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Baroque by John Rupert MartinReview by: Malcolm CampbellThe Art Bulletin, Vol. 62, No. 3 (Sep., 1980), pp. 490-492Published by: College Art Association
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8/9/2019 Book Review Martin Baroque
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490
THE ART BULLETIN SEPTEMBER 1980 VOLUME LXII NUMBER 3
Crespi
has the most to recommend
it. The
drawing
is
Bolognese
and of
the
early
18th
century;
if not
by
the
paint-
er,
it must have
originated
from a member of his circle.
852
Florentine,
early 17th-century,
and not unlike
Jacopo
Chimenti
da
Empoli,
one of the
many
attributions
proposed
for this
drawing.
866
Venetian,
not
Roman,
18th-century.
The costume is that of
Punchinello,
not
Harlequin.
878 Not unlike
Benedetto Luti.
NICHOLAS TURNER
British Museum
London
WC1,
England
JOHN
RUPERT
MARTIN,
Baroque,
New
York,
Hagerstown,
San
Francisco and
London,
Harper
and
Row,
Icon
Editions,
1977. Pp. 357; 266 + 32 ills. $25; $9.95 paper
With the
publication
of
Baroque,
the
English
language
has
ac-
quired
a much needed
introductory
text
to
Baroque
art,
one that
is economical in
price
and
portable
in scale. Thus this fine
study,
particularly
in its more
reasonably priced paperback
version,
is
most welcome.
It is an educational
rather than
merely
an instruc-
tional book.
As the themes of its
chapters
unfold,
the reader is
encouraged
to
test,
to
challenge,
and
to
extend their
argument.
Few books that
purport
to
be
introductory
texts can
make this
claim. Martin's
Baroque
is concerned
with
process
and
inquiry,
not
the mere
packaging
of data.
Baroque
reflects a
distinguished lineage. Although
published
under
a
different,
but
fine,
imprimatur,
it was conceived as
part
of the
Penguin
Press
Style
and Civilization
series which in-
cluded such authoritative volumes as John Shearman's
Mannerism and
Hugh
Honour's
Neo-Classicism.
Baroque
was
vetted
by
the former editors of that
series, John
Fleming
and
Hugh
Honour,
and with
slight
changes
it
follows
the
Style
and
Civilization
format,
i.e.,
a thematic
rather than
chronological
survey
of
European
art of a
specific
period,
with illustrations
in-
serted in the
text at the
point
of
major
citation,
followed
by
a
catalogue
of illustrations
with brief
comment,
a selected
bibliography,
and an index.
In
Baroque
two welcome additions
have been made.
Supplementary
illustrations
have been
placed
among
the notes. These
illustrations include details of works
il-
lustrated
in the
text,
works related to
the creative
process,
such as
preparatory drawings
and
bozzetti,
and
works
of
art associated
with text illustrations.
Thus,
for
example,
the
catalogue
of il-
lustrations contains a detail of the Danube (p. 312) to supple-
ment the text illustration of Bernini's
Fountain
of
the Four Rivers
(p.
22),
provides
Puget's
Blessed Alessandro Sauli
(p.
108)
with
its Cleveland
bozzetto
(p.
325),
and introduces the reader to
the
pendant (p.
354)
of
Rembrandt's Woman with a Carnation
(p.
248).
These
supplementary
illustrations
receive comment in the
notes and thus serve to enrich
and to extend material
presented
in the text.
Also,
there are four
appendixes
containing
17th-
century writings, exerpted
and translated into
English
(Rubens,
On
the
Imitation
of
Statues;
Chantelou,
Bernini in
France;
Houbraken,
Life
of
Rembrandt; Pacheco,
On the Aim
of
Painting;
and
Philippe
de
Champaigne
on Poussin's
Rebeccaand
Eliezer).
These translations are available
elsewhere,
but it is con-
venient
to
have this material
(which
is cited
in
the
text
or in
the
notes)
immediately
at hand.
