Chapter19: Italy and Spain 1600-1700, Baroque
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This document provides an overview of Baroque art in 17th century Italy and Spain, focusing on prominent artists and architects of the period. It introduces key figures like Bernini, Borromini, and Caravaggio in Italy as well as Zurbarán, Velázquez, and Ribera in Spain. The document includes 30 figures showing works by these artists to illustrate the distinctive styles and influences of the Catholic Church on Baroque art in each region. The goals are to understand the influence of the church and identify representative works and artistic terminology from the Italian and Spanish Baroque periods.
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Slideshow is a companion to Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 at Montgomery County Community College. Jean Thobaben - Adjunct Innstructor.
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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.
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The Baroque In France, Flanders And Spain
The Baroque style in France, Spain, and Flanders was characterized by grandiose architecture and elaborate artistic works commissioned by royalty and the Catholic church. In France, Louis XIV transformed Paris into a cultural center under his 72-year reign and built the extravagant Palace of Versailles. In Spain, Velázquez painted realistic portraits that blurred lines between reality and illusion, like his masterpiece Las Meninas. Rubens embodied the Flemish Baroque style through his vibrant colors, dynamic compositions, and blending of northern realism with Italian classicism.
The Baroque
The Baroque period lasted from 1600-1750 originating in Counter-Reformation Italy. Baroque art and architecture was dramatic, emotional, and ornate meant to impress viewers and express power. Key features included exaggerated lighting, intense emotions, and high detail. Masters like Caravaggio, Rubens, Rembrandt, and Bernini created emotional, dynamic paintings and sculptures while architects like Bernini and Borromini designed grand churches and squares. Baroque styles then spread across Europe especially in painting, sculpture, architecture, music, and decorative arts.
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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.
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The document summarizes Italian and Spanish Baroque art and architecture between 1600-1700. It describes key developments and influential artists of the period. In Italy, Caravaggio revolutionized painting with dramatic lighting and realistic figures. Bernini was the premier sculptor and designed St. Peter's square and baldachino. Borromini designed complex church designs. In Spain, Ribera and Zurbarán painted religious works while Velázquez became the royal painter at the Spanish court, blending influences from Caravaggio, Titian and Rubens.
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The document provides an overview of Baroque art across various mediums from the 1600s-1700s. It began in Rome and spread across Europe as a style that used dramatic details to produce grandeur and tension. The Catholic Church encouraged the Baroque style in response to the Protestant Reformation to communicate religious themes directly through emotional art. Painting featured contrasts of light/shadow and movement. Sculpture often had dynamic figures and concealed elements. Theatre became multimedia with changing stage scenery; actresses and breeches roles were introduced. The period saw major artists like Caravaggio, Bernini, and Moliere working across mediums to engage audiences through the Baroque style.
Rococo
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The document summarizes the key characteristics of Baroque art, which was the predominant style between the 17th and 18th centuries. It originated in Italy in contrast to Renaissance art, emphasizing movement, drama, and emotion over balance and simplicity. Baroque architecture used curved lines and elaborate decoration to create a sense of motion. Sculpture aimed to depict dynamic moments and provoke surprise. Painting featured exaggerated lighting, foreshortening, and asymmetrical compositions. The works of artists like Bernini, Rubens, Rembrandt, Caravaggio, and Vermeer are highlighted as emblematic of the Baroque style.
Baroque Neoclassical Art
This document provides an overview of the 17th century Baroque period from 1600-1800. Some key points:
- In the early 1600s, Rome was the leader of the Baroque style, though Baroque arrived later in France due to strict classicism. France later emerged as a major cultural center under Louis XIV.
- The latter half of the period saw the Enlightenment and French Revolution. Rococo style rose as Baroque ended. Neoclassicism followed the Enlightenment with a focus on antiquity.
- The 18th century saw the rise and fall of Rococo style and the emergence of Neoclassicism and later Romanticism, which emphasized emotion and individuality over reason.
The Renaissance
The Renaissance was a period between the 14th and 16th centuries that saw a revival of art and intellectual thought rooted in classical antiquity. Notable early Renaissance artists included Giotto, Donatello and Brunelleschi in Florence. The High Renaissance of the 15th century was marked by artists like Leonardo da Vinci, Michelangelo, Raphael and Titian. Mannerism followed as a brief period characterized by elongated figures and flattened space. Key developments included increased naturalism, linear perspective techniques, and elevating the status of artists.
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This document provides an overview of Baroque art and architecture from 1600-1700 in Europe. It begins with definitions of Baroque and its key differences from Renaissance styles. The summary then discusses the main characteristics and developments of Baroque in Italy, France, and England. For Italy, works by Bernini such as St. Peter's colonnade and Borromini's San Carlo alle Quattro Fontane are analyzed. Versailles palace is covered for France. Key English works mentioned include St. Paul's Cathedral and Blenheim Palace. Sculptors like Bernini and painters including Caravaggio and Rubens are also discussed.
