Baroque Italy and Spain

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Baroque Italy and Spain

  1. 1. Chapter 24Italy and Spain 1600 – 1700 Baroque Art
  2. 2. Europe in the 17th Century
  3. 3. Figure 24-2 CARLOMADERNO, SantaSusanna, Rome, Italy, 1597–1603
  4. 4. Figure 24-2 CARLO MADERNO, Santa Susanna, Rome, Italy, 1597–1603.
  5. 5. GIACOMO DELLA PORTA, facade of IlGesù, Rome, Italy, ca. 1575–1584.
  6. 6. Figure 24-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.
  7. 7. Figure 24-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.
  8. 8. Figure 24-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.
  9. 9. CARLO MADERNO, plan of Saint Peter’s, Vatican City, Rome, Italy, with adjoining piazza designed by GIANLORENZO BERNINI.
  10. 10. BramanteMichelangelo
  11. 11. Figure 24-4 Gianlorenzo Bernini, Aerial view of Saint Peter’s, Vatican City, Rome, Italy, 1506–1666.
  12. 12. Figure 24-5 GIANLORENZOBERNINI, baldacchino, SaintPeter’s, Vatican City, Rome, Italy, 1624–1633. Gilded bronze, approx. 100’ high.
  13. 13. Figure 24-5 GIANLORENZOBERNINI, baldacchino, Saint Peter’s, Vatican City, Rome, Italy, 1624–1633. Gilded bronze, approx. 100’ high.
  14. 14. Figure 24-7 GIANLORENZO BERNINI, David, 1623.Marble, approx. 5’ 7‖ high. Galleria Borghese, Rome.
  15. 15. MYRON, Diskobolos (Discus Thrower). Roman marble copy after a bronze original of ca. 450 BCE, 5’ 1‖ high.Museo Nazionale Romano—Palazzo Massimo alle Terme.
  16. 16. Figure 24-9 GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria dellaVittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6‖.
  17. 17. Figure 24-9 FRANCESCO BORROMINI, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1665–1676.
  18. 18. Figure 24-2 CARLO MADERNO, SantaSusanna, Rome, Italy, 1597–1603
  19. 19. Figure 24-10 , 11FRANCESCO BORROMINI, plan and dome of San Carlo alle Quattro Fontane, Rome, Italy, 1638–1641.
  20. 20. Figure 24-18 CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, ca. 1597– 1601. Oil on canvas, 11’ 1‖ x 11’ 5‖.
  21. 21. Naturalism Tenebrism (tenebroso)Figure 24-17 CARAVAGGIO, Conversion of Saint Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, Italy, ca. 1601. Oil on canvas, approx. 7’ 6‖ x 5’ 9‖.
  22. 22. Figure 24-19 CARAVAGGIO, Entombment, from the chapel of Pietro Vittrice, Santa Maria inVallicella, Rome, Italy, ca. 1603. Oil on canvas, 9’ 10 1/8‖ x 6’ 7 15/16‖. Musei Vaticani, Pinacoteca, Rome.
  23. 23. ROGIER VAN DER WEYDEN, Deposition, from Notre-Dame hors-les-murs, Louvain, Belgium, ca. 1435. Oil on wood, approx. 7’ 3" x 8’ 7". Museo del Prado, Madrid.
  24. 24. Figure 24-20 ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil oncanvas, 6’ 6 1/3‖ x 5’ 4‖. Galleria degli Uffizi, Florence.
  25. 25. Quadro riportato – a ceiling painting in which painted scenes resemble framed figures transferred to a curved ceiling. Figure 24-16 ANNIBALECARRACCI, Loves of the Gods, ceiling frescoes in the gallery, Palazzo Farnese, Rome, Italy, 1597–1601.
  26. 26. Figure 24-21 GUIDO RENI, Aurora, ceiling fresco in the Casino Rospigliosi, Rome, Italy, 1613–1614. quadro reportato – simulates a framed easel painting on the ceiling
  27. 27. Di sotto in su – illusionistic architecturalpainting aimed at extending realarchitecture into imaginary space ―from thebottom up.‖ Figure 24-22 PIETRO DA CORTONA, Triumph of theBarberini, ceiling fresco in the Gran Salone, PalazzoBarberini, Rome, Italy, 1633–1639.
  28. 28. Figure 24-23 GIOVANNI BATTISTAGAULLI, Triumph of the Name of Jesus, ceiling fresco with stucco figures in the vault of the Church of Il Gesù, Rome, Italy, 1676–1679.
  29. 29. Figure 24-24 FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant’Ignazio, Rome, Italy, 1691–1694.
  30. 30. Italian Baroque•Establishment of trade routes, Europe becomessecularized•The importance of the Catholic church incommissioning art for the purpose of exerting theirpower and authority and encouraging a return to theChurch – Saint Peter’s•Bernini’s work in architecture and sculpture—innovations, use of materials, emotional impact•The interest in creating drama in art -- strong light anddark contrast (tenebrism,) dynamiccompositions, movement, and emotion•Caravaggio’s innovative portrayal of religious subjectand his influence on other artists•Gentileschi – her graphic and powerful religiouspaintings•Ceiling paintings as a means to glorify the church –their stylistic characteristics
  31. 31. Spain1600 – 1700 Baroque Art
  32. 32. Figure 24-26 FRANCISCO DEZURBARÁN, Saint Serapion, 1628. Oil on canvas, 3’ 11 1/2‖ x 3’ 4 3/4‖. Wadsworth Atheneum, Hartford (The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund).
  33. 33. Figure 24-27 DIEGO VELÁZQUEZ, WaterCarrier of Seville, ca. 1619. Oil on canvas, 3’ 51/2‖ x 2’ 7 1/2‖. Wellington Museum, London.
  34. 34. Figure 24-30 DIEGO VELÁZQUEZ, LasMeninas (The Maids of Honor), 1656. Oilon canvas, approx. 10’ 5‖ x 9’. Museo del Prado, Madrid.
  35. 35. Figure 24-30 DIEGO VELÁZQUEZ, LasMeninas (The Maids of Honor), 1656. Oilon canvas, approx. 10’ 5‖ x 9’. Museo del Prado, Madrid.
  36. 36. Figure 20-13 JAN VAN EYCK, Giovanni Arnolfini and HisBride, 1434. Oil on wood, approx. 2’ 8" x 1’ 11 1/2". National Gallery, London.
  37. 37. Figure 24-29 DIEGO VELÁZQUEZ, Surrender of Breda, 1634–1635. Oil on canvas, 10’ 1‖ x 12’ 1/2‖. Museo del Prado, Madrid.
  38. 38. Figure 24-28 DIEGO VELÁZQUEZ, KingPhilip IV of Spain (Fraga Philip), 1644. Oil on canvas, 4’ 3 1/8‖ x 3’ 3 1/8‖. The Frick Collection, New York.
  39. 39. Baroque in Spain•Dramatic paintings illustrating the martyrdom of saints- style ofCaravaggio•Velazquez’s paintings of royalty in genre-like scenes, innovative brushwork, complex spatial construction (compare to HighRenaissance, Caravaggio) End of Chapter 24

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