The document provides information on Baroque art in Spain during the 17th century:
- The Spanish Baroque style was distinct from other parts of Europe and was influenced by conservative Catholic ideals under King Philip II. Notable architects included Juan Gomez de Mora and Alonso Carbonell.
- Sculpture focused on religious themes depicted with realism, including the Andalusian, Castilian, and Murcia schools. Important sculptors included Gregorio Fernández, Juan Martínez Montañés, and Francisco Salzillo.
- Painting emphasized naturalism, simplicity, and religious subjects. Major artists included Jose Ribera, Francisco Zurbarán, Bartolomé Esteban Murillo,
Mannerism (from maniera, manner, or style), the artistic style prevailed in Italy from the end of the High Renaissance in the 1520s until Baroque style 1590. Early Mannerism (c.1520-35) is known for its "anti-classical" or "anti-Renaissance" style, which later evolved into High Mannerism (c.1535-1580), a more intricate, inward-looking, and academic style intended to cater to more sophisticated patrons. The term used for anti-classical indicates that the naturalism painting style is during the high renaissance departure to an artificial and exaggerated painting style, also known as Mannerism.
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.
Mannerism (from maniera, manner, or style), the artistic style prevailed in Italy from the end of the High Renaissance in the 1520s until Baroque style 1590. Early Mannerism (c.1520-35) is known for its "anti-classical" or "anti-Renaissance" style, which later evolved into High Mannerism (c.1535-1580), a more intricate, inward-looking, and academic style intended to cater to more sophisticated patrons. The term used for anti-classical indicates that the naturalism painting style is during the high renaissance departure to an artificial and exaggerated painting style, also known as Mannerism.
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.
Baroque, Rococo and New-Classicism in the 19th Century.Alex_Torri_
It's a powerpoint about three of the main artistic movements of the 19th century. Baroque,Rococo and New-Classicism.
It has many examples which are very famous but people don't know about their origins and what artistic style they belong to.
Art History in Renaissance time. feautring Donatello, Leonardo, Michelangelo, Raphael, and Botiicelli
This is made for our class reporting,but my professor changed his mind, so maybe it would be of help to others if I share it.
Companion slideshow for Gardner's Art Through the Ages (Global) textbooks. Prepared for Art 102 at Montgomery County Community College. Jean Thobaben-Adjunct Instructor.
The presentation talks about Art during the Renaissance Period. It includes background of Art during this time, the famous artists and some of their works.
This is made for my Humanities Class.
A Brief Look at the Siglo de Oro or Golden Age of Spanish Culture for students in the Ist year of Masters in Spanish in Doon University. PPT is for further reference. Detailed explanations have been given in class and BBC documentary on Art of Spain has also been shown.
Presentación sobre arte barroco en inglés para alumnado bilingüe de 2º ESO. Incluye características generales, y las particulares de Arquitectura, Escultura y Pintura, así como ejemplos sobre algunos autores y sus obras.
The Hope of Salvation - Jude 1:24-25 - MessageCole Hartman
Jude gives us hope at the end of a dark letter. In a dark world like today, we need the light of Christ to shine brighter and brighter. Jude shows us where to fix our focus so we can be filled with God's goodness and glory. Join us to explore this incredible passage.
Discover various methods for clearing negative entities from your space and spirit, including energy clearing techniques, spiritual rituals, and professional assistance. Gain practical knowledge on how to implement these techniques to restore peace and harmony. For more information visit here: https://www.reikihealingdistance.com/negative-entity-removal/
In Jude 17-23 Jude shifts from piling up examples of false teachers from the Old Testament to a series of practical exhortations that flow from apostolic instruction. He preserves for us what may well have been part of the apostolic catechism for the first generation of Christ-followers. In these instructions Jude exhorts the believer to deal with 3 different groups of people: scoffers who are "devoid of the Spirit", believers who have come under the influence of scoffers and believers who are so entrenched in false teaching that they need rescue and pose some real spiritual risk for the rescuer. In all of this Jude emphasizes Jesus' call to rescue straying sheep, leaving the 99 safely behind and pursuing the 1.
Exploring the Mindfulness Understanding Its Benefits.pptxMartaLoveguard
Slide 1: Title: Exploring the Mindfulness: Understanding Its Benefits
Slide 2: Introduction to Mindfulness
Mindfulness, defined as the conscious, non-judgmental observation of the present moment, has deep roots in Buddhist meditation practice but has gained significant popularity in the Western world in recent years. In today's society, filled with distractions and constant stimuli, mindfulness offers a valuable tool for regaining inner peace and reconnecting with our true selves. By cultivating mindfulness, we can develop a heightened awareness of our thoughts, feelings, and surroundings, leading to a greater sense of clarity and presence in our daily lives.
