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.

1. If it ain’t
BAROQ
UE, don’t
fix it!
1600-1700
in Europe

3. “Baroque” means “irregularly shaped” or
“odd” (describes departure from styles
seen in Italian Renaissance)
RENAISSANCE BAROQUE
Balance Movement
Ideal of beauty Realism in representations
Simplicity Complexity
Proportions Interest in surprising the
viewer
Straight lines Curved lines, convex, concave
Drawing emphasized more
than color and light
Color and light emphasized
more than drawing

4. Baroque are is a reflection of society:
• ART of absolute monarchies
• ART of the counter-reformation
(Catholic countries)
• Bourgeois ART (Protestant
countries)

5. Main ideas about BAROQUE:
• Counter-Reformation (Catholic resurgence) is
reflected in art of Italy, Spain, and France
• Protestant Holland’s Baroque art contrasts Catholic
art
• Two schools of thought: CLASSICISTS (inspired by
Italian artists like Raphael) and NATURALISTS
(inspired by Venetian painters like Titian)
• Artists experiment with GENRE PAINTINGS,
landscapes, and still lifes (raise them to importance
level of traditional subjects)
• Architecture reflects majestic royal courts of Europe

6. • Catholic church is still the head honcho of
artistic commissions (followed closely by
royalty and autocratic governments)
• Huge churches = big paintings = big $$$
• Some artists considered their work to be
a reflection of their firm commitment to
their faith (like Rubens and Bernini)
• Landscape architecture becomes its own
art form (you’ll see what I mean when
you see Versailles in France) – impressive!

7. Architecture time!
• Lots of movement, undulation
• Cavities of shadow contrasting with projections
catching the sun
• Emphasis on center façade – accentuate entrance
with wavelike forms, pediments, tympana
• Richly designed interiors with paintings and
sculptures – all work together to create dramatic
unity
• HUGE and elaborate architecture – meant to
impress – represents achievements of patrons –
power and wealth!

8. Let’s start with ITALIAN Baroque…

9. Façade of St. Peter’s
by Carlo Maderno
1607-1612
Rome

10. •Façade and nave
added to
Michelangelo’s
design of St.
Peter’s (creates a
Latin cross plan) –
wide and low
façade –
emphasis on
center of façade
with pediment
highlighting main
door

11. •Pilasters on
each end
gradually
become
rounded
engaged
columns
around
central door
(more central
emphasis!)

14. Colonnade of St. Peter’s
by: Gianlorenzo Bernini
1656-1657, Rome

16. •Huge plaza that can hold half a million people (you
should see it on Easter!)
-Bernini wanted a surprising contrast between busy
congested Rome and a big open vista of St. Peter’s

17. -Colonnade is like a big hug – embracing arms bring
faithful people into the building (the basilica)
-Shaped like a skeleton keyhole – St. Peter holds the
keys to heaven (ahhh, connection)

18. Fun game to
play as you walk
around the
colonnade –
“Count the
Nuns”

19. The Columns are big!

20. Oval shape centered around an Egyptian obelisk that was
already there
-Trapezoid shape in front of basilica determined by
preexisting buildings

21. • The Obelisk from
Egypt was brought
to Rome by
Emperor Caligula
in 37 AD.
• It is also a sun dial,
its shadows marks
noon over the
signs of the zodiac
in the white
marble disks in the
paving of the
square.

22. 140 Saint statues along colonnade

23. St. Charles of the
Four Fountains
by: Francesco
Borromini
1638-1641, Rome

24. •In a square in
Rome with four
fountains (ah,
that’s where the
name came from)
-unusually small
site, façade higher
than the rest of
the building

25. Haha, look at that
tiny building with
that big facade
•Check out the
undulating shapes
•Concave/convex
patterns

27. Here’s the inside!

28. •Here’s the floor
plan
•It’s an oval!
•Interior side
chapels merge
into a center
space
•Oval dome above
mirrors oval shape
of church

29. The dome of St. Charles of the Four
Fountains
(PS: it’s coffered)

30. •Walls are very sculptural
-Borromini liked using shades of white (typical Baroque –
avoided color in buildings)

31. Sant’ Agnese
By: Francesco Borromini
1653-1663, Rome

32. It’s in the Piazza Navona in Rome
One of THE most beautiful places in the world!

33. SMO Cam, Piazza Navona

34. Sant’ Agnese church
dominates the piazza
-convex/concave forms
on facade

35. Look how the light
plays off of the
façade, ooooo!

36. Dome
framed by
elaborate
towers,
rises
dramaticall
y behind
concave
facade

37. Sant’ Agnese ground plan
-centrally planned, wide round transept

38. Interior: space flows well, very open plan

40. Looking up into the dome of Sant’ Agnese

41. Chapel of the Holy Shroud by: Guarino Guarini (haha)
(attached to Turin Cathedral)
1667-1694

42. Added to Turin Cathedral
around 200 years after it was
built

43. • Very complex space
• Interior is
kaleidoscope-like
• 12-point star
• Illusion of endless
space

44. • Hexagonal ribs
cross one
another, which
creates an airy
domed space of
crazy intricacy….
It just goes on
forever!

