french and english baroque

21
Map of Europe, 17 th century Chapter 20: The Baroque in France and England

Upload: lori-stein

Post on 11-May-2015

1.145 views

Category:

News & Politics


3 download

TRANSCRIPT

Page 1: French and English Baroque

Map of Europe, 17th century

Chapter 20: The Baroque in France and England

Page 2: French and English Baroque

Chapter 20: The Baroque in France and England

Dates and Places:• 1600-1750• France and England

– Colonial empires

People:• France most powerful country

militarily and culturally • Royal courts of France (Louis XIV)

and England most important patrons of the arts

• French Poussinistes• Wealthy urban merchant class• Commoners crippled by increasing

taxes, food shortage, natural disasters

Georges de la Tour, Joseph the Carpenter, c. 1642. Oil on canvas, 51 1/8” x 39 ¾.” Musée

du Louvre, Paris. Fig. 20.1.

Page 3: French and English Baroque

Georges de la Tour (1593-1652)

Example:• Influenced by Caravaggio

– Use of light– Attention to detail from

Northern followers of Caravaggio

• Court painter to Louis XIII• Begins as genre painter,

turns to religious scenes– France remains Catholic

Georges de la Tour, Joseph the Carpenter, c. 1642. Oil on canvas, 51 1/8” x 39 ¾.” Musée

du Louvre, Paris. Fig. 20.1.

Page 4: French and English Baroque

Georges de la Tour (1593-1652)

Example:• Ambiguity between genre

scene and religious• Christ and Joseph, earth

father – Candle practical purpose

and religious significance

• Warm palette• Simple composition• Arrested movement Georges de la Tour, Joseph the Carpenter, c.

1642. Oil on canvas, 51 1/8” x 39 ¾.” Musée du Louvre, Paris. Fig. 20.1.

Page 5: French and English Baroque

Nicolas Poussin (1594-1665)Example: • One of the most

influential French painters

• Recalled from Rome by Louis XIII– Influences Raphael and

Carracci• Classicism official court

style (1660-1685)– Ancient Greece and

Roman as reference– Authority, power, order,

and tradition• Poussin represents

favored classicism

Nicolas Poussin, The Death of Germanicus, 1627-1628. Oil on canvas, 58 ¼” x 78.” Minneapolis Institute of Art, Minnesota.

Fig. 20.2.

Page 6: French and English Baroque

Nicolas Poussin (1594-1665)Example: • Studies Raphael,

anatomy, perspective, and ancient sculpture in Rome

• Work becomes model for similar subject matter

• Relays assassination of Roman general Nicolas Poussin, The Death of Germanicus, 1627-1628. Oil on

canvas, 58 ¼” x 78.” Minneapolis Institute of Art, Minnesota. Fig. 20.2.

Page 7: French and English Baroque

Nicolas Poussin (1594-1665)

Example: • Process involves

wax figures set on stage

• Translates literature to canvas

Nicolas Poussin, Landscape with St. John on Patmos, 1640. Oil on canvas, 39 1/2” x 53 3/4.” Minneapolis Institute of

Art, Minnesota. Fig. 20.3.

Page 8: French and English Baroque

Nicolas Poussin (1594-1665)Example: • Work represents the

ideal landscape• Physical and rational

aspect of spiritual world

• Classical influence seen in ruins

• Follows Annibale Carracci influence

• St. John at end of life• Pendant piece (St.

Matthew) missingNicolas Poussin, Landscape with St. John on Patmos, 1640. Oil on canvas, 39 1/2” x 53 3/4.” Minneapolis

Institute of Art, Minnesota. Fig. 20.3.

Page 9: French and English Baroque

Nicolas Poussin (1594-1665)

• Follows Annibale Carracci’s influence

Annibale Carracci, Flight into Egypt, c. 1604. Oil on canvas, 48” x 91.” Galleria Doria Pamphilj, Rome.

Nicolas Poussin, Landscape with St. John on Patmos, 1640. Oil on canvas,

39 1/2” x 53 3/4.” Minneapolis Institute of Art, Minnesota. Fig. 20.3.

