sayre2e ch23 integrated_lecture_pp_ts-150664

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Hyacinthe Rigaud. Louis XIV, King of France. 1701.9’ 1" × 6’ 4-3/8”.

Closer Look: Hyacinthe Rigaud, Louis XIV

MyArtsLabChapter 21 – The Baroque in Italy: the Church and Its Appeal

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Palace of Versailles, France: Grand Façade. 1669-85.


Jules Hardouin Mansart and Charles LeBrun. Palace of Versailles, France: Galerie des Glaces (Hall of Mirrors). Begun 1678.

Versailles and the Rise of Absolutism

What is absolutism?

• In 1682 Versailles became the unofficial capital of France and symbol of Louis’s absolute power and authority.

• The elaborate design of the new palace was intended to leave the attending nobility in awe.

• Landscape architect Andre Le Notre was in charge of the grounds at Versailles. He believed in the formal garden, and his methodical, geometrical design has come to be known as the French garden.

• Discussion Question: What features make Versailles the embodiment of Louis XIV’s absolutism?

The Arts of the French Court

What tastes in art competed for Louis XIV’s favor?

• The Painting of Peter Paul Rubens: Color and Sensuality — The taste for Rubens’s painting dominated Louis’s court. Rubens’s pictorial approach to self-promoting biographical commissions was through lifelike allegory. Fleshy bodies are a signature stylistic component of Rubens’s work; his paintings address the senses.

• The Painting of Nicolas Poussin: Classical Decorum — Poussin believed that a painting’s subject matter should be drawn from classical mythology or Christian tradition, not everyday life. Painting technique should be controlled and refined. Poussin’s paintings addressed the intellect.

• Music and Dance at the Court of Louis XIV — The king loved the pomp and ceremony of his court and the art forms that allowed him to most thoroughly engage this taste: dance and music. Lully was largely responsible for entertaining the king who particularly admired Lully’s comedie-ballets, performances that were part opera and part ballet. Lully also created tragedie en musique. Louis’s love of the dance promoted another new musical form at his court, the suite, a series of dances, or dance inspired movements, consisting of four to six dances. Elisabeth-Claude Jacquet de la Guerre was one of Louis’s favorite composers of dance suites.

• Theater at the French Court — Louis’s support of theater eventually led to the establishment of the French national theater, the Comedie Francaise. Corneille’s plays embrace the Baroque love for elaborate moral and emotional range and possibility. Moliere’s plays spared no one his ridicule, attacking religious hypocrisy, misers, hypochondriacs, pretentious doctors, aging men who marry younger women, the gullible, and all social parasites. Racine wrote a string of successful tragedies which made him the first French playwright to live entirely on earnings from his plays.

• Discussion Question: Why are performing arts so important in royal courts?


André Le Nôtre. Versailles: Plan of the gardens and park. Drawing by Leland Roth after Delagive’s engraving of 1746. Designed 1661–68,

executed 1662–90.

Video: Palace and Park of Versailles

MyArtsLabChapter 23 – The Baroque Court: Absolute Power and Royal Patronage

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André Le Nôtre. Versailles: North flower bed, formal French Gardens. 1669-85.


Peter Paul Rubens and workshop. The Arrival and Reception of Marie de' Medici at Marseilles. 1621-25.

13' × 10’.


Peter Paul Rubens. The Kermis (La Kermesse). ca. 1635.56-5/8" × 102-3/4”.


Nicolas Poussin. Et in Arcadia Ego (or The Shepherds of Arcadia). 1638-39.

33-1/2" × 47-5/8”.


Louis XIV as the Sun in the Ballet de la Nuit. 1653.

Active Listening Guide: Lully: "Enfin, il est en ma puissance" from Armide, Act II


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Active Listening Guide: Jacquet de la Guerre: Pieces de clevcin, Courente (1687)



The Comédie Française. Interior of the Comédie Française Theatre in 1791.

The Art and Politics of the English Court

How did political conflict affect the arts in England?

• Anthony Van Dyck: Court Painter — Van Dyke’s great talent was portraiture. He often flattered his subjects by elongating their features and portraying them from below to increase their stature.

• Portraiture in the American Colonies — The Puritans did not think of themselves as Americans but as subjects of the crown and Parliament. They brought with them the prejudices against ostentation represented by the Roundheads. New England was dominated by the Puritan sensibility, but the southern colonies were led by men of Cavalier attitudes and tastes. But as the New England immigrants achieved a measure of prosperity, they celebrated their success in portraits.

• Puritan and Cavalier Literature — Writers of a Cavalier bent were sensualists and often wrote frankly erotic works. These contrasted strongly with the moral uprightness of even the most emotional Puritan writing. One of the most moving Puritan writers of the day was Anne Bradstreet who composed epic poetry as well as personal poetry. The Cavalier poets of their generation were admirers of Ben Jonson; Robert Herrick’s poetry descends directly from Jonson’s example.