45. Chapel holds the controversial Shroud of Turin
(believed by some to be the burial shroud of Jesus)
Carbon dating places it in the Medieval period though…

46. Positive photo Photo negative with contrast

47. Let’s move on to FRENCH Baroque…

48. Versailles
by: Jules Hardouin-Mansart (and others)
beguin in 1669 in Versailles, France
Beware: Visit this place in the off-season unless
you love crowds that will mow you down

49. SMO Cam

50. •Was a hunting lodge, remodeled into a massive,
elaborate palace for Louis XIV
•Center of building was Louis XIV’s bedroom
(“audience chamber”) – the rest of the floor plan
radiates out from there (Louis fancied himself the
“sun king”- he had a bit of an ego)
•A symbol of the system of ABSOLUTE MONARCHY

51. Louis XIV’s bedroom.
Not too shabby.

52. A reflection of Louis XIV’s political and economic ambitions
-vast garden and town complex radiating out from the palace

53. Exterior decoration of façade is kinda subdued, understated undulation

55. Let’s look at the gardens
(just because they’re pretty)

59. SMO Cam

60. SMO Cam

61. The Hall of Mirrors in the Palace of Versailles

64. •The Hall of Mirrors: 240 feet long, barrel vaulted, painted ceilings
show civil and military achievements of Louis XIV
•Light comes through windows on one side, bounces off mirrors on
other side (largest pieces of glass that could be made at that time)
•Flickering light is spectacular!

65. • Henry would walk
down this hall daily
on his way to the
chapel from his
private apartments
• Treaty of Versailles
was signed in this
hall (ended WWI in
1919)

66. • Let's see a little movie about Versailles

67. Time for ENGLISH Baroque…

68. Banqueting House
by: Inigo Jones, 1619-1622, London

69. • Built for James I of England to replace a hall destroyed by fire
• Inspired by Palladio, introduced Palladian style to England
(Andrea Palladio – influential Venetian architect in 1500’s)

70. • Banqueting House by
Jones (17th century),
England
Palazzo Chiericati by Palladio
(16th century), Italy
-no, we never looked at this,
I’m just making an Italian
comparison

71. • Façade is modest, not
much undulation
• Central bay of six
windows is framed by
engaged columns

72. Flat pilasters recessed around windows (pilasters
are decorative, engaged columns provide support)
pilasters

74. • Balustrated roof
• Illusion of two
stories (it’s
actually one big
room inside)
• Basement level
has rusticated
stone

75. Just for kicks, here’s the interior

76. Oooo, the ceiling
was painted in
1635 by Peter Paul
Rubens (we’ll see
his work in the
near future)

77. Saint
Paul’s
Christopher Wren
1675-1710
London

78. w of Saint Paul’s from above
e going to look at the west

79. •Built after
the Great
Fire of
London in
1666
(Gothic
building on
this site
burned
down)

80. What
elements of
this church are
quintessential
GOTHIC?

81. •Façade:
projecting
parts create
dark/light
contrast in the
center
(emphasis on
center) – sides
recede
•Bell towers –
complex
looking,
graceful

82. • Dome is 3 domes in one
• Inner dome low and curved
• Second dome supports lantern
• Exterior dome fills out space

83. • Remember Bramante’s Tempietto from the Italian
High Renaissance? Looks similar, huh? Influence!

85. Saint Paul’s Interior

86. •Saint Paul’s
sits at the
highest point
in London –
can be seen
from far away
•Part of the
national
identity of
England- many
significant
events/cerem
onies here

88. apse
choir

89. Blenheim Palace
by: John Vanbrugh
1705, Woodstock, England

90. •Thank you gift to the
Duke of Marlborough for
winning the battle of
Belnheim in 1704 in the
War of Spanish
Succession (not a bad
present!)

