Chapter 24

Popes, Peasants, Monarchs, and Merchants

Baroque & Rococo Art

The Baroque Period

• Art of the 16th and 17th century Roman Catholic Counter-Reformation.

• Reaction against the increasing ideas of individual rights and self-autonomy.

• Backlash against emerging scientific investigation.

• Characteristics of Baroque Art– Dramatic theatricality– Grandiose Scale– Elaborate ornateness– Emotional appeal and intensity

Baroque

• Baroque literally means distorted or grotesque. Theterm was used to discount or slander the art whichdominated the seventeenth century. It came intowidespread use, however, and more or less lost itsnegative connotations. The Baroque was born in thefirst years of the seventeenth century in Rome and wasprimarily associated with Catholic (as opposed toProtestant) art. But as the century progressed the stylemade inroads into the Protestant countries, although ittended to be used in a more secular (less religious) wayin the north.

Inspiration and Influences• One of the major discoveries of the

Italian Renaissance, Laocoön and hisSons - a Hellenistic sculpturalgrouping - was found in Rome in1506 in the ruins of Titus' palace.

• The theatricality and emphasis onemotional intensity is typicallyHellenistic Greek-often called"Baroque" as well. Note the writhingserpents, one of whom bitesLaocoön's left leg, and the painedexpressions on the faces.

• The furrowed brow and open-mouthed pain would be copied byBernini and Caravaggio in theseventeenth century.

Some Key Events of the Period

• Galileo refines the telescope and finds evidence in support of the heliocentric system, 1600-1620.

• Thirty Years War in Germany - 1621-1648.• Kepler defines laws of planetary motion, 1609-1619.• Jamestown established,1619;  Plymouth Colony

founded, 1620.• Harvey discovers blood circulation, 1628• English Civil War: England’s monarchy overthrown, 1647

by Cromwell, King Charles I executed, 1649.• Establishment of the slave trade during the first half of

the 17th century.• Newton defines law of gravity, 1687.

St. Peter’s Basilica, Rome

• Design by Michangelo; façade by Maderno, piazza by Bernini

24-3,4: Carlo Maderno, Plan of St. Peter’s

• Oval plan reflects Michelangelo’sCampodoglio on the CapitolineHill.

• “Arms” of St. Peter’s “embrace”the plaza, including obelisk fromEgypt and the fountains byMaderno.

• The dome above becomessecondary to the piazza in front.

• Intended to be awe inspiring andauthoritative.

24-5 Bernini’s Baldacchino, St. Peter’s

• Marks “tomb” of St. Peter,the rock on which the churchwas founded.

• Bronze, 30 m. high• Spiral columns inspired by

baldacchinos in earlyChristian churches.

• Bridges gap between humansand colossal architecture.

• Bronze came from Pantheonceiling.

24-6 Bernini Scala Regia, Vatican

• Passage leads frompapal apartments tothe narthex of St.Peter’s.

• Barrel vaulted ceiling.• Columns with tiny

aisles on each side(mimics a church).

• Narrows & brightensas it ascends.

24-7 Bernini, David

• Expansive and dramaticimage compared to earlierDavids.

• Note the movement of figure,drapery, and the twist in body.

• Observe the tension andconcentration in David’s face

• Observer is forced to see theoutcome of David’s action inthe mind.

Three Davids

24-8 Bernini, Cornaro Chapel

• In SantaMaria della Vittoria,Rome.

• Baroque spectacle,theatrical event.

• Entire complex withsculpture wasdesigned by Bernini.

24-8 Bernini, Cornaro Chapel

• The Cornaro family isimmortalized by Berninias spectators insculptural groups atsides of chapel.

• Note the resemblance tobox seats in opera houseor theatre.

• Observe Bernini’s useof perspective in therelief behind the family.

24-9 Bernini,The Ecstasy of St. Theresa

• St. Theresa: nun withvisions of angel piercing herheart with fire-tipped arrow.

• Angel poised, drawing backrobe of nun

• Theresa experiences“delightful anguish”

• Counter-Reformationemphasis on mysticalspirituality

24-10 Borromini,S. Carlo delle Quattro Fontane

• Rome, built 1665-76• Irregular site required a

unique solution toplanning

• His façade ripples like awave, niches recede,columns move forward.

• Borromini was said tohave “eliminated thecorner.”

24-10 Borromini, S. Carlo delle Quattro Fontane

• San Carlo delle Quattro Fontane as it appeared in the 17th Century.