I
have stressed
the
genesis
of this
book
because,
although
produced
as an
independent
volume,
it was conceived as
part
of a
series
that
contained
studies
of
the
High
Renaissance and of
Mannerism and
that
presumably
was
to
have included a volume
devoted to the Rococo. In the words of
its
editors,
The aim
[of
the
Style
and Civilization
series]
is to discuss each
important
style
in relation to
contemporary
shifts in
emphasis
and direction
both
in the
other,
non-visual
arts and in
thought
and civilization
as a
whole,
an
ambitious
prolegomenon
and one that
predict-
ably
elicited criticism from some
specialists
who
prefer
that
the
genres
of
art be dealt with
separately
and who therefore
object
to
salt
cellars,
wig
stands,
cabinets,
and
gilded
helmets
sharing
the
reader's attention with
masterpieces
of
painting, sculpture,
and
architecture. From such censure there is little
defense;
the critic
wishes a different sort of book.
A
more relevant
concern,
however,
is that the
proposed approach
should not
degenerate
into a historical
exegesis
in which the work of art is reduced to
artifact,
a mere
specimen
of material culture. To Martin's
credit,
collateral material is never
permitted
to
displace
the work of
art
as the central feature of his
exposition.
In his
introduction,
Martin
indicates
that he will use the term
Baroque
to
denote ... the
predominant
artistic trends of the
period
that is
roughly comprehended
by
the seventeenth cen-
tury.
He
perceives
this
period
as one that
is
not
easily
defined.
Sixteenth-century
Mannerism
is
seen as
persisting
into
the Ba-
roque period
and,
conversely,
the
Baroque
s seen as
waning during
the last
quarter
of the
century, yet enduring
in certain individual
works
of
art well into the 18th
century.
Martin
argues
that a
characteristic of the
Baroque
is its
stylistic diversity,
which re-
quires
us to look for
unity
in certain
widely
held
ideas,
attitudes
and
assumptions.
In the first
chapter,
The
Question
of
Style,
Martin ad-
dresses issues
pertinent
to a
stylistic analysis
of
the
Baroque.
The
first two sections of this
chapter,
entitled
Mannerism and
Ba-
roque
(pp.
19-26)
and The Absence of
Stylistic Unity (pp.
26-
32), raise issues with which I find myself at some variance. These
matters,
comprising
a
scant dozen
pages
of
text,
do not substan-
tially
affect
the
arguments
advanced
in
subsequent chapters. My
reservations
concern the
emphasis given
to the
stylistic
dif-
ferences between Mannerist and
Baroque
art and
the
relative
lack
of attention
paid
to
the
stylistic
continuities between
Renaissance
and
Baroque.
In the first section of the first
chapter,
Martin considers the
problem
of
style,
as
that term
is used to denote
the
prevailing
style
of
a
historical
period.
In this
context,
he uses the
procedure
of
identifying contrasting stylistic properties
in
works
of art of
different
periods
to establish distinctions
between,
for
example,
the Mannerist
style
of the
mid-16th century
as embodied in a
Deposition by
Francesco Salviati
(ca. 1547)
and the
Baroquestyle
as exemplified by an early 17th-century work by Peter Paul
Rubens,
his
Antwerp
Descent From the Cross
(1611-12).
Similar
comparisons
are
made for
sculpture
and architecture. The
pur-
pose
is to demonstrate that the
Baroque style possesses
salient
characteristics that differentiate it from the art of the
High
Maniera.
Martin's
justification
for his
comparison
of
Baroque
and Man-
nerist art is that
it
is more
revealing
and more
significant
than
that between
Baroque
and
High
Renaissance;
for
the
early
Ba-
roque
movement took
shape
in
opposition
to the methods
of Man-
nerism not
to
those of the
High
Renaissance
(p.
26).
This is es-
sentially
true,
but is it not also
important
to define
Baroque style
by
what its
practitioners
accepted,
indeed
actively sought
to
repossess, namely
the
heritage
of the
antique,
of
the
High
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BOOK REVIEWS
491
Renaissance,
and
of
the Late
Renaissance,
especially
in its
Venetian
form?