• Henry Purcell and English Opera — Puritans were suspicious of secular music in all forms, and special contempt was reserved for opera. The Roman subject of Purcell’s opera Dido and Aeneas is in keeping with the Classical Baroque.

• Discussion Question: What are the differences between Cavalier and Puritan? What did each contribute to English culture?


Anthony van Dyck. Portrait of Charles I Hunting. 1635.8' x 6’ 11”.


Anthony van Dyck. Portrait of Alexander Henderson. ca. 1641.50" × 41-1/2”.


John Foster. Portrait of Richard Mather. ca. 1670.6" × 5”.


John. Portrait of Daniel Parke II. 1706.


Anonymous American. Portrait of John Freake. 1671-74.42-1/2" × 36-3/4”.


Anonymous American. Portrait of Elizabeth Freake and Baby Mary. 1671-74.

42-1/2" × 36-3/4”.

The Arts of the Spanish Court

What role did the arts play in the Spanish court?

• Diego Velazquez and the Royal Portrait — The Spanish court understood that in order to assert its absolutist authority, it needed to impress the people through its patronage of the arts. Velazquez became the only artist permitted to paint the King Philip IV. His chief occupation was painting court portraits and supervising the decoration of rooms in the various royal palaces and retreats. Las Meninas is a life-size group portrait and his last great royal commission. It elevates the portrait to a level of complexity almost unmatched in the history of art.

• The Literature of the Spanish Court — Under Philip III and Philip IV, the literary arts in Spain flourished as never before. Cervante’s great novel Don Quixote appeared and serves as a transitional text as it represents the culmination of Renaissance thought even as it announces the beginning of an age of great innovation and originality. Both Lope de Vega and his successor Calderon wrote literally thousands of plays. According to Lope, the classical unities of Spanish drama were to be abandoned and comedy and tragedy should be mixed in the same play. Calderon was more philosophical and profound than Lope; his major theme was the conflict between love and honor. No writer of the Golden Age of Spain understood so well or confronted so thoroughly the country’s political, economic, and moral bankruptcy as Francisco de Quevado y Villegas.

Active Listening Guide: Purcell: "Dido's Lament" from Dido and Aeneas



Diego Velasquez. El Triumfo de Baco, or Los Borrachos (The Triumph of Bacchus, or The Drunkards). ca. 1670.

65-1/8" × 87-1/2”.

Closer Look: Velázquez, Las Meninas



Diego Velasquez. Closer Look: Velasquez's Las Meninas (The Maids of Honor). 1656.

10' 3/4" × 9' 3/4”.


Map: Spanish Viceroyalties in South America, 1542-1824.

The Baroque in the Americas

How did Native American traditions affect the Baroque style in the Americas?

• The Cuzco School — The indigenous native populations Indianized the Christian art imposed upon them, creating a unique visual culture, part Baroque, part Indian. The artisans who carved the Baroque panels for mansions in Lima were increasingly native, as were the metalworkers who created fine objects. In Cuzco, these artisans brought to their work techniques and motifs from their Inca background.

• Baroque Music in the Americas: Sor Juana Ines de la Cruz — As the church sought to convert native populations to the Catholic faith, the musical liturgy became a powerful tool. Music was adapted to local conditions. Sor Juana Ines del las Cruz is remembered today largely as the author of an important tract, Reply to Sor Philotea, in which se defended the rights of women to pursue any form of education they might desire, and as a poet. Many of her poems were originally songs written to be accompanied by music.

• The Churrigueresque Style: Retablos and Portals in New Spain — The taste for elaborate decorative effects and complexity found its most extraordinary expression in large altarpiece ensembles, known as retablos. These ensembles were designed to impress the indigenous population and were also a manifestation of the extraordinary wealth that Mexico enjoyed as the center of trade for precious metals.

• Discussion Question: What tends to happen to the culture of a colonizing nation when it is exported to the colonies?


Palacio Tore Tagle, Lima, Peru. 1753.


Luis Niño (Bolivian). Our Lady of the Victory of Málaga. Southern Cuzco school, Potosí, Bolivia. ca. 1740.

59-1/2" × 43-3/4”.


Map: The Viceroyalty of New Spain, 1535-1821.


Jerónimo de Balbás. Altar of the Kings, principal retablo of the Cathedral, Mexico City. 1718-37.

Height: 85’.


San Xavier del Bac, near Tucson, Arizona. 1783-97.Length: ca. 99’.


San Xavier del Bac, near Tucson, Arizona: Nave, with retablo, restored 1992-97. 1783-97.


The Laguna Santero. Retablo and high altar of the Church of San José, Old Laguna Pueblo, New Mexico. ca. 1780-1810.


Henri Testelin. Continuity & Change: Jean-Baptiste Colbert Presenting the Members of the Royal Academy of Science to Louis XIV. ca. 1667.

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