Page 10: French and English Baroque

French BaroqueExample: • Leader during French

Baroque Louis XIV, known as the “Sun King” because EVERYTHING revolved around him– Divine monarchy– Absolutism– Military campaigns against

Spain, Dutch Republic, Germany, and England Hyacinthe Rigaud, Portrait of Louis XIV, King of

France and Navarre, 1701. Oil on canvas, 9’2” × 6’3”. Musée du Louvre, Paris. Fig. 20.4

Page 11: French and English Baroque

French BaroqueExample: • France replaces Rome as the center of

the art world– Henry IV, Louis XIII, and Louis XIV

• French Baroque is characterized by elegance and restraint of emotion, pomp and circumstance, pageantry, emphasis on the glories of the monarchy

• Louis XIV interested in classical influence epitomized in the work of Poussin

• The French Baroque style reflects the king’s preference for Classicism– Sought distinct “French” style

• Royal Academy of Painting and Sculpture formed in Paris, 1648– Charles Le Brun first director– Promotes virtues of Poussin and Raphael

Hyacinthe Rigaud, Portrait of Louis XIV, King of France and Navarre, 1701. Oil on canvas, 9’2”

× 6’3.” Musée du Louvre, Paris. Fig. 20.4

Page 12: French and English Baroque

French Baroque

Example: • Louis XIV dressed in regalia of

French monarchy• Images shows pageantry of rule • Symbolism of dress

– Crown and staff show station– Shoes Louis’ own design to show

off dance legs – Cape of ermine fur, decorated in

French fleur de lis– Wig height related to position

Hyacinthe Rigaud, Portrait of Louis XIV, King of France and Navarre, 1701. Oil on canvas, 9’2”

× 6’3.” Musée du Louvre, Paris. Fig. 20.4

Page 13: French and English Baroque

French Baroque

• Echoes van Dyck’s portrait of Charles I

Hyacinthe Rigaud, Portrait of Louis XIV, King of France and Navarre, 1701. Oil on canvas, 9’2”

× 6’3.” Musée du Louvre, Paris. Fig. 20.4

Anthony van Dyck, Portrait of Charles I Hunting, c. 1635. Oil on canvas, 8’11” x 6’ 11

½.” Musée du Louvre, Paris. Fig. 19.4

Page 14: French and English Baroque

French Baroque

Example: • Louis renovates what

was a small hunting cabin into a Golden Cage

• Begun 1669 by Le Vau, finished 1710

• Every aspect of Versailles controlled, even gardens

• Center Louis’ bedroomAerial view of the Palace of Versailles, France. Begun 1669.

Fig. 20.6.

Page 15: French and English Baroque

Plans of the evolution of Versailles

The palace in 1668 The palace in 1674 The palace in 1680

Page 16: French and English Baroque

Gardens and palace of Versailles in 1746, by the abbot Delagrive. Park designed by André Le Nôtre.

Page 17: French and English Baroque

Louis Le Vau, Jules Hardouin-Mansart, The Palace of Versailles, 1669-1685.

Jules Hardouin-Mansart, The Hall of Mirrors, The Palace of Versailles, 1678-1684. Venetian glass, 357 mirrors total,

239.5’ × 34.4’ × 40.4’

Page 18: French and English Baroque

Louis Le Vau and Jules Hardouin-Mansart, Garden front of center block of The Palace of Versailles, 1669-1685.

Page 19: French and English Baroque

English Baroque

• English Civil War (1642-1651)– Charles I beheaded 1649– Oliver Cromwell (1653-1658)

• Restoration period (1660- c.1710)– English, Scottish, Welsh, and Irish monarchies restored

under Charles I son, Charles II and brother James II

• Glorious Revolution (1688)– Installs William, Prince of Orange and Mary (James’ daughter

as King and Queen of England• Bill of Rights (1689)

Page 20: French and English Baroque

English Baroque

• Spans Great Fire (1666) and Treaty of Utrecht (1713)• Contributions in literature (Shakespeare) and King James

Bible• Architecture dominates

– Synthesis of Palladio and Italian Baroque, particularly Bernini, and French classical style

• Clarity of design• Subtle classisicim

• Christopher Wren leading British architect– Rebuilds London after Great Fire (1666)– 53 churches

Page 21: French and English Baroque

English Baroque

Example: • Fire of London, 1666• Italian and French Baroque

inspiration• Combines organic flow of

Italian Baroque and strict classicism of French Baroque

• Dome second to St. Peter’s in Rome at 361’ high

Sir Christopher Wren, St. Paul’s Cathedral, 1675-1710. London, England. Fig. 20.10