Admittedly,
there was
a
reaction to
Mannerism,
especially
in
central
Italy, yet
much of the
strength
of
the new
style
derived from
a
fresh
appraisal
of the
art and
theory
of the
ancient and Renaissance
periods,
both of which
were
manifestly
accessible.
Ideally,
even an
introductory exploration
of
Baroque
style
should not be
narrowly
limited
by comparisons
that address
only its anti-Mannerist characteristics.
My
second reservation concerns a broad
schema that Martin
introduces to
explain
that the lack of
[Baroque] stylistic
unifor-
mity
...
[is]
the result not
only
of national
differences,
but of
a
process
of evolution
(pp.
26-27).
The
thesis
that
follows,
and
this is the
point
I
question,
does not
really
address the evolution
but rather the
spread
of the
style.
The
confusion
between
spread
and
evolution
is
exacerbated
by
the use of the words
phase
and
generation
as
equivalent
terms.
In
support
of his
thesis,
Martin
quotes
Jakob
Rosenberg:
The
development
of
Baroque painting
may
be traced
according
to
generations,
and its
leading
inter-
national
representatives
during
the course of the
century
were
Caravaggio
(at
the side of
the
Carracci),
Rubens,
and
Poussin.
This
means that
Italy's
initial
leadership
did not last
throughout
the
century
but
was
succeeded
by
that of Flanders
and France
(quoted
on
p.
27).
On the basis of
this
statement,
Martin dis-
tinguishes
a succession of
phases
in an
international
develop-
ment
comprising
an
Early
Baroque phase
which was essen-
tially
naturalistic
with a
pioneering
figure
in
Caravaggio;
a
second
generation,
often called
'High Baroque,'
a
phase
of sen-
suousness
and colorism most
fully
realized
by
Rubens;
and a
third or
classicistic
phase
which
supplanted
the
High Baroque.
This third
phase
had its
beginnings
in
Rome
in
the
early
1630's and
had as
its chief
proponent,
Nicolas Poussin.
Somewhat
tentatively,
a
fourth,
Late
Baroque stage
is dis-
tinguished
and described as the later Louis
XIV
style,
with its
decorative
reworking
of the classic
vocabulary (pp.
28-30).
Martin,
drawing
on
Rosenberg's
statement,
has
given
us an
acceptable chronological
schema
for
tracing
the
spread
of the
Baroque
as an international
style.
However,
to describe ade-
quately
the evolution
(or
development)
of
Baroque stylistic
forms,
we
must
first
identify
the
point
in time and
place
at which
such
a
mode or
species
of
style,
be it naturalism or
classicism,
is
first taken
up by
an artist of merit.
I
would therefore
argue
that
we must reintroduce
the
Carracci,
whom Martin deleted from his
version of
Rosenberg's
scheme,
and
place
them
(although
they
are
slightly
older)
alongside Caravaggio.
Then we will find
that the
phases
outlined
by
Martin
do not conform
to successive
generations
as he seems to
imply. Caravaggio
(1571/72-1609)
and Rubens
(1577-1640)
are
really
of the same
generation
(a
fact
obscured
by
the
early
death of the
former),
and indeed other
nearly
coeval
artists
disrupt
the
sequence
of
phases
as outlined.
For
example,
Pietro da Cortona
(1596-1669),
identified
by
Mar-
tin as second generation, and Poussin (1593-1665), whom he
places
in the third
phase,
are
actually
of the same
generation.
A
chronological equation
based on the
generations
of
artists
shows that
Caravaggio,
Rubens,
and Annibale Carracciwere all
active in Rome
in
the first decade of the
century.
Therefore,
it is
apparent
that the three
principal
styles
of the
Baroque
identified
by
Martin as
chronologically
successive
actually enjoy
a
coexis-
tent
evolution,
although
their international
acceptance
indeed
follows
the
successive
phases
he has outlined. The
evolutionary
coexistence of the
styles
of
the
Baroque
must be
borne
in mind
because it makes more evident the
connections
between the
Ba-
roque
and
those
aspects
of
the
Renaissance
in which these same
trends are adumbrated.'