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Mannerism developed in the 16th century in Italy as a reaction against the principles of the High Renaissance. It focused on elongated and exaggerated human forms depicted in unnatural poses and settings. Mannerist artworks often contained distorted figures, artificial colors, and unrealistic proportions that created a feeling of tension and instability. This style reflected the turmoil in Europe during its rise and provided a transition between the Renaissance and Baroque periods.
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This document discusses the characteristics and major artists of Baroque art in 17th century Italy and Spain, including Bernini, Borromini, Caravaggio, and Velazquez. It focuses on their architectural works like St. Peter's Basilica and churches, as well as paintings depicting religious subjects. The Baroque style was influenced by the Catholic church and used dramatic lighting, movement, and emotion to convey religious themes and glorify wealthy patrons.
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The document provides an overview of Baroque art across various mediums from the 1600s-1700s. It began in Rome and spread across Europe as a style that used dramatic details to produce grandeur and tension. The Catholic Church encouraged the Baroque style in response to the Protestant Reformation to communicate religious themes directly through emotional art. Painting featured contrasts of light/shadow and movement. Sculpture often had dynamic figures and concealed elements. Theatre became multimedia with changing stage scenery; actresses and breeches roles were introduced. The period saw major artists like Caravaggio, Bernini, and Moliere working across mediums to engage audiences through the Baroque style.
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Rococo originated in the early 1700s in France as a lighter, more ornate style that evolved from Baroque. It emphasized beauty, nature, and curved, asymmetrical designs inspired by shells and rocks. Rococo flourished during the reign of Louis XV and is seen in paintings like Boucher's Odalisque Brune depicting an aristocratic woman and Watteau's Venetian Pleasure showing an operatic scene. Furniture, interiors, fashion, and jewelry featured elaborate floral motifs, pastel colors, asymmetry, and natural themes reflecting the style's emphasis on beauty, lightness, and nature.
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The document summarizes the key characteristics of Baroque art, which was the predominant style between the 17th and 18th centuries. It originated in Italy in contrast to Renaissance art, emphasizing movement, drama, and emotion over balance and simplicity. Baroque architecture used curved lines and elaborate decoration to create a sense of motion. Sculpture aimed to depict dynamic moments and provoke surprise. Painting featured exaggerated lighting, foreshortening, and asymmetrical compositions. The works of artists like Bernini, Rubens, Rembrandt, Caravaggio, and Vermeer are highlighted as emblematic of the Baroque style.
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This document provides an overview of the 17th century Baroque period from 1600-1800. Some key points:
- In the early 1600s, Rome was the leader of the Baroque style, though Baroque arrived later in France due to strict classicism. France later emerged as a major cultural center under Louis XIV.
- The latter half of the period saw the Enlightenment and French Revolution. Rococo style rose as Baroque ended. Neoclassicism followed the Enlightenment with a focus on antiquity.
- The 18th century saw the rise and fall of Rococo style and the emergence of Neoclassicism and later Romanticism, which emphasized emotion and individuality over reason.
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This document provides an overview of Baroque art and architecture from 1600-1700 in Europe. It begins with definitions of Baroque and its key differences from Renaissance styles. The summary then discusses the main characteristics and developments of Baroque in Italy, France, and England. For Italy, works by Bernini such as St. Peter's colonnade and Borromini's San Carlo alle Quattro Fontane are analyzed. Versailles palace is covered for France. Key English works mentioned include St. Paul's Cathedral and Blenheim Palace. Sculptors like Bernini and painters including Caravaggio and Rubens are also discussed.
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The document discusses Italian art from the early 16th century, focusing on developments in Venice and the rise of Mannerism. It describes important works by Venetian painters like Giovanni Bellini, Giorgione, and Titian who experimented with new techniques like oil painting. Titian's large altarpieces and portraits, including the Venus of Urbino, established him as the leading painter in Venice. The document also examines Mannerist artists like Pontormo, Bronzino, and Tintoretto who created elongated figures and distorted forms. Architects like Palladio and Scamozzi designed villas that combined classical elements with innovative spatial arrangements.
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Mannerism developed in the 16th century in Italy as a reaction against the principles of the High Renaissance. It focused on elongated and exaggerated human forms depicted in unnatural poses and settings. Mannerist artworks often contained distorted figures, artificial colors, and unrealistic proportions that created a feeling of tension and instability. This style reflected the turmoil in Europe during its rise and provided a transition between the Renaissance and Baroque periods.
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Art history chap._20_a
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Baroque power point
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Chapter19: Italy and Spain 1600-1700, Baroque
- 1. 1 Chapter 19 Italy and Spain, 1600 to 1700 Gardner’s Art Through the Ages, The Western Perspective 13e
- 2. 2 Europe in the 17th Century
- 3. 3 Goals • Understand the influence of the Roman Catholic Church on art and architecture in 17th century Italy and Spain • Recall hallmark formal devices used by Baroque artists and architects • Identify representative Baroque artists and their works • Identify representative Baroque architects and their works • Recognize and cite artistic terminology from this period
- 4. 4 19.1 Baroque Art • Recognize the distinctive characteristics of the Baroque style • Identify representative Baroque artists and their works • Identify representative Baroque architects and their works • Compare and contrast the work of Italian and Spanish Baroque painters • Recognize and cite artistic terminology from this period
- 5. 5 Figure 19-2 CARLO MADERNO, facade of Santa Susanna, Rome, Italy, 1597–1603.
