This document provides context on the Baroque period in Italy and Spain through several artworks and artists. It discusses the 17th century conflicts in Europe including the Thirty Years War. The development of science at this time is also noted. For art, the document outlines the development of the Baroque style in Italy, focusing on Caravaggio's realism and use of tenebrism. It then discusses the artists Gentileschi, Annibale Carracci, Bernini, and their contributions to developing the Baroque style through works like The Calling of Saint Matthew and The Ecstasy of Saint Therese. Finally, it briefly introduces the Spanish Baroque, noting key artists like Velazquez who were inspired by Italian masters.

1. Warm-Up 2/08/12
• Describe the process by
which you completed
your Sistine chapel tile.
Be specific in detail.
• Think about the
aesthetic of just your
tile.
• What does it look like to
you? Pretend you do
not know the context.

2. The Baroque in
Italy and Spain

3. Practice Outline
• 1. Cultural attitudes about women are often
revealed in art.
•
• Select and fully identify two works of art that
depict one or more women. The works must
come from two different cultures, one of which
must be from beyond the European tradition.
Explain how each work reveals its culture’s
attitudes about women. (30 minutes)

4. The Baroque in
Italy and Spain

5. Historical Context: 17th Century
• Continual Warfare:
– Thirty Years’s War (1618-1648) between
France and The Hapsburgs (everywhere
else)
• Treaty of Westphalia ended the war
• Germany is left in ruins, Netherlands begins a
new war with England and France until 1679
• Expansion of the Sciences
– The artist begins to depart from the
philosopher (Descarte’s cogito ergo sum) as
well as mathematics (calculus and abstractions)
– Keplar, Copernicus, Galileo
– Understanding the LAWS of nature, not its
SECRETS

6. Historical Context: Baroque Art
• Baroque Art and Imagery
flourishes despite warfare and
divergence from philosophy
– Independent of military imagery
and influence
– Even though math is a separate
vocation, Baroque art is heavily
influenced by the new mechanics
and metaphysics of a developing
scientific humanism.
• Baroque Art will NOT be neo-
platonic (which dominated the
philosophy of the Renaissance).
Why?

7. Back to Rome: 1600’s
• The papacy increased patronage as a
continued tradition of counter-reformation
ideals (soon winding down)
• Many artists in Rome were inconspicuous
mannerists, sought the Late Northern Italian
Realists painters
• Caravaggio is credited with the early
development of the Baroque Style

8. Caravaggio: Early Life
• Michelangelo Merisi da
Caravaggio (1571-1610) born in
Milan to an Architect and
decorator
– Barely escaped the plague that
killed his father in 1577
– Connections with the Sforzas in
Milan
• Began four year apprenticeship
with Peterzano (former student
of Titian)
– Wounds a police officer in Milan,
leaves for Rome

9. Warm-Up 2/09/12
• Come get your poster.
• I will record your number and your
participation
• I will display a projected image of the Sistine
Chapel map.
• Your job is to locate what tile you are and sit
underneath your tile.

10. Caravaggio: Rome (1592-1600)
• Starts some commissions
under Cesari (Clement VIII’s
favorite artist)
– “painting flowers and fruit” in
his workshop
• Began several lesser known
paintings, including the
influential Cardsharps
– Reveals a new narrative and
psychological nature to
subjects, almost a serendipity
of gesture and expression

11. The Cardsharps
c. 1596
Oil on canvas, 90 x 112 cm
Kimbell Art Museum, Fort Worth

12. Judith Beheading Holofernes
c. 1598
Oil on canvas, 145 x 195 cm
Galleria Nazionale d'Arte Antica, Rome

13. Warm-Up 2/10/12
•What is your favorite work
so far from the Baroque
period? Defend your
preference and provide the
proper MARCS.

