces

Rich detail and coloro Banqueting House, Whitehall Palace, 1619-22

Classical with red brick gothic irregularity Performed masques One large space Began by James I and completed under Charles I Interior

Rubens ceiling canvases o Apotheosis of James I, celebrates new monarchy

- Wreno 1632-1723o Taught astronomy and math at Oxfordo Renaissance Mano Education, many connections to intellectuals and church officialso Studied Bernini architecture in Paris, but is more theory than practiceo Town planner and architect after the London Great Fire in 1666

Rebuilt 51 or the 80 destroyed churches Dense population where everyone went to a private parish church

o Wren Tower Mix of Gothic and Classical

o Abandoned any stain glasso Rebuilds St. Paul’s Cathedral, 1675-1712

With the help of Protestant Hugonaut craftsmen Classical front with portico Dome

inspired by St. Peter’s and the Roman Pantheon Interior

Vast space, paired columns o Similar to Bernini’s Louvreo Thick but classical segmented arches but with full arches

above those to create symmetry Emphasis on stonework and bright light Long Medival choir

o Creates great acoustics Monuments in crypt where Wren was buried

- Gibbso 1682-1754o Classical temple with a Medieval tower

Think the Pentecostal Church in N. Little Rocko Hampton Court Palace, 1689-1702

Versailles massiveness with 17th cent. Dutch red brick

o Royal Naval College, 1696-1715 Similar to St. Paul’s

Paired columns and 2 domes