91. •Many reminders inside of the duke’s
awesomeness (trophies, cannonballs, urns,
statues, etc.)
-another majestic palace structure (like Versailles)

92. Here’s another angle
-Accent on central core
-Basement has porthole windows, Vanbrugh’s favorite motif

93. • Projecting pavilions
• Corner towers
• Advance and retreat of façade pattern

94. Enough
architecture!
Let’s see some
sculptures and
paintings!

95. Baroque Sculpture
• Stressed movement, figures in mid-motion
• Large sculptures meant to be seen in the round
• Use of negative space – makes all angles interesting
• Treatment of marble to achieve textures (ie: high
polish for skin, feathery carving for angel wings,
coarse surface for animal skin, etc.)
• Tie-in with Greek Hellenistic sculptures
• Attention to light and shadow

96. David
By: Gianlorenzo Bernini
1623
Marble
Rome

97. •mid-action, swinging
the slingshot at Goliath
•Harp near his feet-
symbolizes his role as a
psalmist
•Face is an idealized
version of Bernini’s own
face, intense gaze

98. •Meant to be seen from multiple
angles
•Use of negative space, figure seems
animated and dynamic

100. The Discus Thrower
450 BCE, marble
Greek

101. Baldacchino
by: Gianlorenzo
Bernini
1624-1633
Bronze
in St. Peter’s
Rome

102. •Over the main altar of St.
Peter’s
-Four twisting corkscrew
columns that spiral
upward
-Directs viewer’s eye
down the nave of St.
Peter’s to the altar
-Acts as a shrine and
canopy over St. Peter’s
grave (buried under the
basilica)

103. Mega
achievement
in bronze
casting
A symbol of the Counter-
Reformation in Rome.
It shows “We are Catholic!”

105. Bees and suns decorate the piece –
symbols of the patrons (Barberini family)

106. Barberini coat of arms

107. Ecstasy of
Saint Theresa
by: Gianlorenzo
Bernini
164-1652
marble
in Santa Maria
della Vittoria,
Rome

108. •St. Theresa
wrote in her
diary about her
visions of God –
an angel
descended
upon her and
plunged an
arrow into her

109. •Pose suggests
sexual
exhaustion –
consistent with
her description
of spiritual
ecstasy
described in her
diary entries
-divinity collides
with a human
body – a state
of divine joy

110. One diary entry:
I saw in his hand a long spear of gold, and at the iron's
point there seemed to be a little fire. He appeared to
me to be thrusting it at times into my heart, and to
pierce my very entrails; when he drew it out, he
seemed to draw them out also, and to leave me all on
fire with a great love of God. The pain was so great,
that it made me moan; and yet so surpassing was the
sweetness of this excessive pain, that I could not wish
to be rid of it. The soul is satisfied now with nothing
less than God. The pain is not bodily, but spiritual;
though the body has its share in it. It is a caressing of
love so sweet which now takes place between the soul
and God, that I pray God of His goodness to make him
experience it who may think that I am lying.

111. Marble handled in a
tactile way, textures
revealed, high gloss skin,
texture in feathers,
drapery is animated and
fluid, clouds roughly cut

112. Rough-cut clouds

113. Texture in wings

114. • Natural light from a
hidden window
illuminates the sculpture
(clever!)
• Figures appear to float in
space, ungrounded
• Rays of God’s light
illuminate the scene
from behind
• Stage-like setting
• Sculptures of Cornaro
family (patrons) sit in
theater boxes looking on
and commenting

115. Cornaro family in theater boxes

116. Two Trends in Baroque Painting
NATURALISM CLASSICISM
Expressive sense of movement Subdued emotions
Figures dramatically rendered, even in
portraits
Subdued drama
Light effects are strong – sources of light
create strong highlights and shadows – this
contrast is called TENEBROSO or TENEBRISM
Realistic use of light
Colors are descriptive and evocative Subdued colors
Inspired by Venetian Renaissance
Rejection of “artificiality” of Mannerists
Inspired by classicizing painters like Raphael
Who: Caravaggio, Gentileschi, Rubens Who: Poussin, Carracci

117. Some trends:
• Still life, genre paintings, and landscapes, religious
and historical paintings
• Landscapes express a higher meaning, have small
figures in a vast landscape (not done on-site, rather,
done in a studio and based on sketches in the field)
– thoughtful combination of earth/architecture
• Still life paintings often have a VANITAS theme –
stresses shortness of life and folly of human vanity
• Genre paintings often have an allegorical
commentary on a contemporary or historical issue

118. Let’s start in Italy again…

119. Calling of Saint
Matthew
by: Caravaggio
1597-1601, oil on canvas, in Rome

120. One of a series of paintings for a chapel
What is happening here?

121. • Scene from the Gospel of Matthew: “Jesus saw a man named Matthew at
his seat in the custom house, and said to him, “Follow me”, and Matthew
rose and followed him.”
• Shows Matthew the tax collector w/ four other men
• Jesus and St. Peter entered, Jesus points at Matthew
• Beam of light illuminates faces of the men who are looking at Jesus