14. Contarelli Chapel
• 1599, under the auspices of Del
monte (Italian Cardinal and
patron) beings décor in the
church of San Luigi
• Known for the new Tenebrism
techniques and intense realism
of character (both physically and
emotionally)
• Let’s describe the MARCS of The
Calling of Saint Matthew

15. The Calling of Saint Matthew
1599-1600
Oil on canvas, 322 x 340 cm
Contarelli Chapel, San Luigi dei Francesi, Rome

17. The Baroque in
Italy and Spain

18. Snapshot Quiz

19. Snapshot Quiz

20. CARAVAGGIO
Taking of Christ
c. 1598
Oil on canvas, 134 x 170 cm
National Gallery of Ireland, Dublin

21. CARAVAGGIO
The Raising of Lazarus
1608-09
Oil on canvas, 380 x 275 cm
Museo Nazionale, Messina

22. Caravaggio (Michelangelo Merisi)
David con la testa di Golia
1609-1610
Olio su tela, cm 125x101
Provenienza: collezione del cardinale
Scipione Borghese

23. Caravaggio. The Conversion of St.
Paul. 1600-1601. Oil on canvas.
Santa Maria del Popolo, Rome, Italy.

24. Caravaggio. The Crucifixion of St.
Peter. 1600-1601. Oil on canvas.
Santa Maria del Popolo, Rome, Italy.

25. Weekly Breakdown
• Monday: Gentleschi, Carraci and Bernini
• Tuesday: AP test: Prehistoric-Baroque
• Wednesday: AP test (Cont.)
• Thursday: Renaissance vs. Baroque
• Symposium
– Essay prompt (5 paragraphs, due on Symposium): The theme
of love is powerful and salient as Christian expression. Fully
identify one Renaissance painting and one Baroque painting
and describe how the art philosophies concerning God and
Man influence the artist’s view of love.
– Bring in a food item. Tell us how it relates to Baroque ideals or
Renaissance ideals
– Team Art Game for extra credit

26. Artemisia Gentileschi
• Most accomplished of the
second gen. Baroque
painters
– More than 34
masterpieces
– First woman to join the
Accademia di Arte del
Disegno in Florence
• Main themes:
– Strong women of the bible
– Suffering Mythic Females
– Characteristic tenebrism
– Looks of astonishment,
tense surprise, open form

27. Gentileschi, Artemisia Self-Portrait as the
Allegory of Painting 1638/39 Oil on canvas 38
7/8 x 29 5/8 in (98.6 x 75.2 cm) Her Majesty
Queen Elizabeth II

28. Bible: You Go GURLZ!
• Bathsheba:
– Takes a bath on a
rooftop…right next to David’s
palace
– Conspires to send her
husband to war since she is
pregnant
• Queen Esther
– Becomes wife of Persian king
– Saves her exiled people from
destruction
• Deborah
– Judge in early Hebrew society
– Organizes an army and
sucessfully defeats the
canaanites

29. Roman beginning (1593)
• Learned painting while
visiting her father’s
workshop
– Orazio is friends with
Cravaggio
• Completes first work at age
17
– Susanna and the Elders depicts
the deauterocanonical account
of voyeurism, sexual assault and
blackmail
• 2 years later, Gentileschi is
raped while being “tutored”
by Tazzi during a commission
Gentileschi, Artemisia Susannah and the Elders 1610
Oil on canvas 66 7/8 x 46 7/8 in (170 x 119 cm)
Collection Graf von Schoenborn, Pommersfelden

31. Gentileschi, Artemisia Judith Beheading Holofernes
1620 Oil on canvas 78 3/8 x 64 in (199 x 162.5 cm)
Uffizi, Florence

32. Weekly Breakdown
• Monday: Gentleschi, Carraci and Bernini
• Tuesday: AP test: Prehistoric-Baroque
• Wednesday: AP test (Cont.)
• Thursday: Renaissance vs. Baroque
• Symposium
– Essay prompt (5 paragraphs, due on Symposium): The theme
of love is powerful and salient as Christian expression. Fully
identify one Renaissance painting and one Baroque painting
and describe how the art philosophies concerning God and
Man influence the artist’s view of love.
– Bring in a food item. Tell us how it relates to Baroque ideals or
Renaissance ideals
– Team Art Game for extra credit

