Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
in
the
North
Flanders,
Dutch
Republic,
France
&
England
If
its
not
Baroque,
dont
fix
it!
Patron:
Church
of
Saint
Walburga
in
Antwerp
Peter
Paul
Rubens,
Elevation
of
the
Cross,
1610.
Oil
on
wood,
151.8
x
111.5
(center
panel)
151.8
x
411
(each
wing)
Subject:
the
elevation
of
the
cross
with
Christ
Key
Facts:
Italian
art
influences
- influence
from
Michelangelo
&
Caravaggio
- foreshortened
anatomy
&
violent
swirling
motion
- diagonals
- chiaroscuro
- vividly
colored
drapery/ornament
Classical
influences
Baroque Flemish
Patron: Marie de Medici, Queen of France Key Facts: Part of a series of paintings celebrating the queen of France o She was remembered for quarreling with her husband and spending large amounts of money on elaborate commissions after his death o Immortalize her "heroic" exploits SCENE: Goddess of Fame heralds her landing in France with golden trumpets, personification of France welcomes her Diplomatically removed Marie's double chin Focused on the three voluptuous women in the lower foreground o Ideal of feminine beauty: buxom, plump women with golden hair and luminous skin (like his wives!) Whats BAROQUE? POMP - exuberant colors, rich costumes, gold, drama, decorative splendor
Baroque Flanders
**Great insight into politics diplomatic missions, promoted peace PATRON: Ferdinando II, Grand Duke of Tuscany - took opportunity to express his feelings toward war allegorically - Completed during 30 years war SCENE: Mars w/ shield and sword threaten disaster - Venus tries to hold him back - Monsters at right represent plague and famine - Woman on ground w/ broken lute = harmony cannot exist beside war - War breaks and destroys everything - Europe at left, robbed of jewels and ornaments - Architect on his back at right what built the city is being ruined Book under Marss foot, trampling knowledge and learning Patron: Charles I, King of England Key Facts:
Anthony Van Dyck, Charles I dismounted, 1635, oil on canvas, 811 x 6 11.5
Van Dyck depicted Charles I at a sharp angle so that it looks as though the king is looking down at the viewer. The portrait is a stylish image of relaxed authority The king stands off-center but balances the painting with a single keen glance at the viewer.
Scene: Charles I stands in center with the Thames River in the background. An equerry and a page attend him. King Charles turns his back on his attendants as he surveys his domain. Whats Baroque: (Baroque France) His position creates drama and there are a numerous amount of rich colors.
Hendrick Ter Brugghen, Calling of Saint Matthew, 1621, Oil on canvas, 34x46, Baroque Dutch
Patron: Unspecified Subject: Biblical narrative depicting Saint Peter being called upon. 1. Similar, yet different a. Echoes Caravaggio through use of naturalistic figure presentation. b. Conveys a feeling of motion; very in the midst of action. c. Deviates from Caravaggios use of Tenebrism by instead using a varied palette of soft hues and color. d. Figures are within a defined and well-lit setting and pressed into compact space, effectively placing the viewer within the room.