122. Jesus inspires Matthew to follow him (conversion to
Christianity)
St. Matthew points to himself (“me, a tax collector?”)
Matthew

123. • Men are
foppishly dressed
in the latest
Baroque fashions
(not Jesus-era
fashions)
• Figures have
everyday
characteristics,
NATURALIST
approach

128. • Well would you look at that! - Christ’s hand gesture
similar to Adam’s and God’s in the Sistine Chapel

129. •Narrow stage for figures to sit and
stand on
•Diagonal shaft of light points right at
St. Matthew
•Dramatic light creates TENEBROSO
effect on figures
Tiny halo on
Christ’s head
indicates
sacredness of the
scene

130. Entombment
by: Caravaggio
1603
oil on canvas
check it out in
Rome!

131. •Christ’s body placed in a
grave
•This painting was placed
over an altar so Christ is
symbolically being placed
on the altar
•TRANSUBSTANTIATION =
turning the Eucharist
meal (bread and wine)
into the body and blood
of Christ (Protestants of
the Counter-Reformation
don’t believe in this)

132. •Figures are pushed
forward in the picture
plane, shallow stage
•Stone slab seems to
project forward toward
viewer
•Nicodemus (guy looking
at us) resembles
Caravaggio himself –
common-looking man
without any hints of
holiness (Naturalism!)

136. Mary is traditionally
depicted as ageless
and young
But Caravaggio
embraced
Naturalism – paints
Mary older (Christ is
33 after all)

137. Many paths
for the eye
to take
Limbs, gazes,
gestures lead
the viewer’s
eye around
the painting
(movement)
Diagonal
cascade of
mourners
Light source
illuminates
Christ the
most

138. Loves of the Gods
By: Annibale
Carracci
1597-1601
Fresco
Farnese Palace
ceiling in Rome

139. •Barrel vaulted ceiling
combines two things:
•Quadro riportato:
means “carried picture”
– gold-framed paintings
seen in a normal
perspective
•Di sotto in su: means
“from below to above” –
extreme foreshortening
of figures painted on the
ceiling – gives the
illusion that the figures
are suspended in air
above the viewer

140. •Idealized bodies in a variety of poses
•Vigorous movement (in bodies AND in the viewer’s
exploration of the scenes)
•Rich colors inspired by Venetians

141. Loves of the gods
played out with
abondon on the
ceiling, such as…
Jupiter and Juno

142. Pan and Diana
So……
CLASSICISM or
NATURALISM?
Waaaaay
different than
Mannerism of
the past

143. Aurora and Cephalus

145. Figures overlap the “frames” (most are painted) –
sit on them, put hands/feet over them

146. Judith and Her
Maidservant
with the Head
of Holofernes
By: Artemisia
Gentileschi
1614-1620
Oil on canvas

147. •TENEBRISM
and gory
details
(influence of
Caravaggio)
•Dramatic
lighting!
•Heightened
emotion

148. •Gentileschi painted this
shortly after she was
raped by the painter
she was studying with
•Sword forms a cross
shape – good over evil
•Gentileschi specialized
in paintings of women
triumphing over men!

149. •Face of Judith is
her face – she
identified with
Old Testament
heroines
•Beheads
Assyrian general
Holofernes after
he falls asleep
drunk (his face is
her mentor’s
face)

150. •Visual
“lines” draw
your
attention to
the action

151. •Super physical scene!
•Wide spurts of blood
•Women struggle with
large dagger
•And there’s a follow-up
painting in the story…

152. Judith and her
Maidservant

153. Caravaggio painted the same subject

154. …and Michelangelo painted it in
the Sistine Chapel…

155. AND Gustav Klimt
painted it in the
19th century
..and a bunch of
other artists….just
sayin’

156. Aurora
By: Guido Reni
1613-1614
Ceiling fresco in Casino Rospigliosi, Rome

157. •Aurora leads Apollo’s chariot
•Cupid and the Seasons dance around
the heavenly chariot
•Influenced by Raphael

162. •Classicist trend
•Soft modeling
•Sweet, airy vision

163. Triumph of the
Barberini (or
Triumph of the
Divine Providence)
By: Pietro da Cortona
1633-1639
Fresco in the
Palazzo Barberini,
Rome

164. Di sotto in su
(remember what
that means?)
Naturalist trend
Figures move
easily in an open
space unified by
plentiful light and
color

166. Ceiling subdivided by a painted architectural framework
Figures spill over the framework

167. •Solar Divine
Providence at one end
(the Barberini papal
election was divine
providence of course,
not at all rigged, ha)
•Other end shows
putti and flying
maidens holding the
papal keys, tiara, and
robe belt above a
swarm of golden giant
bees