34. Annibale Carracci
• 1582, Born in Bologna
– Studied Florentine linear drafsmanship
(Raphael)
– Combined Raphael’s rich colors with the
misty edges of the Venetian school
• Style and Characteristics
– Contrast of color, with misty colors,
blended neutrals in the foreground
– Idealized religious figures, contrasts
Caravaggio
• It was his work that is praised in the
coming decades
– More than Caravagio, who had a
devout, yet limited, audience

35. The Flight into Egypt
1603
Oil on canvas, 122 x 230 cm
Galleria Doria Pamphilj, Rome

36. CARRACCI, Annibale
Domine quo vadis?
1601-02
Oil on panel, 77,4 x 56,3 cm
National Gallery, London

37. CARRACCI, Annibale
Ceiling fresco
1597-1602
Fresco
Palazzo Farnese, Rome

38. Timed Write
This question asks you to explore the stylistic relationships
between the form and content of figurative art.
How a culture is perceived is often expressed in depictions
of the human figure. Choose two specific representations
of the human body from different cultures. Only one of
your choices may be from a European artistic tradition.
Discuss significant aspects of each culture that are
revealed by the way in which the human body is
depicted. (30 minutes)

39. Gian Lorenzo Bernini
• Born to a mannerist
sculptor (1598-1680)
– Age of 8, helped his father
on several commissions for
Pope Paul V
• Received his first
commission soon after by
Cardinal Borghese
• Worked for the Cardinal,
as well as 4 other popes
(except Innocent X)

40. Gian Lorenzo Bernini
• Major Works:
– Rape of Proserpina
– Aeneas, Anchises and
Ascanius
– Apollo and Daphne
– David
– Ecstasy of St. Theresa
– Fountains in Rome
– Colonade of St. Peter’s

41. Gian Lorenzo Bernini
• Characteristics:
1. Upholds the waning Counter-
Reformation tone infused
within a Baroque setting
2. Naturalistic realism to both
classical sculptural content and
religious work
3. Underscored by a strong sense
of narrative
4. Dramatic, often violent tension
in face and body representative
of Hellenistic sculpture
(Dionysian)
5. Infusion of Painterly style to
sculpture

42. The Rape of Proserpina
1621-22
Marble. height 295 cm
Galleria Borghese, Rome

46. The Martyrdom of St Lawrence
1614-15
Marble, 66 x 108 cm
Galleria degli Uffizi, Florence

47. Gianlorenzo Bernini
Damned Soul
1619
White Marble
38cm
Spanish embassy, Palazzo
di Spagna, Rome

48. Gianlorenzo Bernini,
David, 1623.Marble, 5 7
high. Galleria
Borghese, Rome.
Bernini’s sculptures

52. Apollo and Daphne
1622-25
Carrara marble, height 243 cm
Galleria Borghese, Rome

55. The Ecstasy of Saint Therese
1647-52
Marble
Cappella Cornaro, Santa
Maria della Vittoria, Rome

56. The Ecstasy of Saint Therese
1647-52
Marble
Cappella Cornaro, Santa
Maria della Vittoria, Rome

57. Warm-Up
• This is Constantine
• Describe how
Constantine is
depicted in terms of
gesture, line
direction, and use of
light.
• Who is the Artist?
How can you tell?

58. Gianlorenzo Bernini, baldacchino,
Saint Peter’s,Vatican City,
Rome, Italy, 1624–1633. Gilded
bronze, 100 high.

59. Gianlorenzo Bernini, Scala
Regia (Royal
Stairway),Vatican
City, Rome, Italy, 1663–1666.

60. Gianlorenzo Bernini, Scala
Regia (Royal
Stairway),Vatican
City, Rome, Italy, 1663–1666.

61. Aerial view of Saint Peter’s,
Vatican City, Rome, Italy. Piazza designed
by Gianlorenzo Bernini, 1656–1667.

62. The Piazza and Colonnade: the Church embraces the
world

63. St. Peter’s Basillica
• Location: Vatican City,
Italy
• Completion Date: 1626
• Dome Diameter: 138 feet
• Dome Type: Ribbed
• Height: 452 feet above
the street, 390 feet above
the floor
• Purpose: Supremacy of
Papacy, Counter
Reformation
• Materials: Concrete,
brick (masonry)
• Architects: Donato
Bramante, Rafael,
Michelangelo, Bernini

