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Baroque. Rationality Symmetrical; use of pyramid in composition Stable Some use of contrast. Emphasis on emotional intensity Diagonal axis line; asymmetrical balance Energetic; dramatic; dynamic movement Vivid contrast. Comparing the Renaissance to the Baroque. ITALIAN BAROQUE.
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Rationality Symmetrical; use of pyramid in composition Stable Some use of contrast Emphasis on emotional intensity Diagonal axis line; asymmetrical balance Energetic; dramatic; dynamic movement Vivid contrast Comparing theRenaissance to the Baroque
Movement: facade is a continuous flow of concave & convex surfaces—walls seem to ripple & pull out of shape Contrast: that push & pull effect creates patterns of light and shadow—thus a value contrast of darks & lights fall over the moldings, sculptures, niches, & columns Variety: achieved with use of ovals & rectangles and vertical columns & undulating horizontal moldings
The Story: St. Theresa 16th Spanish saint of Counter-Reformation had a vision in which an angel pierced her heart with fire-tipped golden arrow symbolizing God’s love. Contrast: White marble of angel and saint contrast against golden rays and colored marble in niche. Scene is lit from overhead by a concealed yellow glass window. Space and Movement: figures seem to float in space moving freely within the space. This new relationship of space & movement sets Baroque sculpture apart from previous sculpture. Sculptors are not interested in suggesting the body instead interested in complex modeling, different textures, deep shadows, sharp contrasts of light & dark.
Space & Movement: Observed here with David in a twisting position preparing to hurl the stone at Goliath whose presence is suggested by David’s actions—coiled stance, flexed muscles & determined expression. This lets the viewer use imagination to place Goliath in that space in front of David.
His Goal: to provide an impressive approach to the church & place for faithful to gather & hear Pope’s message & receive blessings Space: large area organized into elliptical & trapezoidal shapes (Renaissance used circle & square). Classical orders combined with statues of Christian saints. Colonnades like the arms of Mother Church embracing the faithful.
Space: to reduce the space at the crossing, Bernini erected the bronze Baldacchino. This way the people would be drawn to t he altar. Contrast: dark bronze against the lighter marble of the nave and apse Movement: undulating movement of twisted columns & theatricality of its size & ornamentation.
Info about the artist • Gave Baroque its look & feel • Studied & painted world around him instead of reworking subjects of Renaissance artists • Religious figures were pictured as peasants, beggars, regular people not majestic and supernatural • Light played an important part of his works (exposes imperfections) • Flaws make figures seem more real and human
Space: scene is pushed forward. No detailed landscape just darkness. Space projects outward not inward. Includes viewer Contrast: dark background and illuminated figures Movement: outward push. St. Paul’s hands and arms direct eye upward to horse and mysterious light source
Artemisia GentileschiJudith and Maid servant with the Head of Holofernes
About artist: first woman in history of art to have a significant impact on art of her time. Influenced by Caravaggio Biblical Story: all about heroism. Used her charms to kill Holofernes who was going to kill her people (Jewish) Contrast and light: again dark background (mysterious) contrasted by light of candle and its illumination of Judith’s hand Drama: captures moment of highest drama and excitement which is intensified by her use of chiaroscuro
Ruben’s works: rich colors, dramatic design, powerful twisting figures, use of light to illuminate important parts of paintings, realistic details Movement: uses curvy lines to create flowing movement; softens the contours of forms and places tem against swirling background of color to get a violent and continuous motion; the axis line (vertical part of cross) organizes the direction of movement. Composition: arranges figures to form a pyramid but it tilts to the left. Figures twist, strain, push, pull in an effort to restore balance. This tilt of the vertical section of cross is the diagonal axis line. Runs from lower right foreground to upper left background. Axis line directs eye to deepest part of work.
Movement: color, light & swirling decoration create an eruption of visual movement.
Baroque in Holland and Flanders • Dutch Genre Paintings
His specialty: portraits of common people especially his friends; the look of a candid photo Characteristics: slashing brushstrokes, loose feeling not tight or exact like daVinci. Brushstrokes are visible and have an instantaneous quality
About the artist: best known female painter of 17th c. Developed her own distinctive style. Influenced by Caravaggio and Hals. One of the first to paint intimate genre scenes in Holland Characteristics: her portraits smile and gesture toward the viewer but quietly and with dignity (unlike Hals). She sought a kind of psychological interaction between subject and viewer which is found here. (She turns to see how you like her painting of the laughing fiddler.)
