Baroque Notes

8/13/2019 Baroque Notes

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battle between the Catholic and Protestants launched wars, and

separated a country - the Netherlands, became Catholic Flanders

(modern day Belgium) and Protestant Holland.

The popularity and success of the Baroque style was encouraged by theRoman Catholic Church, which had decided at the time of the Council of

Trent, in response to the Protestant Reformation, that the arts should

communicate religious themes in direct and emotional involvement.

In response, the Catholic Church launched its own internal reformation

to both clean up corruption and clearly define its doctrines and theology.

This Counter-Reformation found its most important expression in the

Council of Trent, called by Pope Paul III in 1545. While the Council took

steps to reform internal abuses, it made no attempt to compromise withProtestants on matters of doctrine; instead, the Church strongly

reaffirmed the truth of the positions the Protestants had attacked. This re-

infused the Catholic faith with new vigor and confidence.

Yet a lesser known consequence of the Council of Trent was its effect on

art.

Part of the Churchs reform effort was to educate its members, helping

them to understand more about their faith. This was no easy task as mostpeople were illiterate during this time. The Council of Trent declared that

art should be used to explain the profound dogmas of the faith to

everyone, not just the educated. To accomplish this, religious art was to

be direct, emotionally persuasive, and powerful-designed to fire the

spiritual imagination and inspire the viewer to greater piety

New denominations like the Calvinists believed that churches and church

services should be simple, stripped-down affairs. But the Council argued

that a God of greatness and power should be worshiped with the kinds ofrituals, ceremonies, and churches befitting these divine qualities. This

affirmation of the beauty and grandiosity of expressions of faith found its

way into Baroque art.

The Catholics, through the efforts of the Counter-Reformation launched

great building campaigns for churches, and their furnishings and

decorations, especially in countries like Italy, Spain and Germany, and

Flanders.A great demand for art emerged because of the rise of absolute
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monarchies, and thus grand courts, serving as propaganda and a

statement of authority and power.

The Baroque originated around 1600, when the Council of Trent(154563), by which theRoman Catholic Churchanswered many questions of

internal reform, addressed the representational arts by demanding that

paintings and sculptures in church contexts should speak to the illiterate

rather than to the well-informed.

*Slide 5Michelangelo Merisi da Caravaggiowas born in Lombardy, Italy andlived from September 1571 to July 1610. He was an Italian artist activein Rome, Naples, Malta, and Sicily between 1593 and 1610. Caravaggiointroduced a powerfully frank realism with the use of dramatic lighting toItalian BaroqueArt. When Caravaggio first moved to Rome in 1592, hebegan his career as a specialist painter of still lifes, mostly fruits andvegetables. He continued his artistic career by painting for a small circleassociated with the household of art patron, Cardinal del Monte.Starting in 1600, Caravaggio had earned fame in the city of Rome. Withthe help of the Cardinal del Monte, Caravaggio was contracted todecorate the Contarelli Chapel in the church of San Luigi dei Francesi.From this commission, Martyrdom of Saint Matthewand Calling ofSaint Matthew, delivered in 1600, were an immediate sensation. ButCaravaggio was not able to bask in his fame for long, because he wasexiled to Naples in 1606. Caravaggio earned fame in both Naples andSicily after being exiled. But, with another strange sequence of eventsCaravaggios death, in the summer of 1610, was announced by ananonymous letter.

TENEBRISM

n fine art, the word "tenebrism" (from the Italian word

"tenebroso" meaning dark) describes a style of paintingcharacterized by deep shadows and a distinct contrast betweenlight and dark areas. In essence, it is a compositional

technique (often confused with chiaroscuro) in which someareas of the painting are kept completely black, allowing one

or more areas to be strongly illuminated - usually from a single

source of light. hese pictures are sometimes referred to as

"night pictures" painted in the "dark manner." enebrism ismost often used in connection with works created during the

!annerismand aroqueeras, notably by #ara$aggio(%&'%-
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%%), as well as other tenebristiin *aples, the *etherlandsand +pain.

#I/+#0/

lthough lacking a precise definition, the fine artterm"chiaroscuro" (from the Italian for "light-dark"1 or the 2rench"clair-obscur") describes the prominent contrast of light and

shade in a painting, drawing or print, and the skilldemonstrated by the artist in the management of shadows to

create the illusion of three-dimensional forms.