168. Divine providence (God’s intervention in the world)

169. Bees and laurel wreaths (symbols of Barberini family)

170. Let’s go to SPAIN now

171. The Water
Carrier of Seville
by: Diego
Velazquez
1619, oil on
canvas

172. •Simple genre
scene, but with
sacred quality in
the expressions,
the handing
over of the
glass, and the
clarity of the
water

173. •Velazquez liked
Caravaggio’s use
of TENEBRISM
-Rounded forms
(jugs, figures)
-water is
sweetened with
fresh fig

174. Mmm, fig water

175. •Water carrier (water
seller) was a common
trade for lower class in
Seville
•Two customers: a
young boy and young
man
•Big jugs of water
glisten with splashes of
water – so big they
seem to protrude into
the viewer’s space
•Hands fresh glass of
water to the boy

176. •Calm scene
•Seller has pensive
face, detailed with
scars and wrinkles =
many years of work
•Short hair and plain
clothes – appearance
of a monk, saint, or
philosopher
•Gazes at nothing – in
deep thought,
unaware of those
around him

177. •Velazquez respected
the poor – realized
that the simple nature
of poverty is a
profound and
effective subject
matter for depicting
morals and biblical
stories
•Aimed to precisely
represent life – shows
insight into the water
carrier as a person

178. This is
Velazquez, just
in case you’re
curious
(self portrait)

179. The Surrender of Breda
By: Diego Velazquez
1634-1635, oil on canvas

180. •Shows the Dutch yielding the town of Breda to the Spanish in
1625 (handing over the key)
-Look at how gracious the Spanish are being – very dignified,
united military (painting is an emblem of Spanish nationalism)

181. •Dutch on the left are more scattered and disorganized looking,
not in fancy uniforms, very young
-Dutch weapons aren’t organized or substantial, Spanish
weapons upright, symbolize military might of victors

182. •Poor Dutch. They lost.
•BUT, this is a very
important historical
commentary: Velazquez
depicts one of the most
humane captains
(Spanish) of the day
•Salutes a moment of
restraint and kindness
in battle (awwww)

183. •Imaginary landscape in background (aka: Breda)
Can you see the cross in the distant lake? A symbol of
Spanish (Catholic) domination over Dutch (Protestant)

184. •Soldiers show each other mutual respect (good game!) in
honoring the valor of the other side
-open space in center emphasizes the keys and
symbolizes a city resigned
-Funny thing is, Velazquez never met Dutch people or
traveled to Breda

185. Las Meninas
by: Diego
Velazquez
1656
oil on canvas

186. FYI: this is one of
the most widely
analyzed
paintings in art
history. This is an
overview. You
may want to
read more about
it on your own.

187. •Set in a large
room in a
royal palace
during the
reign of King
Philip IV of
Spain
-most figures
identifiable as
members of
Spanish court

188. •Group portrait
of the artist in
his studio at
work
•He steps away
from the canvas
to look at the
viewer – wears
the cross of the
Royal Order of
Santiago, making
him a knight

189. •He wasn’t
knighted until
three years after
he finished this
painting
•Cross added
after his death

190. (1) Margarita Teresa of Spain, Infanta Margarita
(2) doña Isabel de Velasco
(3) doña María Agustina Sarmiento de Sotomayor
(4) the dwarf German, Maribarbola (Maria Barbola)
(5) the dwarf Italian, Nicolas Pertusato
(6) doña Marcela de Ulloa(
7) unidentified bodyguard (guardadamas)
(8) Don José Nieto Velázquez
(9) Velázquez
(10) King Philip IV reflected in mirror
(11) Mariana, queen of King Philip, reflected in mirror

191. •Infanta
Margharita of
Spain in the
center
•Meninas =
attendants
•Also a dog,
dwarf, midget,
and two
chaperones

193. •Joes Nieto in
doorway
(head of the
queen’s
tapestry
works, which
is why his
hand is on a
curtain)

194. •King and Queen
are reflected in
the mirror… but
where are they in
the room? Are
they in the
painting facing
away from us? Are
they in the room
(standing in our
space) – is that
who everyone is
looking at?