About the artist: one of finest Dutch painters. Worked slow & painstaking. Only 38 paintings are attributed to him. 3 are outdoors and rest are portraits or interior views. He carefully designs with figures and furniture light and realistic color. Used a camera obscura. Characteristics: carefully designed and planned. Often uses a map or painting to back up his figures and provide a colored shape on wall. Focus is the woman. Quiet interior lit by window on left. Light washes over wall, bounces off clothing, illuminates objects, reflects off glass and pearls. No other artist used tons of color like him. The Painting: viewed on 2 levels: painting on wall is Christ on Judgment Day (weighing of human souls) juxtaposed against the woman weighing pearls and gold. 2nd level-woman is pregnant-celebration of life juxtaposed against painting-death
About the artist: the greatest Dutch painter! His painting style changed over the coarse of time and became more personal and expressionistic. Became stronger and more powerful Painted many self portraits-can note progress and decline of his fortunes by his clothing and facial expressions
Revolutionary: all group portraits consisted of a number of people in a row in formal arrangement. His figures are all over the place. Foreground figures are life size. Captain is in central position and his Lieutenant is at his side the rest are randomly placed Contrast: some in shadow some in light mysterious light Movement: pulsating light bounces off faces; multiple centers of interest. Central figures in foreground stepping off stage. Use of lances and directions of faces lend to movement.
The Mill • Greatest landscape Painted at height of his fame • Use of light: melancholy, sad, loneliness Details nonexistent Large shapes dominate Mill is focus
About the artist: one of Spain’s great artists. Court painter to King Philip IV. Few religious subjects; several landscapes; mainly portraits. Interested in what was real and considered hands and faces most expressive Composition: Optical realism-combines formality of group portrait with informality of casual genre scene placed in his studio. Main figures close to picture plane. King/Queen reflected in mirror. Consists of carefully balanced series of overlapping triangles. Upper portion-light & shadow produces illusion of deep space
Movement, Light, Color: aim is to show movement of light and countless ways it can be reflected: indirect light of studio contrasts with direct light that strikes figures in foreground and bounces & reflects from a variety of materials. Like Vermeer, fascinated with how light interacts with eye to create visible world. Spots, patches of color & light defined form not line.
Bartolome Estaban MurilloImmaculate Conception • His style: warm, coloristic style. Painted relaxed sentimentalized scenes of street urchins, flower girls and religious subjects like this one. • He is the last great painter of Spain’s Golden Age
Georges de La TourMagdalen with the Smoking Flame • Influences on artist: Caravaggio’s tenebrism (exaggeration of strong darks and lights) and realism of everyday people • Characteristics: often used candle as only light source. Dramatic nighttime compositions. Intense feelings. Genre subjects • Drama with contrast: candle is light source. Form is simple and monumental. Mary Magdalen is the symbol of Catholic doctrine of forgiveness of sins through penance
Nicolas PoussinHoly Family on the Steps • About the artist: most important painter in late 17th c. France. Influenced by Titian and Raphael. Subject matter was of great importance in the paintings. Should be grand, heroic, divine. Influenced by Classical art-composition and balance • Composition: Divine subject matter. Classical setting. Triangular in design (very Renaissance) Symbolic-Joseph with tools=working life. Mary and Christ Child=spiritual life. Perfectly balanced composition by positioning and value. Put Joseph, Elizabeth in shadows so visual emphasis is on Mary and Child
Claude LorrainThe Marriage of Isaac and Rebecca • Composition and scale: Composed his landscapes as carefully as Poussin designed his figure paintings. Large trees to right in foreground arc over to several trees at left in midground arc to a spacious sunlit countryside. Lorrain didn’t like to paint figures but saw importance in a painting cause they provide scale by which one sees huge size of trees and vastness of landscape.
Claude PerraultEast Facade of the Louvre • A victory for France: marks a victory of French Classicism over Italian Baroque. Corinthian columns, arches, pediments and low severe lines are Classic features. Relieved by protruding central entrance and corner sections (this protruding called pavilions). Freestanding columns and pilasters set on podium. Simple elegant unified model for French architects.