Slide 3: Benefits of Mindfulness for Mental Well-being
Practicing mindfulness can help reduce stress and anxiety levels, improving overall quality of life.
Mindfulness increases awareness of our emotions and teaches us to manage them better, leading to improved mood.
Regular mindfulness practice can improve our ability to concentrate and focus our attention on the present moment.
Slide 4: Benefits of Mindfulness for Physical Health
Research has shown that practicing mindfulness can contribute to lowering blood pressure, which is beneficial for heart health.
Regular meditation and mindfulness practice can strengthen the immune system, aiding the body in fighting infections.
Mindfulness may help reduce the risk of chronic diseases such as type 2 diabetes and obesity by reducing stress and improving overall lifestyle habits.
Slide 5: Impact of Mindfulness on Relationships
Mindfulness can help us better understand others and improve communication, leading to healthier relationships.
By focusing on the present moment and being fully attentive, mindfulness helps build stronger and more authentic connections with others.
Mindfulness teaches us how to be present for others in difficult times, leading to increased compassion and understanding.
Slide 6: Mindfulness Techniques and Practices
Focusing on the breath and mindful breathing can be a simple way to enter a state of mindfulness.
Body scan meditation involves focusing on different parts of the body, paying attention to any sensations and feelings.
Practicing mindful walking and eating involves consciously focusing on each step or bite, with full attention to sensory experiences.
Slide 7: Incorporating Mindfulness into Daily Life
You can practice mindfulness in everyday activities such as washing dishes or taking a walk in the park.
Adding mindfulness practice to daily routines can help increase awareness and presence.
Mindfulness helps us become more aware of our needs and better manage our time, leading to balance and harmony in life.
Slide 8: Summary: Embracing Mindfulness for Full Living
Mindfulness can bring numerous benefits for physical and mental health.
Regular mindfulness practice can help achieve a fuller and more satisfying life.
Mindfulness has the power to change our perspective and way of perceiving the world, leading to deeper se
2 Peter 3: Because some scriptures are hard to understand and some will force them to say things God never intended, Peter warns us to take care.
https://youtu.be/nV4kGHFsEHw
Why is this So? ~ Do Seek to KNOW (English & Chinese).pptxOH TEIK BIN
A PowerPoint Presentation based on the Dhamma teaching of Kamma-Vipaka (Intentional Actions-Ripening Effects).
A Presentation for developing morality, concentration and wisdom and to spur us to practice the Dhamma diligently.
The texts are in English and Chinese.
A375 Example Taste the taste of the Lord, the taste of the Lord The taste of...franktsao4
It seems that current missionary work requires spending a lot of money, preparing a lot of materials, and traveling to far away places, so that it feels like missionary work. But what was the result they brought back? It's just a lot of photos of activities, fun eating, drinking and some playing games. And then we have to do the same thing next year, never ending. The church once mentioned that a certain missionary would go to the field where she used to work before the end of his life. It seemed that if she had not gone, no one would be willing to go. The reason why these missionary work is so difficult is that no one obeys God’s words, and the Bible is not the main content during missionary work, because in the eyes of those who do not obey God’s words, the Bible is just words and cannot be connected with life, so Reading out God's words is boring because it doesn't have any life experience, so it cannot be connected with human life. I will give a few examples in the hope that this situation can be changed. A375
A375 Example Taste the taste of the Lord, the taste of the Lord The taste of...
The baroque art in the spanish monarchy
1.
2. • The XVII th century remained in history as the “Siglo de Oro” in
the spanish art.
• The Spanish Baroque was different from the rest of Europe.
•Philip II was really conservative and didn t want that the
counter-reformative ideas corrupt the catholic faith.
• The Baroque Art finally entered in the Iberian Peninsula with
“escurialense” influence.
• The art was depleted because of the wrong political and
economical administration.
• It is surprising that although all these disadvantages, the arts at
this time were so brightful.
3.
4. - During this period a lot of “plazas mayores”, palaces and religious constructions.
- Used of poor materials.
- It was a progresive developement of the “ornamentacion”.
5. -During this period the style that influenced most in the architecture was the herrerian
Style and the transition of the new ways of architecture from Italy.
- The most famouses architects of this period were:
- Juan Gomez de Mora: The townhall of Madrid andthe “plaza mayor” of Madri
- Alonso Carbonell: Exterior afferes ministry.
6.
7. During this period the style that influenced most was the “churrigueresco” style of
Jose de Churriguera. Also the decoration is mora marked and developed.
The most important architects of this period are:
- José Benito de Churriguera: Altarpiece of the convent of Saint Esteban.
- Pedro de Rivera: Hospicon of Saint Fernando.
- Alonso Cano: Facade of the cathidral of Granada.
