chapter 20 the catholic reformation and the baroque style
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Chapter 20The Catholic Reformation
and the Baroque Style
The Age of the Baroque
• 1600-1750
The Age of the Baroque• Main features: dramatic expression theatrical spectacle spatial grandeur (Fiero 503)
Macao's Ruins of St Paul, whose correct name is the Church of Madre de Deus, is the only example of Baroque art and architecture in China.
The Catholic Baroque
Italy and elsewhere
The aristocratic Baroque
France
The Protestant Baroque
Northern Europe
•The Catholic Reformation
The Counter-Reformation
1534-90 Counter-Reformation popes
1530s Loyola founded the Jesuits
1545-63 Council of Trent
Ignatius Loyola- 1491- 1556- Founded the Soci
ety of Jesus, or the Jesuits
- Spiritual Exercises
“We should always be disposed to believe that that which appears white is really black, if the hierarchy of the Church so decides.”
(Ignatius Loyola)
The Jesuits1) Took an oath of strict obedience
to the pope
2) Espoused a life of active service in the world
3) Committed to education and missionary work
Matteo Ricci•1552-1610
Council of Trent1545-63
1) to reform the church:
Unified church doctrine
Abolished corruption
Confirmed papal authority
Council of Trent2) to confront the Protestant
challenge: Insisted on the integration of both
faith and good works in the process of salvation.
Emphasized spiritual renewal through faith, prayer, and religious ceremony.
Sterner Means of Control
• The Inquisition:
the church court dealing with heretics
• Censorship:
Index Expurgatorius
(Index of Prohibited Books)
Cristiano Ban, 1857, Galileo in front of the Roman Inquisition
Catholic Mysticism• Loyola’s Spiritual Exercises
• Teresa of Avila’s autobiographical writings
• Poetry of Richard Crashaw
Catholic Mysticism• Emphasize the immediacy of
religious experience
•Development of the Baroque Style
Mannerism -A pejorative term in the beginning,
referring to artists who were felt to imitate the manner, esp. of Michelangelo, without catching anything of the spirit.
-Now applied to Italian painting and sculpture of the period between the climax of High Renaissance (1520) and the beginning of Baroque (1600).
Mannerism -figural distortions
-irrational space,
-bizarre colors,
-general disregard of Renaissance “rules” (symmetry & geometric clarity)
figura serpentinata
• Serpentine figure
• The figure and all its parts should resemble the letter S. All the figures are characterized by athletic twists and turns.
Michelangelo, Victory, c.1530
Giambologna, Hercules and the Centaur, 1594-1600
Giambologna, Mercury, c. 1564
Michelangelo, The Last Judgment
Parmigianino, “The Madonna of the Long Neck, c. 1535
Mannerism
• El Greco
(1541-1614)
Da Vinci
The Immaculate conception
View of Toledo
The Baroque• Italy: Caravaggio, Carracci, Bernini
• France: Poussin
• Spain: Velazquez
• Flemish: Rubens
• Dutch: Vermeer, Rembrandt
Caravaggio•1573-1610
The Supper at Emmaus
Caravaggio, The Conversion on the Way to Damascus1600
http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html
Caravaggio, The Crucifixion of Saint Peter1600
http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html
Caravaggio, The Sacrifice of Isaac1601-02
http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html
Caravaggio, David, 1606-7
http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html
http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html
Caravaggio, The Calling of Saint Matthew1599-1600
foreshortening• To shorten (as a design) by
proportionately contracting in the direction of depth so that an illusion of projection or extension in space is obtained.
Trompe l’oeil•To “fool the eye”
•An illusionistic style
Bernini
•1598-1680
Artemisia Gentileschi
•1593-1653
Caravaggio, Judith Beheading Holofernesc. 1598
http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html
•Baroque Architecture
• Saint Peter’s Basilic: by Bernini
– piazza in front of Saint Peter’s Basilic
– the colonnade of the courtyard
– the bronze canopy over the high altar of the basilica
• Il Gesù: by Giacomo della Porta
• San Carlo (alle Quattro Fontane): by Francesco Borromini
•The End