24-10 Borromini,S. Carlo delle Quattro Fontane

• Ceiling of San Carlo delle Quattro Fontane; note the complex geometric forms, hints of the Pantheon.

Two Baroque Churches

• Left: S. Carlo delle Quattro Fontane (1665-76); Right S. Andrea del Quirinale (1658-1670).

Two Baroque Churches

• Left: S. Carlo delle Quattro Fontane; Right S. Andrea del Quirinale

Architectural Rivals

• Bernini and Borromini were arch-rivals; this figure from Bernini’sFountain of the Four Rivers in thePiazza Navona looks with horroron a church designed byBorromini.

24-19 Caravaggio, Calling of St. Matthew,Contarelli Chapel, 1597-1601

• Christ, displacedto right side ofwork, standsbehind Peter.

• Theatricallightingdramatises thecentral event.

• Matthew pointsto himself,doubting the call.

24-18 Caravaggio, Conversion of  St. Paul,Cerasi Chapel, 1601

• Light within paintingcorresponds to theillumination from awindow in the chapel.

• The painting wasdesigned specifically forthis site.

• Caravaggio again usestenebroso-dramaticshadowing to enhancethe visual impact

24-20 Caravaggio, Entombment,Vittrice Chapel, 1603.

• Dramatic lighting,ordinary faces andfigure types.

• The painting wasplaced over the chapelaltar.

• Evokes image ofChrist as Eucharist -body going into altar.

24-21 Artemisia Gentileschi, Judith Slaying Holofernes

• Artemisia Gentileschi (1593-1653), was thedaughter of a well-known Roman artist,Orazio Gentileschi (1563-1639). She was oneof the first women artists to achieverecognition in the male-dominated world ofBaroque art. At a time when female artistswere limited to portrait painting and imitativeposes, she was able to paint major historicaland religious scenarios.

• The heroines of her art, especially Judith, arepowerful women exacting revenge on suchmale evildoers as the Assyrian generalHolofernes.

• After her death, she drifted into obscurity, herworks often attributed to her father or otherartists. Renewed interest in Artemisia inrecent years has recognized her as a talented17th century painter and one of the world'sgreat woman artists.

24-21 Artemisia Gentileschi, Judith Slaying Holofernes

• She was a caravaggista(a follower ofCaravaggio’s style)

• The image gives adramatic presentation ofmoment of  hisdecapitation.

• Judith saves theIsraelites from theAssyrian enemy throughthe seduction and killingof their general.

Artemisia Gentileschi, Susanna and the Elders

• Painted 1610, when she was17 years old!

• Artemesia tells the story ofSusanna from a woman’s pointof view.

• Most male artists show herfrom a coy or voyeuristicstand-point. Artemisia showsSusanna as vulnerable,frightened and resisting theirdemands, whilst the men loomlarge, leering, menacing andconspiratorial behind her.

Artemisia Gentileschi, Self-Portrait

• The artist paintsherself as theallegory ofpainting.

• The female figureserves asinspiration andagent of creativity.

Artemisia Gentileschi, two images of happiness.

• Left: The Lute Player, 1610; Right: Felicity, 1624.

Artemisia Gentileschi, Rest on the Flight into Egypt.

24-22 Annibale Carracci,The Flight into Egypt.

• Idealized landscape, similar to the style of Titian or Giorgione.• Holy Family walks in foreground, dwarfed by the landscape.• Image is expressive of the “pastoral” view.

24-22 Annibale Carracci,The Loves of the Gods, Palazzo Farnese

• “Framed” fresco paintings oncurved vault.

• Central scene is Triumph ofBacchus (god of wine).

• Sensuous, lavish display ofpaganism; Renaissance themesin Baroque style.

• This “over the top” secularBaroque decorative style couldbe found in many palaces of the17th and 18th centuries.

Annibale Carracci, The Triumph of Bacchus

Annibale Carracci, The Triumph of Bacchus

Annibale Carracci, Venus and Adonis

A Venerable Foursome

24-24 Guido Reni, Triumph of Aurora

• Inspired by Raphael (see the Galatea)• Aurora, goddess of dawn, leads Apollo’s chariot accompanied by the Hours.• Simulated easel painting on ceiling-fresco technique.

Raphael’s Galatea

4-25 Pietro da CortonaTriumph of the Barberini Family

• Ceiling of the gransalone, BarberiniPalace, Rome.