196. •Darks and
lights draw us
deeper into the
room
•Dappled light,
some surfaces
seem to
shimmer
•This painting
was originally
hung in King
Philip’s study

198. Picasso

200. Picasso Again

201. Spanish department store advertisement

202. Let's watch
a movie
about this
painting

203. FLEMISH Baroque…

204. Raising of
the Cross
by: Peter Paul
Rubens
1610-1611
oil on canvas
In Antwerp Cathedral

205. Part of a triptych – one continuous space across the three panels

206. •Strong diagonals
direct viewer’s
attention to Christ
•Bodies have
impressive
musculature –
brought out by the
dramatic lighting
•Spontaneous
moment, physical
and visual movement

208. •Men attempting to
lift the cross with
Christ on it
(challenging to their
lovely muscles) –
look like they’re
struggling
•Motion, space, and
time part of the
scene
•Dynamic color and
dark/light contrast

209. •Intense scene, very
religious, but it’s
more about the
passion and
exuberance of the
scene
•Influence of Italian
Renaissance and
Baroque artists.
Where do you see
this?

210. Marie de’ Medici
Cycle (This one is
“Arrival of Marie
de’ Medici in
Marseilles”)
by: Peter Paul
Rubens
1622-1625
oil on canvas

211. •21 paintings in this
series, but we’ll focus
on this one
•All commissioned by
Marie de’ Medici, wife
of Henry IV of France
•Decorated a waiting
room in the royal
apartment in
Luxenbourg Palace (but
now they’re at the
Louvre Museum)
•Hung in a particular
order

212. •All the paintings
tell the life story of
Marie de’ Medici
through allegory
•They’re huge!
•Allegories help
tell the story and
mix w/ real
historical people
(sort of like
historical fiction)

213. •Here, Marie
arrives in France
after a sea voyage
guarded by
Neptune and sea
nymphs
•Angel playing two
trumpets – hooray
for her arrival!

214. -Nymphs-
Ever hear the term “Rubenesque”?

215. •Rubens has
turned something
ordinary (arrival,
walking down
gangplank) into
something
magnificent.
•Heaven + earth
•History + allegory

216. “France” falls to her feet to
greet her with open arms
(notice gold fleur-de-lis pattern)
Marie is dressed in silver – blends into the
crowd, nearly gets lost in the action

217. •Fancy costumes,
looks like an opulent
theater production
•Sumptuous, full-
figured women
•Mellow intensity of
color – inspired by
Titian and
Caravaggio
•Heroic gestures,
lots of movement

218. Charles I
Dismounted
by: Anthony
Van Dyck
1635, oil on
canvas

219. •Charles I of England
walking in front of
his bowing horse
•Looking directly at
viewer, haughty
pose, hat framing his
head like a halo
•Royalty chilling out
in nature (Venetian
landscape)
•Charles is closest to
the viewer- artist’s
attempt to
downplay his

220. •Charles dressed in
civilian clothing,
resting during a hunt
•The Louvre calls his
pose “a subtle
compromise
between
gentlemanly
nonchalance and
regal assurance”
•Horse bows its
head, as if bowing
down to Charles

221. DUTCH Baroque…
(aka: Rembrandt van Rijn and friends)

222. DUTCH Baroque Art…
• Dutch paintings of landscapes, portraits, genre
paintings
• Avoided religious ecstasies, myths, and
historical subjects
• Dutch houses are smaller than Italian,
Spanish, etc. – so painters work smaller so
their paintings fit
• Into symbolism
• Somewhat outside the “mainstream” of
Baroque art

223. Self-Portrait
by:
Rembrandt
van Rijn
1659-1660
oil on canvas

224. •We could go on
FOREVER about
Rembrandt’s
self-portraits
•He did MANY of
them
•They reveal true
humanity,
psychological
tension, various
states of mind

225. •In them, we see him
suffering, weary,
satisfied, dignified,
excited, etc.
•Faced personal
tragedy and financial
hardships, but was a
very popular artist
•Self-portraits are
sincere, w/o vanity
•Always with a
penetrating gaze
•LOVED using soft
chiaroscuro lighting

231. Inside Rembrandt’s studio in Amsterdam
(SMO cam….. Yeah, I almost died)

232. Anatomy Lesson of Dr. Tulp, by Rembrandt van Rijn
1632, oil on canvas

233. Depicts a specific anatomy lesson (Jan 1632)
Public anatomy lessons lasted 4-5 days, indoors in winter

234. Dr. Tulp explains musculature of the arm to medical
professionals
Only one public dissection a year (must be an executed
criminal)

235. •Rembrandt’s first
group portrait
•Spectators are
various doctors who
paid to be included in
the painting
•Anatomy lessons
were a social event in
the 17th century – in
lecture rooms
(theaters) w/
students, doctors,
and the general
public (I know,
ewww) – paid an
entrance fee

236. •Spectators
dressed for this
solemn social
occasion
•The “bloody”
work was left to
others
(“preparators”) –
that’s why we
don’t see any
cutting
instruments (too
menial of a task for
Dr. Tulp)