Gerrit van Honthorst, Supper Party, 1620, Oil on Canvas DUTCH BAROQUE
Patron:NA Subject: Genre Scene or Companions of a Prodigal son Key Facts: Influenced By Caravaggio Hidden light source and put in a dingy pub Used as a pretext to work with dramatic and starkly contrasting light Informal group of non-idealized human figures Can be read as signs of gluttony (man on the right) and lust (prostitute and her older procuress) to satisfy strict Dutch Calvinists
PATRON: Archers guild Hals produced lively, relaxed portraits - Spontaneity, conveyed personalities of sitters SCENE: group portrait of Dutch civic militia group claimed credit for liberation of Dutch Republic from Spain (see: Velazquez) - They met on their saints feast day in uniform for a great feast, an appropriate event for a group portrait - Each man is both troop member + individual with personality - Some look at viewer, some look away, J L COMPOSITION: different poses, relaxed, unlike earlier more formal portraits - White ruffs and sashes create lively rhythm, energizes portrait - Brushstrokes are light and energetic
Hals, The Women Regents of the Old Mens Home at Haarlem, 1664, oil on canvas DUTCH BAROQUE
PATRON: Women Regents of Old Mens Home in Haarlem - Dutch women worked in labor force in cities and were often educated - Regents of charitable institutions (orphanages, old age homes, etc) SCENE: take responsibilities very seriously - stern, composed, puritanical, dour - reflects Calvinist temperament - Monochromatic palette with white accents adds to paintings restraint
Patron: N/A Subject: Judith Leyster Key Facts: The picture is very detailed, precise, and accurate but also imbued with the spontaneity found in Hals (she was his student) works. In this piece she communicates a great deal about herself. She depicted herself as an artist, seated in front of a painting resting on an easel. The palette in her left hand and brush in her right announce that the painting is her creation. She thus allows the viewer to evaluate her skill, which both the fiddler on the canvas and the image of herself demonstrate as considerable. Her self self-assurance is reflected in her quick smile and her relaxed pose as she stops her work to meet the viewers gaze. Although she is not wearing an artists smock in this piece, her elegant attire distinguished her socially as a member of a well-to-do family, another important aspect of Leysters identity. Patron: Dr. Nicolaes Tulp Subject: Dr. Tulp examines a cadaver, teaching students about the workings of the arm. The arm is sliced open to reveal bones, ligaments and muscle. Key Facts: Only one public autopsy allowed per year, had to be the body of a criminal, and only in the winter as the stench would be unbearable at any other time One of a series of portraits made for the Guild of Surgeons Tulp performed the public autopsy for the Surgeons Guild two years in a row, the painting commemorates the 2nd. Diagonal of the corpse disrupts the linear plane normally found in portraiture. Scarred Sebastian for life when he was 8.
Patron: Commissioned for the Musketeers Hall Subject: Two officers, Captain Francis Cocq and Lieutenant William van Ruytenburch, and 16 other men Key Facts: That the displayed were thought to of contributed to Rembrandt fee He managed to record the three most important stages of using a musket (loading, readying, firing a musket) Painting is not a nocturnal but rather appears this way because of tenebrism and the varnish that Rembrandt used. That the piece was cropped in 1715, and was moved to Amsterdams town hall. LIGHT!! Depicting the moment of the prodigal son's return to his father in the Biblical parable o The son has returned home in a wretched state, kneeling before his father in repentance o Fathers hands seem to suggest mothering and fathering at once o Older brother objects to the father's compassion for the sinful son o The woman at top left, barely visible, is likely the mother o The seated man, whose dress implies wealth, may be an advisor to the estate or a tax collector o The standing man at center is likely a servant. Evocation of religious mood and human sympathy and parable's message of forgiveness. Interpreting the Christian idea of mercy with extraordinary solemnity. Realism increased by psychological insight and spirituality
Rembrandt, The Return of the Prodigal Son, c. 16611669. Oil. 262 cm 205 cm
Baroque Dutch
In
this
late
self-portrait
(he
had
almost
70),
Rembrandt
wanted
to
express
the
soul
rather
than
just
the
body.
He
appears
in
a
working
smock
with
painters
tools
and
creates
an
overall
mood
of
tranquil
m editation
and
quiet
self-assurance.
This
is
achieved
through
hazy
brushstrokes
and
subtle
blending
of
light.
Rembrandt's
"psychology
of
light"
=
light
and
dark
are
blended
softly
and
subtly
so
that
they
do
not
appear
harsh,
creates
a
calmer
mood.
Renaissance
artists
played
with
the
idea
of
light,
while
Rembrandt
made
it
natural,
often
playing
with
intensity,
distance,
and
direction
to
express
different
emotions.
Whats
BAROQUE?
Not
much.
Its
basically
the
opposite
of
tenebrism.
Much
m ore
subtle
blending
of
light
(no
conflict
between
light
and
dark).
Fun
Fact!
The
circles
in
the
background
may
be
alluding
to
a
sign
of
artistic
virtuosity:
the
ability
to
draw
a
perfect
circle
freehand.
Rembrandts
desires
to
elevate
artists
or
maybe
himself?
