chapter 22 baroque art

58
CHAPTER 22: BAROQUE ART AP Art History Magister Ricard

Upload: john-ricard

Post on 06-May-2015

4.655 views

Category:

Education


4 download

TRANSCRIPT

Page 1: Chapter 22 baroque art

CHAPTER 22: BAROQUE ARTAP Art History

Magister Ricard

Page 2: Chapter 22 baroque art
Page 3: Chapter 22 baroque art

What is Baroque?

Art produced from the end of the 16th to early 18th centuries

Stresses emotional, rather than intellectual responses; likes drama Grew out of the tug-of-war between Protestant

Reformation (Northern Europe) and Counter Reformation (Italy)

Artists tried to persuade to the faithful through dramatic works

Used by “absolute” rulers (popes and kings) to overwhelm and awe

Page 4: Chapter 22 baroque art

Culture of Baroque Era

Wealthy middle class continues to pursue strong patronage of arts

Buildings, painting, sculpture continue to be adapted Still lifes and genre paintings (everyday life) emerge

Science begins to challenge religion, Earth is not center of the universe

Workshops begin to churn out copies of popular themes

Value on the original work is a modern notion

Page 5: Chapter 22 baroque art

Baroque Art

Italy

Page 6: Chapter 22 baroque art

Bernini

A child prodigy who the pope demanded an audience of

Deemed the “Michelangelo” of his generation

His David is hailed as the first Baroque sculpture – it depicts a dramatic moment and involves the audience (many ducked when seeing the statue for the first time)

Page 7: Chapter 22 baroque art
Page 8: Chapter 22 baroque art

Bernini and St. Peter’s

The façade was completed in 1626 by Carlo Maderno Used both Renaissance (Michelangelo’s dome) and

Baroque (Maderno’s façade) styles Bernini is named architect of St. Peter’s

Oversees many projects for next 51 years Baldachino was the first project – directly under

Michelangelo’s dome and the tomb of St. Peter Rumored to have been heavily worked by

Borromini Four bronze spiral columns recall Temple of

Solomon, are 95’ high – bronze stripped from the Pantheon

Page 9: Chapter 22 baroque art
Page 10: Chapter 22 baroque art

Bernini and St. Peters

Bernini also was responsible for the courtyard extending in front of the basilica

From Bramante’s original central plan design to the extensions made by Maderno, Bernini unified these artistic styles

Two curved porticoes extended like the “motherly arms of the Church”

Page 11: Chapter 22 baroque art
Page 12: Chapter 22 baroque art
Page 13: Chapter 22 baroque art
Page 14: Chapter 22 baroque art

Borromini

A rival of Bernini’s, regarded himself as an architect (and not Bernini)

Regarded buildings as exercises of geometry Unlike Brunelleschi and Alberti, who built flat

symmetrical walls, used undulating walls to create motion

Façade used a mixture of concave and convex bays

Creates dramatic use of light and shadow Oval-shaped dome uses different coffers which

decrease as they reach the apex

Page 15: Chapter 22 baroque art
Page 16: Chapter 22 baroque art
Page 17: Chapter 22 baroque art
Page 18: Chapter 22 baroque art

Caravaggio

Recast biblical scenes or themes in new light

Used naturalism but instead did not idealize the narratives

Accentuates the “sinner” or the lower classes in his works

Strong use of light with deep pockets of shadow - tenebrism

Strong personality, thrived in Roman underground scene – nec spe nec metu

Page 19: Chapter 22 baroque art
Page 20: Chapter 22 baroque art
Page 21: Chapter 22 baroque art
Page 22: Chapter 22 baroque art
Page 23: Chapter 22 baroque art

Baroque Art

The Habsburg Lands

Page 24: Chapter 22 baroque art

The Habsburgs

Charles V abdicates Holy Roman Empire throne in 1556 The Western portion (Spain, American colonies,

Netherlands, Burgundy, Milan, Naples and Sicily) go to his son Phillip II

The Eastern portion (Germany and Austria) go to his brother Ferdinand

Even as Spain’s gold imports lessen from New World, and eventual bankruptcy in 1692, this is known as Golden Age of Spain

The artwork tends to support heavily the Catholic Church and the Habsburgs liked the use of strong dramatic effect and lighting

Page 25: Chapter 22 baroque art
Page 26: Chapter 22 baroque art
Page 27: Chapter 22 baroque art
Page 28: Chapter 22 baroque art
Page 29: Chapter 22 baroque art
Page 30: Chapter 22 baroque art

Baroque Art

Flanders and the Netherlands

Page 31: Chapter 22 baroque art

Peter Paul Rubens

(1577-1640) Born in Germany, trained in Antwerp and studied in Rome

Influenced by Michelangelo and Caravaggio Became synonymous with Flemish Baroque Combined portraiture and historical narrative for

a cycle of 21 paintings dedicated to Marie de’Medici

Unified the styles of northern and southern Europe

Upon his return to Antwerp, built a house with a large studio that allowed his workshop to crank out works

Page 32: Chapter 22 baroque art
Page 33: Chapter 22 baroque art
Page 34: Chapter 22 baroque art
Page 35: Chapter 22 baroque art

The Golden Age of Dutch Art The Dutch Republic was based on

commerce and trade; merchant class held power, wealth

No royal court and officials and lacking Catholic church commissions, artists turned to merchant class for work

Portraiture rose in popularity as did works showing their possessions and land Still lifes, landscapes, genre scenes and

portraits

Page 36: Chapter 22 baroque art
Page 37: Chapter 22 baroque art

Rembrandt

Based in Amsterdam (1606-1669), the financial center of Europe

Became cities most-renowned portrait artist

Was well-established in creating group portraiture (“The Night Watch)

Held a range of interests, also was a master of etching and used drypoint technique later

Page 38: Chapter 22 baroque art
Page 39: Chapter 22 baroque art
Page 40: Chapter 22 baroque art
Page 41: Chapter 22 baroque art
Page 42: Chapter 22 baroque art

Jan Vermeer

Not much is known about his life, but he is considered one of the Dutch masters

Typical paintings have light coming from source on left side, uses yellows and blues, subjects tended to be women

Believed to have used the camera obscura, an instrument that created an image through a hole set inside a dark box

Page 43: Chapter 22 baroque art
Page 44: Chapter 22 baroque art
Page 45: Chapter 22 baroque art
Page 46: Chapter 22 baroque art
Page 47: Chapter 22 baroque art
Page 48: Chapter 22 baroque art

Baroque Art

France

Page 49: Chapter 22 baroque art

The Rise of France

France really shifted the center of European art and culture away from Italy Italy began to dominate art in the 1300’s with

the return to the classics When Louis XIV took over in France in

1661, everything changed He reigned for 54 years, established

France as the leading superpower From 1661-1789 French art took

prominence

Page 50: Chapter 22 baroque art
Page 51: Chapter 22 baroque art
Page 52: Chapter 22 baroque art

The “Sun King”

Louis XIV (1661-1715) defined his era All life “revolved” around him, he

envisioned himself as Apollo Oversaw the construction of Versailles –

palace and gardens were unfortified Style emphasized glory; lavish and

luxurious At 63, most famous portrait not just for

the opulence of his position, but also the vanity of his legs!

Page 53: Chapter 22 baroque art
Page 54: Chapter 22 baroque art
Page 55: Chapter 22 baroque art
Page 56: Chapter 22 baroque art
Page 57: Chapter 22 baroque art

Baroque Art

England

Page 58: Chapter 22 baroque art