237. •Dr. Tulp seated in place of honor, wears rimmed hat
(marks him as an the chairman) – hands are prominently
displayed

239. •Comparing the corpse to the giant anatomy book on the
right, and positions his own arm to make his point

240. So who is the corpse? – a criminal convicted of armed
robbery and hanged that day, shadow of death on face

242. Night Watch
By: Rembrandt van Rijn
1642, oil on canvas

243. Originally this size (cut down in in 1715) – this is a copy
--cut to fit between two columns when moved to a new location

244. I saw it!

245. Again, we see a painting that entire books have been
written about…. We’ll do what we can… bear with me

246. •Painted for an assembly hall as part of a group of
paintings of various militias
•Misnamed – thought it was a night scene before it was
restored (because of all the grime over the years)

247. •Eight patrons in the scene (represented according to
how much they paid, partial or full body)
•Militia marching out on patrol (or on parade?)
•Captain Cocq holds a baton and wears a red sash,
speaking as he comes forward, maybe giving orders

249. •Lt. Ruytenburg (in yellow) holds a partisan (a long spear
weapon) and stands with the captain
•Central group comes forward, side groups move behind

252. •Allegorical figure of a girl in gold carrying a large white
chicken dangling from her waist – girl is sort of a mascot –
claws of chicken symbolize militia called the
Arequebusiers (named after the gun featured in the
painting)… I don’t make this stuff up

253. •Dead chicken
also represents
the defeated
enemy
•Yellow is usually
associated with
victory

254. So what makes this painting so great?
1. Massive size (roughly 12x14)
2. Dramatic use of light and shadow (chiaroscuro)
3. Rembrandt managed to include MOVEMENT in what had the
potential to be a traditional, static military portrait (boring!)

255. Hundred Guilder Print
By: Rembrandt van Rijn
1647-1649, etching

256. • Name comes from the heavy price for a copy of this print!
• Also called “Christ Healing the Sick” and other titles based
on multiple events from Matthew’s gospel (Christ healing
the sick, debating with scholars, calling children to him)

257. • Shows Bible events as a tender moment, serene (not based
on just ONE single biblical story, illustrates various themes)
• Jesus in the center, many religious messages packed in
• Young man w/ head in his hand = Christ preaches against
excessive wealth

258. • Women present their babies to him to be blessed –
symbolizes his acceptance of all followers, no matter how
“insignificant”

259. Let’s meet Frans Hals!
• Specialized in single
portraits, marriage
portraits, and group
portraits
• Right time, right place –
no market for religious
art, portraits popular
• Became famous by
painting complex
groupings of Dutch
fraternal organizations
Hals Selfie

260. Guess what’s by Hals….
Yeah, this painting that
has been staring you in
the face since the
summer
Catharina Hooft and her
Nurse
1620
Oil on canvas

261. Archers of the Saint Hadrian
by: Frans Hals
1633, oil on canvas

262. • Relative social positions expressed through the composition. You can
probably pick out the “most important” people based on their
positions – creative arrangement – some standing, some sitting, all
based on their position in society

263. • Hals used diagonals to create 2 groupings and a focal point in the
center
• Lively conversation, animated faces, some glance at each other and
some look at the viewer

264. • Faces are NOT idealized, all clearly distinguishable, personalities
revealed in facial expressions
• Very clever – light, shade, modeling all achieved with a few fluid
brush strokes

265. Officers of the Haarlem Militia Company of Saint Adrian
Frans Hals, 1627,oil on canvas

266. • Two distinct groups = split in the political and social
structure of the company (Group on right is more relaxed)

267. • Group on left surrounds Colonel Loo (the commanding
authoritarian), many personalities depicted (Hals specialty)

268. Self-Portrait
By: Judith
Leyster
1633
oil on canvas

269. • Self-portrait AS the
artist – secure in
her craft
• Turns around to
chat with the
viewer as she’s
painting
• Even the fiddler
she’s painting is
smiling at us!
• She was inspired by
Hals (she knew him)
– IMPASTO
brushwork
• She looks successful
and capable

270. • Took on male
apprentices
• Most of her
work was
done before
she had
children (only
two known
pieces made
afterwards)

271. View of Haarlem from the Dunes at Overveen
By: Jacob van Ruisdael
1670, oil on canvas

272. •Shows a 20-year long landscape project that reclaimed lots
of land from the sea (filled it in…. Sounds tricky)
•Flat landscape comes to life with alternating dark and light
effects – deepen the perspective and draw our attention
into the painting, dappled sunlight comes through clouds

273. •Linen dries in the open air (a local industry)
•Sky demands our attention just as much as the land, very
animated and bold, billowing clouds, movement
•Dutch interest in landscapes

274. The Love Letter
Johannes Vermeer
1662-1665
oil on canvas

275. •VERY few
Vermeer
works exist
•Almost
always depict
intimate
scenes in
private Dutch
homes
•Figures seem
unaware of
our presence

276. •Diagonals in
floor add to
creation of depth
•Lute = symbol of
love
•Removed
slippers = symbol
of sex
•Broom cast
aside – domestic
concerns
forgotten when
you’re in love!