*slide 6The conversion of Paul from persecutor to apostle is a biblical storyfrom the New Testament. According to the account in the book of Acts,

Paul, before his conversion, was a "zealous" Pharisee, who took part inpersecuting the followers of Jesus- even participating in the stoning ofStephen.[1]After his conversion, Paul becomes an apostle, althoughnever a member of the twelve apostles.

This account of his conversion happened after the crucifixion of Jesus,and there are some discrepancies with the story. Some believe that theconversion was a gradual process, one in which God had been a part ofsince the stoning of Stephen; others believe that the conversionhappened in a moment. Accounts by Paul in the New Testament do not

clear up these discrepancies. The description of the account is verybrief, but he writes about having seen the risen Christ.

The Conversion of Paulby Caravaggio depicts a moment of intensereligious ecstasy. This scene shows the very moment Paul is overcomewith the spirit of Jesus Christ and has been flung off of his horse.

Meanwhile the man and the horse, who symbolize the ordinaryearthly world and are not privy to the full experience, are deep inshadow.

*slide 7The painting shows the martyrdom of Saint Matthewthe Evangelist,author of the Gospel of Matthew. According to tradition, the saint waskilled on the orders of the king of Ethiopia while celebrating Mass at thealtar. The king lusted after his own niece, and had been rebuked byMatthew, for the girl was a nun, and therefore the bride of Christ.Cardinal Contarelli, who had died several decades earlier, had laiddown very explicitly what was to be shown: the saint being murdered bya soldier sent by the wicked king, some suitable architecture, andcrowds of onlookers showing appropriate emotion.
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*slide 8In his paintings and prints he exhibited knowledge of classicaliconography, which he molded to fit the requirements of his ownexperience; thus, the depiction of a biblical scene was informed byRembrandt's knowledge of the specific text, his assimilation of classicalcomposition, and his observations of Amsterdam's Jewish population.[5]Because of his empathy for the human condition, he has been called"one of the great prophets of civilization."[6]

*slide 10The Anatomy Lesson of Dr. Nicolaes Tulpis a 1632 oil paintingbyRembrandthoused in the Mauritshuismuseum in The Hague, theNetherlands. Dr. Nicolaes Tulp(dutch surgeon and mayor ofAmsterdam) is pictured explaining the musculatureof the armtomedical professionals. Some of the spectators are various doctors whopaid commissions to be included in the painting. The painting is signedin the top-left hand corner Rembrant. f[ecit] 1632. This may be the firstinstance of Rembrandt signing a painting with his forename (in itsoriginal form) as opposed to the monogramme RHL(RembrantHarmenszoon of Leiden), and is thus a sign of his growing artisticconfidence.

The event can be dated to 16 January 1632: the AmsterdamGuild ofSurgeons, of which Tulp was official City Anatomist, permitted only onepublic dissectiona year, and the body would have to be that of an

executed criminal.[1

Medical specialists have commented on the accuracy of musclesandtendonspainted by the 26-year-old Rembrandt. It is not known wherehe obtained such knowledge

*SLIDE 12

voluptuous characterised by luxury or sensual pleasure

allegories a story, poem or picture that can be interpreted or has a

meaning behind it.

Pastoral associated with country life.

ROCOCO STYLERococo(/r ko ko /or/ro k ko /), less commonly roccoco, alsoreferred to as "Late Baroque", is an 18th-century artistic movement andstyle, which affected several aspects of the artsincluding painting,sculpture, architecture, interior design, decoration, literature, musicandtheatre. The Rococo developed in the early part of the 18th century in

Paris, Franceas a reaction against the grandeur, symmetry and strictregulations of the Baroque, especially that of the Palace of Versailles.[1]
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In such a way, Rococo artists opted for a more jocular, florid andgraceful approach to Baroque art and architecture. Rococo art andarchitecture in such a way was ornate and made strong usage ofcreamy, pastel-like colours, asymmetrical designs, curves and gold.Unlike the more politically focused Baroque, the Rococo had moreplayful and often witty artistic themes. With regards to interiordecoration, Rococo rooms were designed as total works of art withelegant and ornate furniture, small sculptures, ornamental mirrors, andtapestrycomplementing architecture, reliefs, and wall paintings. TheRococo additionally played an important role in theatre. In the book TheRococo, it is written that there was no other culture which "hasproduced a wittier, more elegant, and teasing dialogue full of elusiveand camouflaging language and gestures, refined feelings and subtlecriticism" than Rococo theatre, especially that of France.[2]-----------------------------------------------------------------------------------------------------------------

Reflecting inspiration gained from such artists as Peter Paul Rubensand Antoine Watteau, Boucher's early works celebrate the idyllic andtranquil portrayal of nature and landscape with great elan. However, hisart typically forgoes traditional rural innocence to portray scenes with adefinitive style of eroticism as his mythological scenes are passionateand intimately amorous rather than traditionally epic. Marquise dePompadour(mistress of King Louis XV), whose name becamesynonymous with Rococo art, was a great admirer of his work.

also designed theater costumes and sets, and the ardent intrigues ofthe comic operas of Charles Simon Favartclosely paralleled his ownstyle of painting

Tapestrydesign was also a concern. For the Beauvaistapestryworkshops he first designed a series of Ftes italiennes("Italianfestivals") in 1736, which proved to be very successful and oftenrewoven over the years, and then, commissioned in 1737, a suite of thestory of Cupid and Psyche.[3]During two decades' involvement with the

Beauvais tapestry workshops Boucher produced designs for six seriesof hangings in all. Only his appointment in 1755 as director of the rivalGobelins terminated the association. He was also called upon fordesigns for court festivities organized by that section of the King'shousehold called the Menus-Plaisirs du Roiand for the opera and forroyal chteaux Versailles, Fontainebleauand Choisy. His designs for allof the aforementioned augmented his earlier reputation, resulting inmany engravings from his work and even reproduction of his designs onporcelainand biscuit-wareat the Vincennesand Svresfactories.
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doublets as worn during the enaissance. he most importantde$elopment of this period was the rise of fashion designers after4ouis 5I6 certified the establishment of a dress-makers guild. hisprofession contained both men and women. he most populardesigners were well-pursued by the nobility and e$en the middle

class.

Women. ecorati$e aprons became popular with the middleclasses. he plunging neckline called the dcolletagebecame

common, often accompanied with wide lace collars.


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loose. hese were the kind of fashions you would associate with the9hree !usketeers.:

2urther into the reign of 4ouis 5I6, howe$er, men=s fashions becamemore e8tra$agant. Rhinegravebreeches, or long, loose, o$erly

decorated pants ending ;ust below the knee (which really looked likeskirts) became popular and were worn with lace ruffles calledcannons;ust below them. 4arge collars were replaced with longlace ruffles orjabotsat the opening of the neckline. +quare-toed,high-heeled shoes with rosettes replaced boots. !en curled theirhair and grew it past the shoulders or simply wore wigs of the samestyle.

efore the death of the +un 7ing, men=s fashions underwent yet

another change (see left image). reeches became close-fitting andeither tied, buttoned, or buckled at the knee, with hose wornunderneath. 4ong coats with braid-trimmed buttonholes(brandenburgs) and large, folded-o$er slee$es were worn (think#aptain ook here). +carf-like steinkirksreplaced the ;abot. hissuite was refered to collecti$ely as the @ersian style and still ser$esas the base of a man=s suitAthe coat, waistcoat, and breeches.


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1) James I and VI, 16031610, wears a satin doublet, wired whisk, shortcape, and hose over cannions. Narrow points are tied in bows at hiswaist. He wears the garter and collarof the Order of the Garter.

2)James Hamiltonwears the unstarched ruff that became popular inEngland in the 1620s. His hose reach to the lower thigh and are wornwith scarlet stockings and heeled shoes, 1623.

3) Charles I. By the 1620s, doublets were still pointed but the waistlinewas rising above long tabsor skirts. Sleeves are slashed to the elbowand tight below. Points are more elaborate bows, and hose havecompleted the transition to breeches.

*SLIDE20

1) An Englishwoman(traditionally called Dorothy Cary, LaterViscountess Rochford) wears an embroidered linen jacket with ribbonties and embroidered petticoat under a black dress with hangingsleeves lined in gray. Her reticella lace collar, cuffs, and hood are tintedwith yellow starch.

2) Elizabeth, Lady Style of Wateringburywears an embroidered jacket-bodice and petticoat under a red velvet dress. She wears a sheer partletover an embroidered high-necked chemise, c. 1620.

*SLIDE21

1) Sara Wolphaerts van Diemenwears a double cartwheel ruff thatremained popular in the Netherlands through the period. She wears ablack gown with a brocaded stomacher and virago sleeves, and a whitelinen cap, 1635.