Rembrandt van Rijn, Christ with the Stick around Him, Receiving the Children, ca. 1649, Etching, 11X 1 3 1/4
Key Facts: Demonstrates mastery of engraving and etching while depicting the figures and setting Humanity and humility of Jesus Christ in the center -preaching, -blessing the blind, lame, and young Young man w/ elegant clothes -has head down in hands -lamenting Christs insistence for the wealth to give to the poor for entrance into heaven Deep shadows on the left by city gate Bright Light on the right -light is the radiation from Christ Second light from the right -casts the shadow of the praying mans arm on Christ tunic
Aelbert Cuyp, Distant View of Dordrecbt with a Milkmaid, Four Cows and Other Figures, 1640s, oil on canvas
Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen, 1670, Oil on Canvas, 110 X 21
CONTEXT: - Dutch had unique relationship w/ terrain - Took on great land reclamation project after gaining independence from Spain - Most Dutch families owned and worked farms = feeling closeness w/ the terrain SCENE: Title indicates important location for artist = specific, no idealized or invented - Church identified - Dairy cows, shepherds and milkmaid = cornerstones of Dutch agriculture - Detail = GREAT skill
Baroque Holland
Patron: Unknown Subject: Scenic View of Haarlem with an emphasis on its windmills and church Key Facts: Indicative of Dutch patriotism and pride in the beauty of their homeland. Sky is the main focus of the painting, taking the majority of the space. Peace and serenity emanate from the painting. It is secular.
Patron:
N/A
Subject:
The
painting
depicts
an
artist
(Vermeer)
with
his
back
to
the
viewer
as
he
paints
a
model.
The
work
is
clearly
a
celebration
of
the
craft
of
painting.
It
is
an
allegory
a
reference
to
painting
inspired
by
history.
The
model
is
dressed
and
holds
objects
identifying
her
as
Clio,
the
muse
of
history.
The
map
on
the
wall
shows
the
Dutch
provinces,
another
reference
to
history.
Some
historians
have
suggested
that
the
light
coming
in
though
the
window
is
symbolism
for
artistic
inspiration.
Whats
BAROQUE?
Lots
of
symbolism,
realism,
space/clothes
are
very
ornate
and
detailed,
subtle
behind
from
light
to
shadow
(not
harsh,
more
natural
looking).
Fun Fact! Many different people throughout history have bought/stolen the painting because it is (arguably) Vermeers greatest work. It was actually taken by Adolf Hitler during WWII and stored in his private collection!
Vermeer derived most of his income as innkeeper and art dealt - 35 paintings known Vermeer + others composed near, opulent interiors of Dutch middle-class - Dwellings with men, women and children - Engage in household tasks or little recreation = reflect their values SCENE: drawn curtain and open doorway through which viewer peers - Viewer = outsider looking in, looking in at a normal everyday scene - Woman of the house (elegant attire) playing a lute - Maid comes to deliver a love letter lute = symbol of music and love, seascape in background is symbol of love requited **reveal much about Dutch life and culture**
Subject: Celebrates material possessions strewn across a tabletop or dresser Key Facts: References to death remind the viewer of lifes transience Vanitas refer to vanity paintings, and each feature is referred to as a momento mori (reminder of death) References to mortality: o Skull o Timepiece o Tipped glass o Cracked walnut All suggest passage of time or a presence that has disappeared Self-portrait included in glass ball o Serves to immortalize the subject in this case, the artist himself
WILLEM KALF, Still Life with a Late Ming Ginger Jar, 1669, oil on canvas, 2 6 x 2 2 RACHEL RUYSCH, Flower Still Life, after 1700, oil on canvas, 2 5 x 1 11
Dutch Baroque
Patron: N/A, Dutch patrons interested in still lifes. Subject: Reflects wealth and international culture that Dutch citizens had accrued during this time. Kalf: Indian floral carpet, Chinese jar used to store ginger, emulation of reflective surfaces. Inclusion of watch, Med. Peach, and peeled lemon suggest Calvinist values as a vanitas painting. Ruysch: Soon-to-die objects, i.e. cut flowers, frequented vanitas ptgs. But use of floral pts as genre common in Dutch Republic. Almost spilling out of vase, lavish arrangement. Diagonal offset of opposing diagonal of table edge. Key Facts: As Dutch society prospered, still-life paintings started featuring luxury items. Kalf: technical and aesthetic painting style. Highlighted breadth of Dutch maritime trade through illustration. Ruych: court painter to elector Palatine in Germany. Father was professor of botany/ anatomy interest in accuracy/form/beauty of flowers.
