The Impact of the Baroque Period and Negative

Creative Influence
Louise McCahery

Without the influence of others, Art would struggle to evolve as we are constantly
surrounded by people and objects that play a role in the way we perceive the world, and
consequently the way that vision is expressed through Art. When thinking of creative
influence from other artists, one would automatically assume that the process involves
seeing an enjoyable piece and going on to incorporate elements of the work in to
something new; yet this doesnt have to be the case.
In the same way that art can be influenced in a positive way, it can also be influenced as a
direct result of disliking a style or what it stands for. This has been seen on multiple
occasions in history with both individual artists, and with entire stylistic movements.
Impressionism came as a result of a desire to escape the confining rules of the realists,
as did post-impression go on to repeat.1
A notable example of strictness in art lies in Baroque painting and design. It is renowned
for being over-decorative and enraptured by grandeur and drama. Pieces are frequently
dramatic in both their setting and execution; including the use of light and often elements
such as gilding when used in architecture. The style was quickly adopted by the catholic
church to depict mythological and religious tales, making use of the drama and narrative
that was inherent to the movement. Used as almost a form of propaganda, the size and
composition of pieces painted inside cathedrals helped to express a form of power and
omnipotence; the sistine chapel being one of the most extravagant examples. 2
Baroque and the role of Catholicism are closely interlinked, and yet in Europe; a society
that from a historical perspective has constantly varying religious views, it would be difficult
to initially see how such an artistic movement could continue to play a role in influencing
art - even in the modern day. Yet by focusing on the idea that influence can be caused by
the want to avoid replicating something instead, it is possible to do so. Artemisia

1 Impressionism Movement, Artists and Major Works, 2014, (http://www.theartstory.org/movement-impressionism.htm)

2 Baroque Art, (http://loki.stockton.edu/~fergusoc/lesson7/lect7.htm)

Gentileschi, a renowned Baroque painter and daughter to a fellow Baroque artist, was
tutored and trained in the style from a young age and was successful in learning to imitate
the style of her predecessors. As can be seen in her piece Susanna and the Elders, she
captures the softness and elegance of the female figure, whilst still depicting the drama of
the scene. The colours are rich and vibrant despite the tale it is based upon being one of a
rather darker nature.
A dark and gruesome origin story is one that is common in many Baroque pieces, and yet
the vast majority still have an air of beauty to them, and maintain the look of grace and
elegance. However it is in her later work that Gentileschi differed, and her inspiration to
defy the standards of Baroque that had been set became more apparent. In her most
famous piece, Judith Slaying Holofernes, she captures a far more gruesome and realistic
vision of the scene than others before her had.3
Despite already being at a disadvantage in the art world for being female, Gentileschi
takes a risk by making the scene far darker and less posed, showing the religious tale for
what it really is; a brutal death and not propaganda. Caravaggios interpretation shows a
woman standing daintily, whilst attempting to behead someone; the juxtaposition creating a
bizarre sense of comedy. However in Gentileschis depiction, Judith is far more involved in
the decapitation and is rather more blunt about the situation; she is not simply a maiden
that has happened across such a scene, but is the one committing the act and the piece is
not afraid to show this. Artememisia then takes this further by showing a far more realistic
representation of blood and the act of holding Holofernes down; and even goes as far to
visibly show the bust of Judith and give her a sense of sexuality; something avoided by
other artists recreating this scene; not allowing the viewer to disconnect their idea of
femininity from the woman who is committing murder in front of them. 4 By going against
the foundations of the strict religious form of art she started with, Gentileschi paved the
way for many after her; becoming an influence in herself.
The idea that influence can come from a conscious effort to rebel is also shown in art
movements in general. Known frequently as Late-Baroque, the Rococo period maintains
the richness and drama of the Baroque style, its main focus also being people in pictorial
settings and scenes. Yet the differences are apparent, The general feeling of the style is

3 Garrard, Mary (1989). Artemisia Gentileschi. Oxford: Princeton University Press. p33.

4 Garrard, Mary (1989). Artemisia Gentileschi. Oxford: Princeton University Press. p323.

more light-hearted and frivolous, the scenes shown are not those of murder and religious
tales, but instead show people in gardens and various lush landscapes. 5
When comparing pieces such as Fragonards The Swing with Gentileschis work, you can
see that both have similarities, such as the dramatic lighting that gives Gentileschis a grim
atmosphere and yet that seeps through the trees to create depth in the environment of
The Swing. Strong colours and an emphasis on pose are also present in both, but serve
very different purposes; showing a panicked struggle in one and care-free frivolity in the
other.
It is this positive and pleasant atmosphere that makes the Rococo style far more
translatable through history, meaning its influence can still be seen in things such as
contemporary Animation. Taking inspiration from the work of Fragonard, and specifically
The Swing, Walt Disney Animation Studios used the paintings as reference for their 2010
feature film Tangled, trying to create a lush and romantic environment that looked at
home in an oil painting but was in fact computer generated. 6 Much of the initial concept
paintings were based upon the Rococo movement in order to try and capture the sense of
freedom the works are famous for and bring that in to the style of the film. Instances such
as this are examples of influence being caused by appreciating features of a style, and
wanting to bring a particular element in to a new piece of work. However, from a more
general perspective, the Baroque movement is also partially responsible for this influence,
as Rococo was created as a natural response to the formality of Baroque. 7
Baroques primary influence wasnt in giving artists elements that they wanted to use in
their own work, but by instead showing them that it was a style that no longer represented
the world they lived in and the mood of the era, pushing them to evolve and create new
ideas that would fit their image. Creative influence works by both consciously and
unconsciously inspiring through positivity, but also by discouraging people from certain
aspects, and as seen throughout art history; quite often rebellion against the old can lead
to the most innovative new, and exciting work.

Bibliography
5 Rococo vs. Baroque in Architecture and Design, January 6 2014, (http://heroek.hubpages.com/hub/Rococo-vsBaroque-in-Architecture-and-Design)

6 Kurrti, Jeff, The Art of Tangled, 2010, Chronicle Books

7 Baroque & Rococo (http://www.artandcointv.com/artstyleBaroqueRococ.php)

Garrard, Mary (1989). Artemisia Gentileschi. Oxford: Princeton University Press

Kurrti, Jeff, The Art of Tangled, 2010, Chronicle Books
Baroque Art, (http://loki.stockton.edu/~fergusoc/lesson7/lect7.htm
Baroque & Rococo (http://www.artandcointv.com/artstyleBaroqueRococ.php)
Impressionism Movement, Artists and Major Works, 2014, (http://www.theartstory.org/movementimpressionism.htm)
Rococo vs. Baroque in Architecture and Design, January 6 2014, (http://heroek.hubpages.com/hub/Rococovs-Baroque-in-Architecture-and-Design)