- 6. 6 Figure 19-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.
- 8. Figure 19-4 Aerial view of Saint Peter’s, Vatican City, Rome, Italy. Piazza designed by GIANLORENZO BERNINI, 1656-1667. 8
- 9. 9 Figure 19-4 alternate view Aerial view of Saint Peter’s, Vatican City, Rome, Italy, 1506–1666.
- 10. 10 Figure 19-5 GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City, Rome, Italy, 1624–1633. Gilded bronze, 100’ high.
- 11. 11 Figure 19-6 GIANLORENZO BERNINI, Scala Regia (Royal Stairway), Vatican City, Rome, Italy, 1663–1666.
- 12. 12 Figure 19-7 GIANLORENZO BERNINI, David, 1623. Marble, 5’ 7” high. Galleria Borghese, Rome.
- 13. Figure 19-1 GIANLORENZO BERNINI, inerior of the Cornaro Chapel, Santa Maria della vittoria, Rome, Italy, 1645-1652. 13
- 14. 14 Figure 19-8 GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”.
- 15. 15 Figure 19-9 FRANCESCO BORROMINI, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1665–1676.
- 16. 16 Figure 19-10 FRANCESCO BORROMINI, plan of San Carlo alle Quattro Fontane, Rome, Italy, 1638– 1641.
- 17. Figure 19-11 FRANCESCO BORROMINI, San Carlo alle Quattro Fontane (view into dome), Rome, Italy, 1638-1641. 17
- 18. 18 Figure 19-12 FRANCESCO BORROMINI, Chapel of Saint Ivo, College of the Sapienza, Rome, Italy, begun 1642.
- 19. 19 Figure 19-13 FRANCESCO BORROMINI, plan of the Chapel of Saint Ivo, College of the Sapienza, Rome, Italy, begun 1642.
- 20. 20 Figure 19-14 FRANCESCO BORROMINI, Chapel of Saint Ivo (view into dome), College of the Sapienza, Rome, Italy, begun 1642.
- 21. 21 Figure 19-15 ANNIBALE CARRACCI, Flight into Egypt, 1603–1604. Oil on canvas, 4’ x 7’ 6”. Galleria Doria Pamphili, Rome.
- 22. 22 Figure 19-16 ANNIBALE CARRACCI, Loves of the Gods, ceiling frescoes in the gallery, Palazzo Farnese, Rome, Italy, 1597–1601.
- 23. 23 Figure 19-17 CARAVAGGIO, Conversion of Saint Paul, ca. 1601. Oil on canvas, 7’ 6” x 5’ 9”. Cerasi Chapel, Santa Maria del Popolo, Rome.
- 24. 24 Figure 19-18 CARAVAGGIO, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. Contarelli Chapel, San Luigi dei Francesi, Rome
- 25. 25 Figure 19-19 CARAVAGGIO, Entombment, from the chapel of Pietro Vittrice, Santa Maria in Vallicella, Rome, Italy, ca. 1603. Oil on canvas, 9’ 10 1/8” x 6’ 7 15/16”. Musei Vaticani, Rome.
- 26. 26 Figure 19-20 ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.
- 27. 27 Figure 19-21 QUIDO RENI, Aurora, ceiling fresco in the Casino Rospigliosi, Rome, Italy, 1613–1614.
- 28. 28 Figure 19-22 PIETRO DA CORTONA, Triumph of the Barberini, ceiling fresco in the Gran Salone, Palazzo Barberini, Rome, Italy, 1633–1639.
- 29. 29 Figure 19-23 GIOVANNI BATTISTA GAULLI, Triumph of the Name of Jesus, ceiling fresco with stucco figures in the nave vault of Il Gesù, Rome, Italy, 1676–1679.
- 30. 30 Figure 19-24 FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant’Ignazio, Rome, Italy, 1691–1694.
- 31. 31 Figure 19-25 JOSÉ DE RIBERA, Martyrdom of Saint Bartholomew, ca. 1639. Oil on canvas, 7’ 8” x 7’ 8”. Museo del Prado, Madrid.
- 32. 32 Figure 19-26 FRANCISCO DE ZURBARÁN, 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 19-27 DIEGO VELÁZQUEZ, Water Carrier of Seville, ca. 1619. Oil on canvas, 3’ 5 1/2” x 2’ 7 1/2”. Victoria & Albert Museum, London.
- 34. 34 Figure 19-29 DIEGO VELÁZQUEZ, Surrender of Breda, 1634–1635. Oil on canvas, 10’ 1” x 12’ 1/2”. Museo del Prado, Madrid.
- 35. 35 Figure 19-28 DIEGO VELÁZQUEZ, King Philip IV of Spain (Fraga Philip), 1644. Oil on canvas, 4’ 3 1/8” x 3’ 3 1/8”. The Frick Collection, New York.
- 36. 36 Figure 19-30 DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid.