Key Images Contarelli Chapel, San Luigi dei Francesi, Rome, p. 662, 19.1 Caravaggio, The Calling of St. Matthew, p. 663, 19.2 Caravaggio, The Conversion of St. Paul, p. 664, 19.3 Caravaggio, The Musicians, p. 665, 19.4 Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes, p. 666, 19.5 Artemisia Gentileschi, Self-Portrait as the Allegory of Painting (La Pittura), p. 667, 19.6 Annibale Carracci, Loves of the Gods, p. 668, 19.7 Annibale Carracci, Landscape with the Flight into Egypt, p. 669, 19.8 Guido Reni, Aurora, p. 670, 19.9 Guercino and Agostino Tassi, Aurora, p. 671, 19.10 Pietro da Cortona, Allegory of Divine Providence, p. 671, 19.11 Giovanni Battista Gaulli, Triumph in the Name of Jesus, p. 672, 19.12
• Around 1600, Rome became the center of Baroque artistic activity.
• Although his career was very short, Caravaggio developed a new style of painting that would forever change the course of Western Art. This style included the use of ″everyday″ people as models for his religious works and having them wear clothing contemporary to his own day. His style was also very naturalistic. Followers of Caravaggio practicing this style called Caravaggism included Artemisia Gentileschi.
• Artemisia Gentileschi′s work was influenced by her work with her father, Orazio Gentileschi, a fresco painter, as well as the work of Caravaggio. Caravaggio′s influence can be seen in her use of tenebrism, lighting, and naturalism in Judith and Her Maidservant with the Head of Holofernes.
• Annibale Carracci introduced a Classicism, based on the art of the High Renaissance, into Baroque Art.
• Illusionistic ceiling paintings were a favorite device of Baroque secular and religious architecture.
Architecture in Italy
Key Images Carlo Maderno, Façade of St. Peter’s, Rome, p. 674, 19.13 Aerial view of St. Peter’s, Rome, p. 674, 19.14 Bernini, Baldacchino, St. Peter’s, Rome, p. 675, 19.15 Pier Tommaso Campani and Francesco Trevisani, Nocturnal Clock, p. 677, 19.16 Francesco Borromini, Façade of San Carlo alle Quatro Fontane, Rome, p. 678, 19.17 Dome of San Carlo alle Quatro Fontane, Rome, p. 679, 19.19 Francesco Borromini, Exterior of Sant’Ivo, Rome, p. 679, 19.20 Dome of Sant’Ivo, p. 679, 19.21 Francesco Borromini, Sant’Agnese in Piazza Navona, Rome, p. 680, 19.22 Guarino Guarini, Façade of Palazzo Carignano, Turin, p. 681, 19.24 Guarino Guarini, Dome of the Chapel of the Holy Shroud, Turin, p. 681, 19.26 Baldassare Longhena, Santa Maria della Salute, Venice, p. 682, 19.27
• St. Peter′s was completed during the Baroque period. Carlo Maderno′s design for the façade followed an earlier design by Michelangelo. After Maderno′s death, Gialorenzo Bernini continued the project, designing the exterior elliptical arch (suggesting the enfolding ″arms″of the Church) and the piazza. With Bernini′s Baldacchino as the focal point inside the cathedral, St. Peter′s expressed the theatricality of the Baroque period.
• Francesco Borromini′s façade for San Carlo alle Quattro Fontane exemplifies the theatricality of the Baroque period, with a merger of architectural and sculptural elements.
• The ornate Santa Maria della Salute in Venice also exemplifies the architecture of this period.
Sculpture in Italy
Key Images Stefano Maderno, Santa Cecilia, p. 683, 19.28 Gianlorenzo Bernini, David, p. 684, 19.29 Gianlorenzo Bernini, The Ecstasy of St. Theresa (detail of sculptural group), p. 685, 19.30 Gianlorenzo Bernini, The Ecstasy of St. Theresa, p. 685, 19.31 Alessandro Algardi, The Meeting of Pope Leo I and Attila, p. 686, 19.32
• Bernini′s David expresses the theatricality of the period. This work was not meant to stand alone as others, such as Donatello′s David, had before. Instead the presence of Goliath is implied and the action is not complete, but is in the process of unfolding.
• This element of theatricality is perhaps best expressed in Bernini′s The Ecstasy of St. Theresa. The audience, members of the Cornaro family portrayed as relief sculptures in theater boxes, are provided as well, completing the illusion.
•Painting in Spain
Key Images Juan Sánchez Cotán, Quince, Cabbage, Melon, and Cucumber, p. 688, 19.33 Jusepe de Ribera, The Club-Footed Boy, p. 689, 19.34 Diego Velázquez, The Water Carrier of Seville, p. 689, 19.35 Diego Velázquez, Surrender at Breda, p. 690, 19.36 Diego Velázquez, Juan de Pareja, p. 691, 19.37 Diego Velázquez, The Maids of Honor, p. 693, 19.38 Francisco de Zurbarán, St. Serapion, p. 694, 19.39 Bartolomé Murillo, The Virgin and Child, p. 694, 19.40
• The Spanish court preferred to commission foreign artists over native artist. This resulted in a strong artistic influence from Italy and the Netherlands. As such, Spanish Baroque art was heavily influenced by Caravaggism.
• The naturalism which was a hallmark of Caravaggism is expressed in a harsher manner in Spain, with a stronger light cast on the subjects of the paintings.
Key Terms/Places/Names Caravaggio Caravaggism naturalism tenebrism quadratura quadric riportati di sotto in su Baldacchino belvederes genre scenes King Philip IV and Queen Maria Anna
Discussion Questions
1. How did Bernini transform the new St. Peter′s from a High Renaissance building into a Baroque experience?
2. What was the impact of Caravaggio′s work on the work of Artemisia Gentileschi?
3. Basing your response on Artemisia Gentileschi′s letter to Don Antonio Ruffo (p. 667), what obstacles did Artemisia Gentileschi have to overcome to work as a painter during this period?
4. Caravaggio′s style included clothing figures from Biblical stories in clothing contemporary to his own day. How did this impact the viewer?
5. In what ways does Bernini′s The Ecstasy of St. Theresa exemplify the theatricality of the Baroque period?
6. In what ways does Bernini′s David differ from Michelangelo′s David?
7. What was the impact of illusionistic ceiling paintings during the Baroque period?
Resources
Books
Bazin, Germain. Baroque and Rococo Art. New York: Praeger, 1969.
Bissell, R. Ward. Artemisia Gentileschi and the Authority of Art: Critical Reading and the Catalogue Raisonné. University Park: Pennsylvania State University Press, 1999.
Bonsanti, Giorgio. Caravaggio, tr. Paul Blanchard. Florence: Scala, 1991.
Brown, Jonathan. The Golden Age of Painting in Spain. New Haven: Yale University Press, 1991.
Domingues Ortiz, Antonio, Alfonso E. Perez Sanchez, and Julian Gallego. Velazquez. New York: Metropolitan Museum of Art, 1989.
Garrard, Mary. Artemisia Gentileschi. New York: Rizzoli International Publications, 1993.
Scribner, Charles, III. Gianlorenzo Bernini. New York: Harry Abrams, 1991.
Wittkower, Rudolf. Bernini: The Sculptor of the Roman Baroque, 4th ed. London: Phaidon Press, 1997.
DVDs
Landmarks of Western Art: The Baroque—A Journey of Art History across the Ages. (2006). Kultur Video. 50 min. Velazquez—The Painter of Painters. (2002). Image Entertainment. 56 min.
www
Caravaggio.com http://www.caravaggio.com/
Cornaro Chapel, Rome (The Ecstasy of St. Theresa) http://www.boglewood.com/cornaro/xteresa.html
CHAPTER NINETEEN
ReplyDeleteTHE BAROQUE IN ITALY AND SPAIN
Painting in Italy
Key Images
Contarelli Chapel, San Luigi dei Francesi, Rome, p. 662, 19.1
Caravaggio, The Calling of St. Matthew, p. 663, 19.2
Caravaggio, The Conversion of St. Paul, p. 664, 19.3
Caravaggio, The Musicians, p. 665, 19.4
Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes, p. 666, 19.5
Artemisia Gentileschi, Self-Portrait as the Allegory of Painting (La Pittura), p. 667, 19.6
Annibale Carracci, Loves of the Gods, p. 668, 19.7
Annibale Carracci, Landscape with the Flight into Egypt, p. 669, 19.8
Guido Reni, Aurora, p. 670, 19.9
Guercino and Agostino Tassi, Aurora, p. 671, 19.10
Pietro da Cortona, Allegory of Divine Providence, p. 671, 19.11
Giovanni Battista Gaulli, Triumph in the Name of Jesus, p. 672, 19.12
• Around 1600, Rome became the center of Baroque artistic activity.
• Although his career was very short, Caravaggio developed a new style of painting that would forever change the course of Western Art. This style included the use of ″everyday″ people as models for his religious works and having them wear clothing contemporary to his own day. His style was also very naturalistic. Followers of Caravaggio practicing this style called Caravaggism included Artemisia Gentileschi.
• Artemisia Gentileschi′s work was influenced by her work with her father, Orazio Gentileschi, a fresco painter, as well as the work of Caravaggio. Caravaggio′s influence can be seen in her use of tenebrism, lighting, and naturalism in Judith and Her Maidservant with the Head of Holofernes.
• Annibale Carracci introduced a Classicism, based on the art of the High Renaissance, into Baroque Art.
• Illusionistic ceiling paintings were a favorite device of Baroque secular and religious architecture.
Architecture in Italy
Key Images
Carlo Maderno, Façade of St. Peter’s, Rome, p. 674, 19.13
Aerial view of St. Peter’s, Rome, p. 674, 19.14
Bernini, Baldacchino, St. Peter’s, Rome, p. 675, 19.15
Pier Tommaso Campani and Francesco Trevisani, Nocturnal Clock, p. 677, 19.16
Francesco Borromini, Façade of San Carlo alle Quatro Fontane, Rome, p. 678, 19.17
Dome of San Carlo alle Quatro Fontane, Rome, p. 679, 19.19
Francesco Borromini, Exterior of Sant’Ivo, Rome, p. 679, 19.20
Dome of Sant’Ivo, p. 679, 19.21
Francesco Borromini, Sant’Agnese in Piazza Navona, Rome, p. 680, 19.22
Guarino Guarini, Façade of Palazzo Carignano, Turin, p. 681, 19.24
Guarino Guarini, Dome of the Chapel of the Holy Shroud, Turin, p. 681, 19.26
Baldassare Longhena, Santa Maria della Salute, Venice, p. 682, 19.27
• St. Peter′s was completed during the Baroque period. Carlo Maderno′s design for the façade followed an earlier design by Michelangelo. After Maderno′s death, Gialorenzo Bernini continued the project, designing the exterior elliptical arch (suggesting the enfolding ″arms″of the Church) and the piazza. With Bernini′s Baldacchino as the focal point inside the cathedral, St. Peter′s expressed the theatricality of the Baroque period.
• Francesco Borromini′s façade for San Carlo alle Quattro Fontane exemplifies the theatricality of the Baroque period, with a merger of architectural and sculptural elements.
• The ornate Santa Maria della Salute in Venice also exemplifies the architecture of this period.
Sculpture in Italy
Key Images
Stefano Maderno, Santa Cecilia, p. 683, 19.28
Gianlorenzo Bernini, David, p. 684, 19.29
Gianlorenzo Bernini, The Ecstasy of St. Theresa (detail of sculptural group), p. 685, 19.30
Gianlorenzo Bernini, The Ecstasy of St. Theresa, p. 685, 19.31
Alessandro Algardi, The Meeting of Pope Leo I and Attila, p. 686, 19.32
• Bernini′s David expresses the theatricality of the period. This work was not meant to stand alone as others, such as Donatello′s David, had before. Instead the presence of Goliath is implied and the action is not complete, but is in the process of unfolding.
• This element of theatricality is perhaps best expressed in Bernini′s The Ecstasy of
St. Theresa. The audience, members of the Cornaro family portrayed as relief sculptures in theater boxes, are provided as well, completing the illusion.
•Painting in Spain
Key Images
Juan Sánchez Cotán, Quince, Cabbage, Melon, and Cucumber, p. 688, 19.33
Jusepe de Ribera, The Club-Footed Boy, p. 689, 19.34
Diego Velázquez, The Water Carrier of Seville, p. 689, 19.35
Diego Velázquez, Surrender at Breda, p. 690, 19.36
Diego Velázquez, Juan de Pareja, p. 691, 19.37
Diego Velázquez, The Maids of Honor, p. 693, 19.38
Francisco de Zurbarán, St. Serapion, p. 694, 19.39
Bartolomé Murillo, The Virgin and Child, p. 694, 19.40
• The Spanish court preferred to commission foreign artists over native artist. This resulted in a strong artistic influence from Italy and the Netherlands. As such, Spanish Baroque art was heavily influenced by Caravaggism.
• The naturalism which was a hallmark of Caravaggism is expressed in a harsher manner in Spain, with a stronger light cast on the subjects of the paintings.
Key Terms/Places/Names
Caravaggio
Caravaggism
naturalism
tenebrism
quadratura
quadric riportati
di sotto in su
Baldacchino
belvederes
genre scenes
King Philip IV and Queen Maria Anna
Discussion Questions
1. How did Bernini transform the new St. Peter′s from a High Renaissance building into a Baroque experience?
2. What was the impact of Caravaggio′s work on the work of Artemisia Gentileschi?
3. Basing your response on Artemisia Gentileschi′s letter to Don Antonio Ruffo
(p. 667), what obstacles did Artemisia Gentileschi have to overcome to work as a painter during this period?
4. Caravaggio′s style included clothing figures from Biblical stories in clothing contemporary to his own day. How did this impact the viewer?
5. In what ways does Bernini′s The Ecstasy of St. Theresa exemplify the theatricality of the Baroque period?
6. In what ways does Bernini′s David differ from Michelangelo′s David?
7. What was the impact of illusionistic ceiling paintings during the Baroque period?
Resources
Books
Bazin, Germain. Baroque and Rococo Art. New York: Praeger, 1969.
Bissell, R. Ward. Artemisia Gentileschi and the Authority of Art: Critical Reading and
the Catalogue Raisonné. University Park: Pennsylvania State University Press, 1999.
Bonsanti, Giorgio. Caravaggio, tr. Paul Blanchard. Florence: Scala, 1991.
Brown, Jonathan. The Golden Age of Painting in Spain. New Haven: Yale University
Press, 1991.
Domingues Ortiz, Antonio, Alfonso E. Perez Sanchez, and Julian Gallego. Velazquez.
New York: Metropolitan Museum of Art, 1989.
Garrard, Mary. Artemisia Gentileschi. New York: Rizzoli International Publications,
1993.
Scribner, Charles, III. Gianlorenzo Bernini. New York: Harry Abrams, 1991.
Wittkower, Rudolf. Bernini: The Sculptor of the Roman Baroque, 4th ed. London:
Phaidon Press, 1997.
DVDs
Landmarks of Western Art: The Baroque—A Journey of Art History across the Ages. (2006). Kultur Video. 50 min.
Velazquez—The Painter of Painters. (2002). Image Entertainment. 56 min.
www
Caravaggio.com http://www.caravaggio.com/
Cornaro Chapel, Rome (The Ecstasy of St. Theresa) http://www.boglewood.com/cornaro/xteresa.html
Gianlorenzo Bernini http://history-world.org/bernini.htm
The Giustiniani Collection in the Virtual Environment
http://web.fu-berlin.de/giove/index.htm
The Life and Art of Artemisia Gentileschi
http://www.artemisia-gentileschi.com/index.shtml