• The Barberini familyreceives allegoricalgifts of DivineProvidence andImmortality.

24-25 Pietro da CortonaTriumph of the Barberini Family (detail)

24-28 José de Ribera,Martyrdom of Saint Bartholemew

• Ribera was a Spaniardwho settled in Italy andfollowed the style ofCaravaggio.

• Brutal accounts of saints’lives reinforce brutalityof Counter-Reformationpractices (both Protestant& Catholic).

• Martyrdom as theme ofsacrifice to a “greater”good.

24-29 Francisco de ZurbaránSt. Serapion

• One of the Caravaggisti;also a Spaniard. Spain wasmarked by intense Counter-Reformation reaction (e.g.Jesuits).

• Again, note the light figureagainst a dark background.

• “Common” featuresdesigned to draw sympathyand devotion from lowerclasses, reinforceCatholicism.

Diego Vélàzquez (1599-1660)• Born in Seville to lesser nobility;

heapprenticed to a painter who had court contacts.

• He was influenced by the work of Caravaggio;studied Michelangelo, Raphael, Titian.

• Appointed court painter to King Philip IV ofSpain in 1623.

• In 1629 he went to Italy, encouraged byRubens; he made more trips there in later years.

24-30 VélàzquezWater Carrier of Seville

• A very early work, doneat age 20.

• Genre painting - ordinaryscenes, no allegory,history, religion

• Image shows the dignityof working classes, givesthe workers nobility offeatures.

24-33 Vélàzquez, Las Meninas

• Has been called the mostperfect painting.

• It depicts the Infanta (eldestdaughter of the king) andher ladies in-waiting.

• Vélàzquez shown inpainting at left; mirror inbackground shows king andqueen; the painter is on ahigher level than the king.

• Velazquez changed paintingto add his noble emblem.

Peter Paul Rubens (1577-1640)

• Flanders remained Catholic and kept its links to Spain after the Netherlands broke away.

• Rubens combined elements of  Michelangeloand Titian with Caravaggio’s Baroque drama to become the first “European” painter.

• Classically educated, multi-lingual witharistocratic and royal contacts, especially inFrance and Spain.

• Robust, fleshy nudes were Rubens’ hallmark.

24-34 Peter Paul RubensElevation of the Cross

24-35 RubensDrawing of Laocoön & his sons

• Done while Rubenswas in Italy, 1600-1608.

• Drawn fromobservations of thestatue in the Vaticancollection.

24-36 Rubens,Arrival of Marie de Medici at Marseilles

• Marie de Medici  was Queenof France, wife of Henri IV,regent for her son, Louis XIII.

• She was an extremelypowerful and ambitiouswoman.

• Rubens presents her as theidealized, perfect woman,honoured by the gods  anallegory of power andauthority.

24-38 Anthony Van DyckCharles I Dismounted

• Van Dyck was the formerassistant to Rubens inFlanders.

• He painted, in a courtlymanner, elegant figures,pleasing to royalty.

• Charles’ “casual” dress isbelied by his manner, pose.

• The king is placed to enhancehis height and superiority

The Dutch Republic

• Bank of Amsterdam founded 1609.• Henry Hudson sails to New York 1610.• Colonies, fur trade and spice plantations

established; overseas empire created in Asia andthe Americas.

• Urban patrician class of merchants andmanufacturers with money to spend becomeprimary art patrons-taste differs from royal, noblepatrons and the landed aristocracy.

• Religious toleration: Catholic, Protestant and Jewishcommunities coexist.

24-40 Gerrit von Honthorst, Supper Party

• Genre painting, informal, unidealized.• The artist studied Caravaggio on a trip to Italy, uses dramatic

lighting for nonreligious work.

Frans Hals, The Jolly Toper

24-41 Frans Hals, Archers of St. Hadrian

• Individualized faces; similarity of attire is offset by unique features of each man.• Group of civic militia feasting on their patron saint’s day; such militias worked to expel

the Spanish from Holland.

24-42 Franz HalsRegents of the Old Men’s Home

• Aspects of each woman’s personality shown• Lack of spontaneity; focus on stability; women in authority need to

be sober, responsible and pious.

Rembrandt van Rijn (1606-1669)

• Educated young, Latin schooling, two-yearapprenticeship.

• Portraiture his specialty–Anatomical studies led to over 100 self portraits.

• Moved to Amsterdam, made many contactsamong upper classes (rich merchants).