277. •We are looking
into a private world
•Servant handing
love letter to young
woman playing a
lute
•Small gestures
have big impact
visually
•Warm light from
unseen window
highlights textures
and surfaces –
marble floor,
fabric, etc.

278. Similar, but a
different painting
The Guitar Player
Johannes Vermeer
1672
oil on canvas

279. Here are a few more
Vermeer pieces, just
for kicks:
The Music Lesson
Johannes Vermeer
1662-1665
oil on canvas

280. The
Milkmaid
Johannes
Vermeer
1658
oil on canvas

281. The Astronomer
Johannes Vermeer
1668
oil on canvas

282. The Girl with the
Wine Glass
Johannes Vermeer
1659
oil on canvas

283. Girl with a
Pearl Earring
Johannes
Vermeer
1665
oil on canvas

284. The Art of
Painting
Johannes
Vermeer
1666
oil on canvas

285. Embarkation of the Queen of Sheba
By: Claude Lorrain
1648, oil on canvas

286. Embarkation of the Queen of Sheba
By: Claude Lorrain
1648, oil on canvas

287. •Queen of Sheba leaves palace (right) to visit King
Solomon in Jerusalem (scene from the First Book of Kings
in the Old Testament)
•Leaves city of classical buildings, early morning sun lights
up the sea, ships are loaded
•Queen is about to get in a small boat to transition to the
larger boat in the distance

290. •Architecture frames the scene’s center, which is
relatively empty
•Rising sun shimmers on the water, scene is backlit, waves
pick up sunlight

291. •Combination of visuals is not chronological
(anachronistic) – Roman ruins, medieval tower, Baroque
palace…..whatever, it looks nice
•Landscape is dominant, people are insignificant (Dutch)

292. •Composition divided into fifths: horizon
line 2/5 of the way up, columns and palace
take up 1/5 of the composition

293. Et in Arcadia Ego By: Nicholas Poussin
1655, oil on canvas

294. •Uneducated shepherds have difficulty reading the tombstone (curious
expressions)
•Arcadia (female figure) gently places her hand on the back of one of
the shepherds
•Pastoral painting, idealized shepherds from classical antiquity

295. •Poussin wanted his paintings to show moral meanings
•Inscription on memorial (hard to see) – “I too am in Arcadia”

296. •MANY interpretations of the meaning behind this painting
•Shepherd’s shadow forms figure of the Grim Reaper
•Trees young, mature, and dead in background (life cycle?)

297. •“Arcadia” is a place for pure, rural, idyllic life (far from the city) –
utopian land
•SO “I too am in Arcadia” could mean Arcadia = heaven

298. Louis XIV
by: Hyacinth
Rigaud
1701
oil on canvas

299. • The PERFECT
example of a
Baroque absolute
monarch
• In Baroque setting
• In Baroque clothes
• Louis was proud of
his legs, exposes
them for the
viewer to admire
• Expression – he
looks down on us

300. Peasa
nts!

301. He’s wearing his coronation costume

302. Crown placed
at his side

303. •Elegant, stately pose
•Haughty expression
•Heavy black wig
•Elaborate velvet robes
•Holds scepter
•Sword = a military
weapon and a phallic
symbol (TMI)
•Painting SO popular
that Rigaud had
assistants make copies
(full and half-length)
•Exalted status!

304. VOCABULARY:
• GENRE PAINTING: painting in which scenes of everyday
life are depicted
• IMPASTO: a thick and very visible application of paint
on a painting’s surface
• POUSSINISTES and RUBENISTES: fans of Poussin and
Rubens
• QUADRO RIPORATO: a type of ceiling painting –
created on a curved ceiling vault. You must stand in a
particular spot in order for it to appear correct
(example: Sistine Chapel)
• DI SOTTO IN SU: “from the bottom up” –ceiling
paintings w/ figures hovering above the viewers,
looking down at us

305. VOCABULARY:
• TENEBROSO/TENEBRISM: a dramatic light and dark
contrast in a painting
• VANITAS: a theme in still life painting that stresses the
brevity of life and the folly of human vanity
• BALDACCHINO: a canopy placed over an altar or shrine
FIN