2) Dutch fashionsof the 1640s feature modest, high-necked chemises,broad linen collars with matching kerchiefs and deep cuffs, and lavish

use of bobbin lace.

3) Marie-Louise de Tassiswears a short-waisted gown with a sash overa tabbed bodice with a long stomacher and matching pettiicoat andvirago sleeves, c. 162930.

*SLIDE22

Flat shoeswere worn to around 1610, when a low heel became popular.

The ribbon tie over the instep that had appeared on late sixteenthcentury shoesgrew into elaborate lace or ribbon rosettes called shoe
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rosesthat were worn by the most fashionable men and women.

Backless slippers called pantofleswere worn indoors.

By the 1620s, heeled bootsbecame popular for indoor as well asoutdoor wear. The boots themselves were usually turned down below

the knee; boot tops became wider until the "bucket-top" boot associatedwith The Three Musketeersappeared in the 1630s. Spursstrapsfeatured decorative butterfly-shaped spur leathersover the instep.

Wooden clogsor pattenswere worn outdoors over shoes and boots tokeep the high heels from sinking into soft dirt.

Stockingshad elaborate clocksor embroidery at the ankles early in theperiod. Boothoseof stout linen were worn under boots to protect fineknitted stockings; these could be trimmed with lace.

*SLIDE24

Men in a tavern wear floppy hats, wrinkled stockings and long, high-waisted jerkins, some with sleeves, and blunt-toed shoes.

Man hunting small game wears a grey buttoned jerkin with short

sleeves and matching breeches over a red doublet. He wears a

fur-lined hat and grey gloves, Germany, 1643.

*SLIDE 27

In Italian, the word baroccomeans bizarre, and aroquearchitecture certainly was e8tra$agant. uildings in the aroquestyle ha$e many of these features3

#omplicated shapes 4arge cur$ed forms

wisted columns

Crand stairways igh domes rompe lDoeil paintings

Blements of the elaborate aroque style are found throughoutBurope and also tra$eled to 4atin merica and Buropeansettlements around the world.


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French Baroque:he aroque style became more restrained in2rance.


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scrolls and gilded. Many of the ceilings used something called

illusionism. That is when paintings are elaborately done, to

make it look like the painting is actually an engraving, or

protrusion on the wall or ceiling. Baroque art and architecture

was often used to express emotion, and was very elaborate. It

was popular mostly among the upper class.

The most distinct shape of the Baroque style is the oval. It was a

very common shape among baroque buildings. Creating

buildings out of complex interlacing ovals allowed the architects

to have large open spaces that were different than just plain

circles. The domes on many churches were oval shaped, but

some were circular. That posed a problem because manly ceilingspaces were oval shaped. To accomplish putting a circular dome

on an oval space, the architect had to use very strange angles,

but it did create space for sculptures and paintings.

Two main architects of the baroque era were Bernini and

Borromini. Bernini's first medium was sculpture. He liked to

incorporate lots of it into his buildings. A sculptor and mason,

Francesco Burromini went to Rome in 1614, and trained underBernini and Carlo Maderna. Lots of Borromini's buildings

incorporated many shapes and different forms.

*SLIDE 28

Trompe-l'il(Frenchfor deceive the eye, pronounced [t p lj] ),which can also be spelled without the hyphen in English as trompe

l'oeil,[1]is an art technique that uses realistic imagery to create theoptical illusionthat depicted objects exist in three dimensions.

*SLIDE 30

Apollo and Daphneis a life-sized Baroquemarble sculpture by Italianartist Gian Lorenzo Bernini, executed between 1622 and 1625. Housedin the Galleria Borghesein Rome, the work depicts the climax of thestory of Daphneand Phoebusin Ovid's Metamorphoses.

The sculpture was the last of a number of artworks commissioned byCardinal Scipione Borghese, early on in Bernini's career. Apollo and
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Daphne was commissioned after Borghese had given an earlier work ofhis patronage, Bernini's Pluto and Persephone, to Cardinal LudovicoLudovisi.[1]

*SLIDE31

St. Peter's Square(Italian: Piazza San Pietro, Latin: Forum SanctiPetri, pronounced [ pia a san pi t o] ) is a massive plaza locateddirectly in front of St. Peter's Basilicain the Vatican City, the papalenclavesurrounded by Rome, directly west of the neighbourhood orrioneof Borgo.

