Fa124 5 - baroque art

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  • exuberance, and grandeur in sculpture, painting, architecture, literature, dance and music.
  • Baroque style was encouraged by the Roman Catholic Church, which had decided at the time of the Council of Trent,
    Emotional art to propagate faith
    impressing visitors and expressing triumphant power and control. Baroque palaces are built around an entrance of courts, grand staircases and reception rooms of sequentially increasing opulence.
  • Political situations also influenced art. The absolute monarchies of France and Spain prompted the creation of works that reflected in their size and splendor the majesty of their kings, Louis XIV and Philip IV.
  • derogatory term
  • The word "Baroque", like most periodic or stylistic designations (Gothic) was invented by later critics rather than practitioners of the arts in the 17th and early 18th centuries.
    The term "Baroque" was initially used in a derogatory sense, to underline the excesses of its emphasis.
  • n particular, the term was used to describe its eccentric redundancy and noisy abundance of details, which sharply contrasted the clear and sober rationality of the Renaissance. Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Jean-Philippe Rameau’s Hippolyte et Aricie, printed in the Mercure de France in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device.[8]
  • coat, waistcoat and breeches costume that would reign for the next century and a half
    ‘periwig’
  • Carracci, on the other hand, attempted to rid art of its mannered complications by returning to the High Renaissance principles of clarity, monumentality, and balance.
  • influence of Titian’s use of rich colors
  • he worked directly on canvas
  • the highly charged theatricality that is a hallmark of the baroque.
    The piece, made of marble, embodies the spirit of baroque sculpture with its dramatic tension, intricacy, and sense of movement. The light rays and arrow are made of bronze.
  • Carravaggio, as if emanating from one source of light
  • Fa124 5 - baroque art

    1. 1. Baroque
    2. 2. Baroque period of artistic style with exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance and grandeur Began in 1600 in Rome, Italy and spread to most of Europe, until in some places, the 1750s
    3. 3. Baroque art sensual, ornate and fantastic implies power and renewed authority of Latin church after the Reformation, appealing to the emotions of the faithful and dogmatic reaffirmations of the Council of Trent. Jesuits - adopt Baroque as the official style Religious art used in defense against criticism by the scientists and philosophers, and in response to the Protestant Reformation
    4. 4. also political situations, absolute monarchies of France and Spain prompted the creation of works that reflected their size and splendor of the majesty of kings, Louis XIV and Philip IV.
    5. 5. BAROQUE ART baroque, from the Portuguese word ‘barroco’, Spanish ‘barroco’ or French ‘baroque, all which means ‘ rough or imperfect pearl’
    6. 6. Eccentric redundancy and noisy abundance of details, sharply contrasting to the clear and sober rationality of the Renaissance Also applied in architecture and music
    7. 7. Baroque Art Art, Painting, Sculpture
    8. 8. Development During the late 16th century, a desire for greater clarity and simplification inspired artists against the anti-classical Mannerist style with emphasis on distortion, asymmetry, bizarre juxtaposition and biting colors. Should speak to the illiterate rather than the elite wellinformed
    9. 9. Mannerist paintings
    10. 10. BAROQUE
    11. 11. From the witty, intellectual qualities to a visceral appeal aimed at the senses Iconography that is direct, simple, obvious, theatrical.
    12. 12. Periods Early Baroque High Baroque Late Baroque (Rococo)
    13. 13. Subject matter Scenes of martyrdom, suffering saints, dogmatic positions Mythological or classic motifs with erotic overtones Portraits of nobility, church figures, commissioned corporation pictures, genre, classic landscapes Sculptures in movement and large fountains
    14. 14. Technique Great freedom in paint application Carravaggio abandoned underpainting, composed as he painted Textured surfaces, transparent shadows, dark backgrounds ‘tenebrosi painters’
    15. 15. Early Baroque Annibale Carracci Michelangelo Merisi, also known as Carravaggio
    16. 16. Carracci perfection of drawing from the classic arts composition of Raphael, color of Titian & grandeur of Michelangelo
    17. 17. Flight into Egypt Cara========== Caracci
    18. 18. Carravaggio Italian painter, pupil of Titian Vivid use of lighting effects, realistic view of physical and emotional human state
    19. 19. Conversion of Saint Paul Caravaggio's art is influenced by naturalism and the grand humanism of Michelangelo and the High Renaissance. His paintings often include types drawn from everyday life engaged in completely believable activities, as well as heroic and tender depictions of religious and mythological subjects.
    20. 20. Carravaggio - Crucifixion of St. Peter
    21. 21. Characteristics Sense of movement, energy or tension (whether real or implied) Strong contrasts of light and shadow to enhance dramatic effect Decorative Surface Elements in Buildings Intense spirituality and religious themes Infinite space and true perspective Realism--figures with their own personalities and inner workings of the mind and soul
    22. 22. Realism--figures with their own personalities and inner workings of the mind and soul
    23. 23. Strong contrasts of light and shadow to enhance dramatic effect Carravaggio - single shaft of light Tintoretto - flickering light El Greco - lightning de la Tour - candlelight Rembrandt - inner light
    24. 24. STYLE Eye gradually led towards infinity. Deep perspectives, picture plane Figures in diagonals, twists, zigzag or strong foreshortening Ceiling paintings imitate sky, framed by bulky, architectural elements putti and saints floating or tumbling in space. Figures loosely draped, leaving enough flesh to heighten sensual appeal Dramatic devices of lighting
    25. 25. Dramatic devices of lighting
    26. 26. BAROQUE SCULPTURE Gianlorenzo Bernini dominated baroque sculpture in Rome early over-life-size group sculptures mastery in marble use of realistic dramatic tension strong light and dark contrasts
    27. 27. BerNini Abduction of Proserpina
    28. 28. Bernini Apollo and Daphne
    29. 29. Bernini Ecstasy of St. Theresa Cornaro Chapel, Santa Maria della Vittoria, Rome highly charged theatricality marble and bronze
    30. 30. Bernini Bernini was also an accomplished architect Colonnade in St. Peter’s Square Sant’ Andrea al Quirinale
    31. 31. Sant’ Andrea al Quirinale
    32. 32. BERNINI SCULPTURES David - moment of maximum physical contortion, concentrated energy and emotion as he hurls the stone at the giant Goliath
    33. 33. Fountain of the Four Rivers
    34. 34. Sense of movement, energy or tension (whether real or implied)
    35. 35. Intense spirituality and religious themes The Ecstasy of St. Teresa
    36. 36. Infinite space and true perspective
    37. 37. Notable Artists Peter Paul Rubens Jan Vermeer Rembrandt van Rijn Diego Velasquez Gentelleschi
    38. 38. Decorative Surface Elements in Buildings Philippines: (UNESCO WORLD HERITAGE) San Agustin Church (Manila) Santa Maria Church (Ilocos Sur) San Agustin Church (Ilocos Norte) Sto. Tomas de Villanueva (Iloilo)
    39. 39. San Agustin (Manila)
    40. 40. Santa Maria (Ilocos
    41. 41. San Agustin (Ilocos)
    42. 42. Santo Tomas (Iloilo)
    43. 43. Cebu Metropolitan Cathedral

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