French Baroque
Patron:
N/A
Subject:
Landscape
(Poussins
favorite)
is
setting
However,
3
shepherds
dominate
foreground,
living
in
the
idyllic
land
of
Arcadia
(utopia);
studying
inscription
on
tomb
as
statuesque
female
fig
places
hand
on
shoulder
of
one
of
the
sheps.
She
may
be
spirit
of
death
paintings
title
is
memento
mori
death
exists
even
in
Arcadia.
Key
Facts:
Poussin
draws
on
rational
order/stability
of
Raphaels
paintings
and
on
antique
statuary
Modeling
according
to
draped
Roman
female
statues,
Neptune
leaning
on
trident
as
posture
of
one
of
the
shepherd
youths.
Compact
and
balanced
grouping
of
figures,
even
light,
thoughtful/reserved
mood
comply
with
Classicism,
but
also
note
theatrics
of
Baroque.
Burial
of
Phocion
SUBJECT:
from
literature
of
antiquity
(Plutarchs
Life
of
Phocion)
- Athenian
general
whom
his
compatriots
unjustly
put
to
death
for
treason
- Eventually
state
gave
him
public
funeral
and
memorial
on
Athenian
ground
SCENE:
not
intended
to
represent
a
particular
place
and
time
- Constructed
idea
of
a
noble
landscape
to
frame
noble
scene
- Compare
to
Carraccis
classical
landscapes
- Everything
in
comp.
is
carefully
arranged
o Rational
plan
Trees
like
curtains
reveal
land
Jacques Callot, Hanging Tree, from the Large Miseries of War series, etchings,1633, 83 mm x 180 mm
Using art as social criticism o First pictorial record of human price of war o First "anti-war statement" in European art Depicting the destruction unleashed on civilians during the Thirty Years' War in Lorraine o Other figures engaged in victory ready for parade contrast to disorder of hangings.
The technique: multiple bitings of acid on the plate, with different areas "stopped-out" o This method allows gradations in the strength of the line, creating atmosphere perspective.
Baroque French
Patron: Henri de La Fert-Senneterre, governor of Lorraine, France Subject: Birth of Christ Key Facts: Classical composure o Supernatural calm Suppressed surface detail, simplified body volumes calm Fervent spirituality Genre realism o no halos on holy figures or any religious symbolism, only title. Tenebrism o Light in scene is not spiritual but material - comes from candle
Baroque French
FRENCH BAROQUE
PATRON: Louis XIV Sun King Center of the Universe - Master of political strategy and propaganda - Anchored rule in divine right - His desire for control extended to all realms of French life - Art organized art and architecture in the service of the state = foundation of Royal Academy of Painting and Sculpture in 1648 o Accelerated establishment of French classical style SCENE: image of absolute power, monarch in control - Age 63, looks directly at viewer - Pose = air of haughtiness, hand on hip, robe over shoulder - Focal point in composition - Looks down on viewer - Shows off legs, was a ballet dancer - Louis XIV was short (54), invented some fancy red heels for himself Kept a workshop of artists each with a specialization: faces, fur, armor, fabric
Patron: Louis XIV Subject: a museum Key Facts: It was left incomplete by Pierre Lescot and when Bernini attempted to submit architectural plans he was rejected and left France. It is a combination of French and Italian architecture. It has a temple-like pavilion flanked by a giant colonnade.
Baroque, Paris
Patron:
Louis
XIV
Key
Facts:
Louis
XIV
decided
to
convert
a
royal
hunting
lodge
at
Versailles,
into
a
great
palace.
He
assembled
a
veritable
army
of
architects
decorators,
sculptors,
painters,
and
landscape
architects
under
the
general
management
of
Charles
Le
Brun.
Planned
on
a
gigantic
scale,
the
project
called
not
only
for
large
palace
flanking
a
vast
park
but
also
for
the
construction
of
a
satellite
city
to
house
court
and
government
officials,
military
and
guard
detachments,
courtiers
and
servants.
Le
Brun
laid
out
this
town
to
the
east
of
the
palace
along
three
radial
avenues
that
converge
on
the
palace
structure.
The
palace
itself,
more
than
a
quarter
mile
long,
is
perpendicular
to
the
dominant
east-west
axis
that
runs
through
the
associated
city
and
park.
Every
detail
of
the
extremely
rich
decoration
of
the
palace
interior
received
careful
attention.
The
architects
and
decorators
designed
everything
from
wall
paintings
to
doorknobs
in
order
to
reinforce
the
splendor
of
Versailles
and
to
exhibit
the
very
finest
sense
of
artisanship.
Patron:
Louis
XIV
Subject:
Palace
and
park
with
a
satellite
city
whose
three
radical
avenues
intersect
in
the
kings
bedroom
Key
Facts:
Everything
from
wall
paintings
to
doorknobs
were
designed
in
the
palace
o Reinforced
the
splendor
of
Versailles
Galerie
des
Glaces
(Hall
of
Mirrors)
is
most
famous
room
in
palace
o Overlooks
the
park
o Hundreds
of
mirrors,
set
into
the
wall
opposite
the
windows,
alleviate
the
halls
tunnel-like
quality
and
seem
to
extend
width
of
hallway
Illusion
is
element
of
Baroque
interior
design
Notre
used
not
only
the
multiplicity
of
natural
forms
but
also
the
terrains
slightly
rolling
countour
with
stunning
effectiveness
o Elegant
shapes
of
trimmed
shrubs
All
vistas
were
composed
differently
o Temporal
artwork
Its
aspects
change
with
time
of
day,
seasons,
and
position
of
observer
nder management of Charles Le Brun Constructed u and Andre Le Notre - Palace and Gardens Versailles, France begun 1669
Jules Hardouin-Mansart, Eglise du Dome, Church of the Invalides, Paris, France, 1676-1706
Subject: Architectural Key Facts: Marries Italian w/ French Architectural -grouping similar to Italian Baroque manner -doesnt have dramatic play of curved surfaces Intricately composed dome squared of great scale -theatrical effects of light and space -has three shells -lowest is cut off -Two separate levels - Faade is low and narrow Church adjoins with hospital for disabled soldiers
Inigo Jones, Banqueting House at Whitehall, London, England, 1619-1622 Period and Location
Patron: King James I (r. 1603-1625), Charles I. Subject: Architectural Facade Key Facts: 1. Italian roots a. Inspired by Italian architect Andrea Palladios structures and treatise o n architecture. b. Symmetrical, with two orders superimposed (using columns in the center and pilasters near the ends) with balustraded (low parapet/barrier) c. While relying heavily on Palladios elements, Jones manages to maintain individual architectural spark as well, leading to his influencing English architecture as that of Palladio.
Patron: Charles II Subject: Cathedral Key Facts: Owes much of its design to Palladio and Borromini Great Dome similar to that of Saint Peters in Rome Designed by Englands Christopher Wren, a math genius and skilled engineer. Towers in foreground act as foils for the dome, solved issue of relation between towers and dome similarly to Saint Peters. Wrens skill brings foreign features of Saint Peters and similar porticos to the faade of the Louvre together into unity.
Direct, obvious, and dramatic images Tries to draw the viewer in to participate in the scene, breaks down barriers REALISM - Depictions feel physically and psychologically real. Emotional intensity Extravagant settings and ornamentation, ostentatious at times Dramatic use of color. Dramatic contrasts between light and dark, light and shadow. (TENEBRISM) Baroque art has continuous overlapping of figures and elements, contrary to Renaissance art with its clearly defined planes, with each figure placed in isolation from each other. Common themes: grandiose visions, ecstasies and conversions (transformation), martyrdom and death, intense light, intense psychological moments.