8.
9. During this period they take the decorative exuberance to the limit, tjhis was called
rococo.
There are not changes in the composition of the architecture but the are changes in
the decoration inside the architecture.
-The most important architects during this period are:
- Fernando de casas y Novoa: facade of the Obradoiro of the cathedral of
Santiago.
- Narciso Tome: Transparent of the Cathedral of Toledo.
- Jaime Bort: Cathedral of Murcia.
12. GENERAL FEATURES
Religious themes. Mythological and
secular themes absent.
The material used is wood. Stew
technique was abandoned.
Realism. Thanks to the inserts. They
create images of clothing.
Expression of feelings in the figures.
Purpose: to suggest profound religious
emotion with the spirit of the Catholic
Counter-Reformation.
13. LARGE SCHOOLS
1. Andalusian School.
Classical Realism: Juan
Martínez Montañés.
2. Castilian School. Violent
and pathetic realism:
Gregorio Fernández.
3. Murcia: Francisco
Saltillo.
14. ANDALUSIAN SCHOOL
Classic and serene realism.
Stew technique.
Two creative centers: Sevilla, with
Juan Martínez Montañés and Juan de
Mesa, and Granada with Alonso Cano
and Pedro de Mena.
15. JUAN MARTÍNEZ MONTAÑÉS
Serenity and classic Castilian against
dramatic pathos.
Linked in with the Renaissance
tradition.
Perfect knowledge of the nude. Child
sculpture creator.
16. CRISTO DE LA CLEMENCIA
Christ is still alive, it
avoids exaggeration.
Realistic but idealized
image, serenity.
Anatomical model is
smooth and balanced.
More exquisit.
18. JUAN DE MESA
Pupil of Martínez Montañés.
Greater drama and violence at work.
Cristo de la Buena
Muerte
19. ALONSO CANO
Disciple of Montañés.
Expression and classicism of the form.
Taste for stylization and simplification.
Linked to the Renaissance.
Evolution from the serenity of Montañés
to the sensitivity prior to Rococó.
20. LA INMACULADA
CONCEPCIÓN
Youthful
face, pious
attitude.
Verticality, sm
all sice.
21. PEDRO DE MENA
Mystical and dramatic representations.
Triumph of the feelings.
San Francisco de Asís Magdalena Penitente Ecce Homo
22. CASTILIAN SCHOOL
Violent realism.
It enhances the pain and pathos.
The best exponent: Gregorio
Fernández.
23. GREGORIO FERNÁNDEZ
LA MUERTE DE ECCE
CRISTO: HOMO:
Violent realism. Strong anatomical
Anatomical modeling figures.
perfection of bodies.
24. LA PIEDAD
The central group is composed of
diagonal: the Virgin’s right arm raised
in sorrow, while her left hand holds
firmly the Son, who rests on his lap.
Both figures are treated with beauty
and elegance, while the two thieves
are superb anatomical studies.
26. MURCIA
Fashion of the cribs, the manages of
Nápoles.
Sweetness and elegance with a
predominance of pastel colours.
27. FRANCISCO SALZILLO
Transition between Baroque and
Rococó.
Delicated and feminine sensitivity, fragile
beauty.
Taste for motion and color.
Expressive force.
30. GENERAL CHARACTERISTICS:
• “ Mecenazgo” of the Court and Church.
• Absence of the heroic and sizes larger than the natural ones.
They prefered a balance naturalism, a simple composition and no
theatrical or scenographical.
• Predominance of the religious themes, with an ascetic or mystical
expression, and treated with simplicity and credibility.
• Absence of sensuality.
• Influence of the realism and tenebrism of italian origin.
• Other themes are: the portrait, the mythology, the “bodegon”,
specially in Zurbarán and Sánchez Cotán, Velázquez incorporated
the landscapes, the pagan fable and the historical genre.
• There are three artistic sources: Valencia (Ribera y Ribalta),
Sevilla (Zurbarán, Murillo y Valdés Leal) and Madrid (Velázquez).
31. • The best exponent of the current spanish tenebrista
was Jose Ribera who was born in Jativa (Valencia) in 1611.
• He was established in Italy, received the nickname of
“spagnoleti”, nevermore would return to Spain, settling in Naples in
1616.
• His work flourishes in Italy.
• He was looking for simple works with religious themes, portrait or
mythological to exalt the monarchy.
• He was the best representative of the tenebrism.
• His style was care and natural.
32. • It was painted in
1630.
• It is one of the best
works of Rivera.
• This work represent
imbalance, because in
the left side of
the picture we can
see strength, and in
the right, weakness.
• It is a work with great
realism and
expressiveness.