In
later
chapters,
Martin's
explanation
of
Baroque
art
proceeds
along
thematic lines on which the
problem
of the evolution of the
style has only slight bearing. In these chapters, earlier slighting
of
the
importance
of
antique
sources and Renaissance
heritage
is
substantially
redressed.
The
second
chapter
focuses on
the'role of
naturalism
in Ba-
roque
art.
Interpreting
naturalism
broadly,
Martin finds it a domi-
nant force in the initial
years
of the
century
and
an active
presence
in the entire
period.
The whole art of the
Baroque,
he
informs
us,
expresses
an
acceptance
of the material
world,
through
the realistic
representation
of
man and
nature,
through
the affirmation of the senses
and the
emotions
and
through
a
new
perception
of
space
and
infinity
(p.
39).
He
proceeds
to
find
this
vigorous
naturalism
present
where
we
would
expect
it
(landscape,
still
life,
and
genre)
but also
where it is
more
easily
overlooked,
as in the
paintings
of Annibale
Carracci,
Poussin,
and Rubens and the
sculpture
of
Bernini
(pp.
43-49 and
58-59).
In
my opinion, chapters
3 and
4,
devoted to
The
Passions
of
the
Soul
and to
The
Transcendental
View of
Reality
and the
Allegorical
Tradition,
are
particularly
successful,
each
con-
stituting
a
finely
tuned,
succinct
essay
on
its
assigned
theme. The
third
chapter
is concerned
with a
topic
that Martin
notes
is
closely
allied
with
the issue of naturalism
and with
innovations
made
by
Renaissance artists
and
theorists who
had
already
for-
mulated a
repertory
of
significant gestures
from
antique
sources,
both
literary
and
artistic,
as
a
means of
articulating
the inner
life
of
man. As Martin
states,
What
chiefly distinguishes
the Ba-
roque
attitude
from
that
of
the
Renaissance is
the
urge
to
expand
the
range
of sensual
experience
and
to
deepen
and
intensify
the
interpretation
of
feelings (p.
73).
Bernini's
David,
Puget's
Milo
of
Crotona,
and Rembrandt's Bathsheba with
King
David's
Letter, all works that deal with crisis, serve well to illustrate the
range
across
which
Baroque
artists realized and
orchestrated
the
visible
expression
of emotions.
Martin
describes
the
Baroque
penchant
for meticulous
inventory,
as for
example
Lebrun's
tedious
descriptions
of human
passions,
but he shows as well the
skills of its artists in
transcending
the
pedantry
of
theory
in ac-
tual
practice
in order
vividly
to
portray
earthy
sensualism
(Ber-
nini's Costanza
Buonarelli)
or
raptuous
transport
(Bernini's
Gabriele
Fonseca).
Such well-chosen
examples
of
portraiture
at-
test to
Baroque
transformation of
Renaissance
descriptive
con-
ventions into
speaking
likenesses.
Using
a limited
number of
ex-
amples
and
compressing
his
argument
into a few
pages,
Martin
summarizes broad
issues,
such as the dramatic
yet acutely
sen-
sitive
portrayal
of human
emotions
in
Baroque
paintings
and
sculpture, and even the acknowledgement of those emotions in
its
architecture.
Greatly
to Martin's
credit,
in his
skillfully
wrought commentary
the
individual work of artdoes
not
become
a mere
integer
in an
equation
of
generalizations;
his
sensitive
description
of Terborch's so-called
The Paternal Admonition
(p.
83)
is a case in
point.
In
his
opening
remarks
in
the
next
chapter,
devoted,
as we
have
noted,
to
the
Baroque
transcendental view
of
reality
and the
1
Annibale
Carracci is
particularly important
in
defining
these connec-
tions.
Although
he omitted
him in his
adaptation
of
Rosenberg's equa-
tion,
Martin
elsewhere identifies
him as one of the
pioneers
of
Baroque
classicism
(p.
16)
and lauds his contributions to the
style (pp.
32-33).
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492
THE
ART BULLETIN SEPTEMBER
1980 VOLUME LXII NUMBER 3
allegorical
tradition,
Martin reminds us
that,
The naturalism of
seventeenth
century
art is
inextricably
bound
up
with a
metaphysical
view of the
world
(p.
119).
The
reader is reminded
that the transcendental
point
of view
is
a
pervasive
feature of
17th-century
life,
affecting
not
only
art and
literature,
but even
scientific
inquiry.
Martin's
gifts
as an
iconographer
serve well
his
exposition
as he introduces
classical,
religious,
landscape,
still-life, and genre themes for metaphysical interpretation. In
the final section
of
this
chapter,
the
application
of
allegory
to
the
glorification
of the
earthly
ruler is
addressed.
In
a
few
paragraphs
the
rich
complex
of
symbols
at
Versailles
is
tellingly
explored,
and,
refreshingly,
the less well known
program
of
the
Amsterdam Town
Hall
is also
presented.
The
succeeding
three
chapters
take
up
issues fundamental to
the
Baroque style:
the
expressive manipulation
of
space,
time,
and
light.
These three
chapters
form a
predictably
interlocking
triad,
and the
examples
of art
they
inevitably
call
forth
lead us
via their form and content back to issues raised in earlier
chap-
ters.
Thus,
to cite
just
one
example,
Caravaggio's Supper
at
Emmaus,
which Martin
presents
to demonstrate the methods
used
by
the
17th-century
artist to render
coextensive
the
space
in
the work of art
and
that
occupied
by
the
observer,
suggests
to
the
reader not
only
the themes of time and
light,
but
also those of
naturalism,
human
expression,
and
the transcendental view of
reality.
Of the three
chapters
concerned with
space,
time,
and
light,
that devoted to time offers the most
perfect integration
of
its
theme with
Baroque
civilization.
Indeed,
this
chapter
could serve
as a
pendant
to the classic
essay
on the
subject,
Panofsky's
Father Time. 2
Crossing
the
17th-century
portion
of the
territory
charted
by Panofsky,
Martin
gracefully acknowledges
his
predecessor's
investigations
and adds new material and ex-
amples
to the theme. The
personification
of
Time
is,
of
course,
only
one
aspect
of this theme.
In an
age
that
routinely applied
allegorical interpretations
to its researches
in
the natural
sciences,
transitoriness
and
mutability
were manifest even in an
essentially
documentary work of art such as a topographic View of
Dordrecht
by
Jan
van
Goyen (p.
199).
One
facet of
time,
its
purely
temporal
role as an
important
factor
in a
spectator's
ex-
perience
of a
work
of
art,
could
have
been considered at
greater
length.
Martin addresses
this
issue in
connection
with
the
way
in
which
both
time and
space
affect the viewer's
experience
of
Pietro
da
Cortona's frescoes
in the
dome
and
apse
of
S.
Maria
in
Vallicella
(pp.
164 and
201).
Additional
examples,
such
as the
relationship
in and to their
physical
setting
of the
paintings
and
decorations of
Caravaggio
and Annibale Carracci in the Cerasi
Chapel
(Rome,
S. Maria del
Popolo),
could
have
been taken
up
profitably
in this
connection,
for it
would
have
brought together
that
expressive
and
expressly
Baroque
triumvirate,
space,
time,
and
light.
Of the
works commissioned
for this
chapel,
however,
only Caravaggio's Conversion of Saint Paul is discussed in the
context of the theme of
light (pp.
226-29).
Such an
expanded
ex-
ploration
of time as a factor in the
experience
of the work
of
art
would
have led
to a
fuller
presentation
of the
role of
architecture,
which receives
attention
in the
context of
space,
but
only
brief
acknowledgement
with
respect
to time and
light.
In
a final
chapter
the
role
of
antique
art in the
Baroque period
is
explored.
In this
chapter
we
rightly
expect
a
discussion of art-
ists
who
openly
embraced the classical
ideal,
but what is
par-
ticularly refreshing
is the
consideration
given
to artists of more
naturalistic
persuasion,
Caravaggio,
Rembrandt,
and
Vel~zquez.
From this
chapter,
as in the
preceding
ones,
there
emerge
those
vital links between
antique
art and the
traditions of
the
Renaissance that
contribute
to the
Baroque
style.
Baroque
warrants
high
marks
for
the richness and
diversity
of
the
illustrative material it contains. The
photographs
tend to
be
printed darkly, however, which gives highlights a grayish tone
and
renders shadowed areas
opaque.
Thus the venal
gleam
of the
coin
in
the hand of the officer in Ter Borch's The Paternal
Admonition
(fig.
57)
is
invisible;
the
space-creating
effects
achieved in
Caravaggio's
The
Supper
at Emmaus
(fig.
121)
and
Rembrandt's The
Syndics (fig.
132)
are
obscured;
and while
the
novice
will
see the
relationship
between the
Apollo
Belvedere
(fig.
12)
and the
Apollo
in Rubens's The Council
of
the Gods
(fig.
214),
he will be hard
pressed
to locate the
figure
derived
from the
Ludovisi Gaulic
Chieftain (fig.
215)
in the same
painting,
a
comparison important
to Martin's discussion of the
use
of
ancient
models
(pp. 256-260).
It is
good
news that
Harper
and
Row
has
published
another
book
related
to the
original Style
and Civilization
series. 3
One
hopes
that a
volume dedicated to the Rococo will be
forthcoming
and
that the standards of Martin's
Baroque
will be maintained.
For both novice and
specialist, Baroque
is a
most
valuable addi-
tion to the material available on
European 17th-century
art.
MALCOLM CAMPBELL
Universityof Pennsylvania
Philadelphia,
PA
19104
2
E.
Panofsky,
Studies
in
Iconology,
New
York
and
Evanston,
1962,
69-
93.
SH.
Honour, Romanticism,
New
York,
1979.
PIETER
J. J.
VAN THIEL
et
al.,
All
the
Paintings of
the
Rijks-
museum: A
Completely
Illustrated
Catalogue,
Maarssen,
Gary
Schwartz for the
Rijksmuseum,
1976.
Pp.
911,
many
ills.
$80
The
Rijksmuseum
has over
5,000
paintings
in its
collection,
most
of them from the Dutch school.
It
is the
largest
storehouse of
Dutch
art in the
world
and
contains
some of the
greatest
master-
pieces
of Dutch art.
Many
of
these
works
have been
extensively
discussed
in the literature and are well known to students and
general public
alike.
Less
than half of the
Rijksmuseum's
paintings,
however,
are
on
view in the museum.
Many
have been
relegated
to
storage
or
lent
to
regional
museums and are conse-
quently
less familiar to
the
viewing public.
All of these
works,
including
those which have been on
extended
loan
to the
museum,
have been included
in
this
publication,
each with
perti-
nent
information
about
size,
support, provenance,
and literature.
In
many
cases,
suggested datings
for undated works
and dis-
senting
opinions
as to
attributions are
briefly
indicated. Prac-
tically all of the paintings have been illustrated, with small
(average
size
1?2
X
2 )
but
remarkably
clear
photographs.
For
those occasional
paintings
which
are
not illustrated
many
of
them
destroyed
in
World War
II),
short
descriptions
are often added.
This
important publication by
the
Department
of
Paintings,
under the direction of Pieter
J. J.
van
Thiel,
is not so much a
catalogue
of
the
paintings
of the
outstanding
collection as an in-
dispensable
reference book. The sheer
accumulation of informa-
tion is
remarkable,
but it becomes even more
significant
as a
result of
the
sophisticated system
of cross-references that the
authors have devised.
In
the
concluding
section of the
book,
en-
titled
Lists,
indexes and
concordances,
one
finds,
for
example,
an extensive
subject
index,
broken down into
religious subjects,
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