• Drew and painted the poor of Amsterdam as wellas the rich merchants.

• Sought by many for portraits but died in poverty.

24-43 Rembrandt, Anatomy Lesson of Dr. Tulp

• Painted 1632• Note the dramatic

foreshortening and subduedcolour forcing us to focuson the white corpse

• The 17th century saw therise of the new “scientific”medical profession, distinctfrom “barber surgeons.”

• Clean and neat dissection.

24-44 The “Night Watch”

• Largest painting byRembrandt (not anight scene, thevarnish hasdarkened).

• Company of civilguard (militia)commissioned thework for their hall.

• Brilliant effects inlighting, costumes,composition.

24-45 Rembrandt, Return of the Prodigal Son

• Calvinist objection toreligious art was notreally a law, more awarning against certaintypes of religious images.

• Favoured Old Testamentthemes, such as this one.

• Scene representshumility, mercy,redemption withoutostentation, sensuality.

Rembrandt: Three self-portraits

Left: 1620, Centre: 1659-60, Right: 1660Note light source in each image, also paint texture.

24-47 Rembrandt: Christ with the Sick

• Etching, 1649.• Focus is on the

humility ofChrist, mercytoward sick,affection forchildren.

• Jews at left arenot demonized,but shown asnormal humans.

24-48 Judith Leyster, Self-Portrait

• This painting shows theinfluence of FransHals’.

• Leyster paints herselfpainting a genre scene;the fiddler was acontemporary image

• In 1633 she became  amember of the Haarlempainter’s guild.

24-49 Aelbert Cuyp,Distant View of Dordrecht

• Carefully renderedlocal landscape.

• Such works,showing theprosperity of theirlands, were popularwith landowners, as“portraits” of one’shome or estate.

• Note the accuraterendering of details.

24-52 Jan Vermeer,Allegory of the Art of Painting (1670-1675)

• Vermeer, the “Master ofLight,” specialized in cozyinteriors of prosperousmerchant homes.

• Here, the painter works atrendering precise detailsof the subject posing forhim.

• The drawn curtainprovides us with a “peek”at the scene

Vermeer’s Allegory of the Art of Painting

• This painting is not atranquil interior, however;it is highly charged withmood.

• This painting is a host ofsymbols and icons. Acurtain covers much ofthe canvas, indicating thatthis is a stage-set, and thediagonal pattern of floortiles draws the eye intothe scene. There is a chairat lower left, ready for theviewer to sit down andwatch the show.

Vermeer’s Allegory of the Art of Painting

• The woman has a blue dressand a yellow skirt, she has acrown of laurel, a trombone,and a book; she is interpreted asClio, the muse of History, asdescribed by Cesare Ripa'sIconologia, an Italian study ofsymbols that was translated intoDutch in 1644. The book sheholds is the works ofThucydides, the classical Greekhistorian. The traditional namefor this painting is thereforepossibly wrong; it may not beabout painting, but abouthistory – or about therelationship of art and history.

Vermeer’s Allegory of the Art of Painting

• The chandelier hangingfrom the ceiling has adouble-headed eaglemotif at the top, symbolicof the Habsburg empire,who had recently beenejected from the newly-democratic UnitedNetherlands. There are nocandles in the chandelier,showing Vermeer'sopinion of the power ofthe Habsburgs.

Vermeer’s Allegory of the Art of Painting

• A large part of the canvas is taken upby a map of the Netherlands,produced by Nicolaes Visscher, from1592, when the Habsburgs stilloccupied the Netherlands. The mapis, however, divided by a prominentvertical crease into the newlyliberated United Netherlands (right),and the remaining occupied Spanishpart: Catholic Flanders, that willeventually become Belgium. TheMuse of History stands directly infront of the view of The Hague, theseat of the Dutch Court and residenceof the House of Orange.

Vermeer’s Allegory of the Art of Painting

• The painter, dressed in fanciful, notcontemporary, clothing, works with analmost empty canvas, symbolic of thenew republic of the UnitedNetherlands. Furthermore, the easel onwhich he paints is directly in front ofthe new country.   On the table at the left, silk flowstowards us, echoing the flow of lightfrom behind the curtain. Also there isan object that looks like an oversizedeath-mask, which may be the face ofWillem I, from the tomb of the Houseof Orange in the Prinsenhof in Delft.

Vermeer’s Delft

Vermeer’s People

24-56 Rachel Ruysch, Floral Still Life

• Over her 70 year career,Ruysch painted onlyflowers; such painting werein high demand in wealthyhomes for decoration.