33. In his works also showed the ugly and deformed with dignity
and realism:
34. •Other important works
highlighted by the beauty
of women are :
• “La Virgen en la Inmaculada”
(1635), “el triunfo de María
Magdalena” (1636), and
some holy ones as Santa
Inés (1641).
•These works are from the most
crucial period of his artistic
career.
•From the decade of the 40s, it
exceeds the starting tenebrismo.
35. • Born in Fuente de Cantos, he moved to Sevilla in 1614, forming in
the workshop of Pedro Diaz de Villanueva.
• He is the main representative of the religious themes.
• His work is very abundant, and we can differentiate two periods:
a first period in which there is a presence of tenebrism and
spiritualism; and a second period from mid century with soft and
delicate forms.
•This period coincides with a crisis in the career of Zurbarán, which
also coincides with the climax of Murillo.
36. • The most known works of Zurbaran are the saints of the Religious
Orders, which gives to his figures a great naturalist and a religious
spirit.
• His conventual works can be divided in three series:
• “La vision de San Pedro
De Nolasco” was
painted in 1628.
(Since 1637)
(1638-1645).
37. • Other important theme are the paingtings of “Santas y Mátires”
where the saints or Martyrs are dressed like great ladies.
•And the other one important theme is
“Naturaleza Muerta”, where the
objects are in a black backgrownd
to project them. This was a typical
paint, the “bodegones”.
38. • Other of his themes was the historical themes:
39. • Borned in Sevilla, where he lived most of his life.
• He began his training for ten years with Juan del Castillo, but
was influenced by Zurbarán and Ribera. The influence
of these teachers is evident in his early works.
• Is one of the most popular painters in and out of Spain.
• His painting was delicate and soft.
• Murillo didn t paint saints, his painting is closer to the familiar,
to the intimate.
40. • This work has a tenebrist
tendency
• Is a natural and tender
domestic scene.
• The work is composed of
two pyramidal structures.
• This work has also a
tenebrist tendendency and
is a natural domestic
scene, where we see the
child with more light than
the rest of the work.
41. • In a lot of his works, he painted
a virgin dressed in white which
represents the purity of the
Virgen Maria.
• Another common element on his
works was the number of angels.
• The blue mantle represents the
eternity.
42. These are two examples of the naturalness of his works,
representing daily scenes.
43. DIEGO RODRÍGUEZ DE SILVA Y VELÁZQUEZ
(1599-1660)
Two stages:
1. Formation stage (1617-1622)
2. Mature stage (1623-1660)
44. FORMATION STAGE:
The characteristics of this period are the tenebrism, with
strong contrasts between lights and shadows, predominance
of earthy colours, and simplicity in the composition.
Old woman frying eggs
1618 National Gallery of Scotland,
Edinburgh
45. MATURE STAGE:
This period can also be subdivided in three:
• 1623-1631: First “madrileña” stage and first trip to Italy:
he travelled to the Court and focused his in paintings in the
portrait genre.
These portraits were
characterized by:
simplicity in the composition
realism
elegance
statism
Philip IV
46. MEETING WITH THE FLEMISH ARTIST RUBENS
His meeting with Rubens orientated his paintings to the humanism and
mythology. Rubens encouraged him to study in Italy.
The main
characteristic of
his myttholigic
painting is it’s
burlesque and
ironic conception.
The Triumph of Bacchus
47. First trip to Italy (1629-1631)
During his first trip to Italy he will see all the romans and venetians
renaissance painters’ works.
His paintings will have the italian painters’influence.
The forge of Vulcan
48. • 1631-1648: Second “madrileña” stage:
When he returned form Italy his style became softer and more colorful.
The italian influence made his drawing became looser, he started using
the aerial perspective. We can find:
Religious paintings Portraits:
Christ on the cross The Conde-duque de Olivares on horseback
49. Jesters portraits
Pablo de Valladolid
The Surrender of Breda (The Lances)
1635 Museo del Prado, Madrid
50. • 1648-1660: Second trip to Italy and thrid “madrileña” stage
His second trip to Italy was between 1649 and 1651. Velázquez had the
royal comission of acquiring paintings and antiquities for the hispanic royal
galeries.
In this period, he improved
the technique, he captured the
aerial perspective, he used less
amount of pictorical paste in his
loose brushstroke and he took
care of the ambience and details.
The pavilion
Ariadna in the Medicci garden
in Rome
Museo del Prado,
Madrid
52. • The last “madrileña” stage and the culmination of Velázquez:
Veláquez returned to the Court and to Madrid in 1651 after
three years in Italy. This last stage is the stylistic culmination
of the sevillian master.
From this period belong some
portraits as:
La reina Doña Mariana
Infante Felipe Próspero
Kunsthistorisches Museum, de Austria
Vienna Museo del Prado, Madrid