65. Quick Glance at Construction
1. 1506- Pope Julius II hires
Bramante to create plans for
St. Peter’s Basilica and its
dome
2. 1514- Bramante dies, Antonio
Sangallo becomes
capomaestro
3. 1546- Sangallo dies, Pope Paul
III orders Michelangelo to take
the commission
4. 1564- Michelangelo dies
5. 1586- della Porta’s plan for a
new dome is approved
6. 1588-1590- Dome constructed
jointly by della Porta and
Fontana
7. 1590-1593- Lantern
constructed

66. St. Peter’s Basilica, nave
Dome and Altar of St. Peter

67. St. Longinus
The Baldacchino (or
Ciborium)
Gianlorenzo Bernini
At St. Peter’s

68. The High Altar with the Doctors of the Church and the Cathedra Petri

69. Bernini’s symbolism of the Church
Triumphant and the new Rome:
the vivification of the main
processional axis

70. •The power of the Church as an institution
takes expression in the new churches of the
17th century. Along with it other kinds of
forces also appear, including
•dynamism (energy and motion),
•spatial fluidity,
•destruction of limits and boundaries
leading to the notion of “continuum.”
•Broader Naves (Ovals)
•Dramatic use of Light and narrative
sculpture
•Large Ceiling Frescoes
Ss. Luca e Martina, by Pietro da
Cortona, 1634-69

71. Energy can be perceived in the nervous
perimeter established by the entablature
over the wall columns. The interior
becomes part of a continuum that is not
clearly bounded in the layered wall system.
The interior is no
longer a container delimited by wall planes
but a locus of forces.

72. San Carlo alle Quattro
Fontane
(St. Charles at the Four
Fountains) by
Borromini, 1634ff

74. The dynamic energies of Italian Baroque
architecture were explored by many designers
and artists.
St. Ivo della Sapienza by Francesco Borromini,
1642ff

75. Chapel of the Holy Shroud, Turin by
Guarino Guarnini, 1667ff

76. San Lorenzo, Turin, by Guarino Guarnini, 1668-80

77. Identify and Label.
Analyze the Principles and
Elements of Design for this
work.

78. Warm Up 2/23/12
Sketch what you see! No more
than a quarter sheet. Then,
trace in your notes for today’s
analysis

79. Baroque
in
Spain

80. Spanish Baroque
• Most Spanish painters
were inspired during
travels to Italy and the
North
– Due to the conservative
courts and lowly artisan
place
– All fine because
Netherlands was ruled
by Spain (Hapsburgs)
• Spain = MAJOR SAINTS

81. Diego Velasquez
• Caravaggesque painter in
Seville
• Early painter of
bodegones, or scenes of
people eating.
• Associated with Rubens
who brought the
influence of Titian
• Major Works:
– The Water Carrier of Seville
– Pope Innocent X
– Maids of Honor

83. Diego Velázquez. The Waterseller in
Seville. c. 1620. Oil on canvas.
Wellington Museum, London, UK.

84. Diego Velázquez. Pope Innocent
X. 1650. Oil on canvas. Galleria
Doria Pamphilj, Rome, Italy.

85. Diego Velázquez. Las Meninas
(The Maids of Honor) or the
Royal Family. 1656/57. Oil on
canvas. Museo del Prado,
Madrid, Spain.

89. Who are we?

90. Diego Velázquez. Las Meninas
(The Maids of Honor) or the
Royal Family. 1656/57. Oil on
canvas. Museo del Prado,
Madrid, Spain.