• She  apprenticed to Willemvan Aelst, another painterof flowers before beingadmitted to the  painters’guild in The Hague

• She  was Court Painter tothe King of Bavaria, 1708-1716

Baroque France

• Royal power greater than that of the Churchfollowing the consolidation of centralized monarchyunder Louis XIII and Louis XIV (1661-1715).

• Art, literature, and culture come under theincreasing control of the monarch who dictatedsubject matter and style, dress, deportment, andlanguage – especially for the nobility.

• Frequent warfare combined with increasingisolation is detrimental to the economic, political,and artistic health of France.

• Louis XIV’s Palace at Versailles is the symbol ofFrench Baroque (compare to St. Peter’s in Rome).

The French Royal Academy

• “Royal Academy ofPainting & Sculpture.”

• Founded by Louis XIV.• Provided instruction,

sponsored annual exhibitscalled “Salons.”

• Elected members whojudged (jury) entries ofpotential new members.

• Excluded women.

•Eliminated “guild”system.•Provided hierarchy ofsubject matter.•Art was to serve state(monarchy’s) interests.•Established academicsatellite location in Romeand the Prix de Rome forartists chosen to go studythere.

24-58 Le Nain, Peasant Family, 1640

• Genre painting with a socio-political message.• Lower classes were equated with simplicity, religious piety and purity.• Compliant lower classes were what nobility wanted to see

24-60 Poussin, Et In Arcadia Ego c.1655

• Classicism, Poussin went to Rome to study.• Balanced, pyramidal composition with references to antique statuary.• Note uniform lighting.

24-62 Claude LorrainLandscape with Cattle and Peasants

• Landscape creates mood through colour, organization.• Representation of hardworking, content peasants, prosperous

countryside, healthy farm animals promotes French superiority.

24-63 Apollo Attended by Nymphs

• Located in the park at Versailles, inspired by classical sculpture.• Glorification of king: Apollo (sun god) = Louis XIV.• Represents “appropriate” roles for women.

24-65 Mansart, Château de Blois

• Height of FrenchClassical Baroque

• Heavy use ofentablature

• Centralized entry• Sharply sloping

roof• Doubled columns,

pediment appliedto central doorway

24-66 Rigaud,  Portrait of Louis XIV, 1701

• Very large scale oil oncanvas, 279 x 190 cm,Musée du Louvre, Paris.

• Absolutism andauthority represented inthe image of the king.

• The aging king isrepresented as stillvigorous.

24-68 Versailles

• Gardens surround the palace, integrated iconographically with a decorative program of architecture

24-68 Versailles

• Entire landscape at Versailles is organized - both the formaland the informal were cut, pruned, ordered to show man’spower over nature.

24-69 Plan of Versailles

• The central axis through the marble courtyard and the centre ofthe palace focusses on the king’s bedchamber.

24-70 Versailles, Galerie des Glaces

• Long, narrow gallery fordisplay of art.

• Mirrors on right makeroom seem larger,reflecting light fromwindows on left.

• Ostentatious display ofwealth and power

• Part of suite of receptionrooms that open on toKing’s bedroom.

English Baroque

• English styles do not follow same time line as those in France, Spain, Italy; English Baroque lasts into 18th century.

• English Renaissance architecture begins c. 1600 with work of Inigo Jones

• Strong Parliament kept monarchy in check, overthrew King Charles I in 1647, then executed him,1649. Cromwell’s Puritan Commonwealth lasts until to 1660, followed by the Restorationduring which English Baroque flourishes.

24-73 Inigo Jones,Banqueting House, Whitehall, 1622

• An EnglishRenaissance buildingmarked by severeclassical detail e.g. theheavy entablatures.

• Regular columns,arches and triangularpediments alternateover windows, swagsover upper floor.

24-74 Sir Christopher Wren,St. Paul’s Cathedral, London 1675-1710

• Baroque scale, eclecticstyle.

• Double columns onclassical portico.

• Heavy towers recallGothic style.

• Dome similar to St.Peter’s, Rome.

• Palladian influence onlower stories of towers.

24-75 John Vangrugh, Blenheim Palace

• Country house commissioned by the government for the Duke ofMarlborough; named for the decisive victory by Duke.

• Building expands around a large courtyard; the heavy porch,entablatures, etc. create a low, ground-hugging appearance.