At the centre of the square is a four-thousand-year-old Egyptian obelisk,erected at the current site in 1568. Gian Lorenzo Berninidesigned thesquare almost 100 years later, including the massive Tuscan

colonnades, four columns deep, which embrace visitors in "the maternalarms of Mother Church." A granite fountain constructed by Bernini in1675 matches another fountain designed by Carlo Madernodating to1613.

*SLIDE 33

Fontana dei Quattro Fiumi(Fountain of the Four Rivers) is a fountainin the Piazza Navonain Rome, Italy. It was designed in 1651 by GianLorenzo Berninifor Pope Innocent Xwhose family palace, the PalazzoPamphili, faced onto the piazza as did the church of Sant'Agnese in

Agoneof which Innocent was the sponsor.

The base of the fountain is a basin from the centre of which travertinerocks rise to support four river gods and above them, an ancientEgyptianobelisksurmounted with the Pamphili family emblem of a dovewith an olive twig. Collectively, they represent four major rivers of thefour continents through which papal authority had spread: the Nilerepresenting Africa, the Danuberepresenting Europe, the Gangesrepresenting Asia, and the Ro de la Platarepresenting the Americas.

*SLIDE 35Francesco Borromini, byname of Francesco Castelli(25 September1599 2 August 1667),[1]was an architect from Ticino[2]who, with hiscontemporaries Gian Lorenzo Berniniand Pietro da Cortona, was aleading figure in the emergence of Roman Baroquearchitecture.

A keen student of the architecture of Michelangeloand the ruins ofAntiquity, Borromini developed an inventive and distinctive, if somewhatidiosyncratic, architecture employing manipulations of Classicalarchitectural forms, geometrical rationales in his plans and symbolicmeanings in his buildings. He seems to have had a sound

understanding of structures, which perhaps Bernini and Cortona, whowere principally trained in other areas of the visual arts, lacked. His soft
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lead drawings are particularly distinctive. He appears to have been aself-taught scholar, amassing a large library by the end of his life.

His career was constrained by his personality. Unlike Bernini who easilyadopted the mantle of the charming courtier in his pursuit of important

commissions, Borromini was both melancholic and quick in temperwhich resulted in him withdrawing from certain jobs,[3]and his deathwas by suicide.

Probably because his work was idiosyncratic, his subsequent influencewas not widespread but is apparent in the Piedmontese works ofCamillo-Guarino Guariniand, as a fusion with the architectural modes ofBernini and Cortona, in the late Baroque architecture of NorthernEurope.[4]Later critics of the Baroque, such as Francesco Miliziaandthe English architect Sir John Soane, were particularly critical ofBorrominis work. From the late nineteenth century onwards, interesthas revived in the works of Borromini and his architecture has becomeappreciated for its inventiveness.

*SLIDE 36

In 1634, Borromini received his first major independent commission todesign the church, cloister and monastic buildings of San Carlo alleQuattro Fontane(also known as San Carlino). Situated on the QuirinalHill in Rome, the complex was designed for the Spanish Trinitarians, areligious order.

The Church of Saint Charles at the Four Fountains(Italian: Chiesadi San Carlo alle Quattro Fontanealso called San Carlino) is a RomanCatholicchurch in Rome, Italy. The church was designed by thearchitect Francesco Borrominiand it was his first independentcommission. It is an iconic masterpiece of Baroquearchitecture, built aspart of a complex of monastic buildings on the Quirinal Hillfor theSpanish Trinitarians, an order dedicated to the freeing of Christianslaves. He received the commission in 1634, under the patronage ofCardinalFrancesco Barberini, whose palace was across the road.

However, this financial backing did not last and subsequently thebuilding project suffered various financial difficulties.[1]It is one of atleast three churches in Rome dedicated to San Carlo, including SanCarlo ai Catinariand San Carlo al Corso.

*SLIDE 37

Saint Yves at La Sapienza(Italian: Chiesa di Sant'Ivo alla Sapienza) isa Roman Catholicchurch in Rome. Built in 1642-1660 by the architectFrancesco Borromini, the church is a masterpiece of Roman Baroquearchitecture. The courtyard entrance can be accessed from Corso del

Rinascimento; it nestles in the three blocks between the south edge ofPiazza Navonaand the Pantheon.
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In the 14th century, there was a chapel here for the palace of theUniversity of Rome. The University is called La Sapienza, and thechurch was dedicated to Saint Yves(patron saint of jurists). When adesign was commissioned from Borromini, he adapted to the alreadyexisting palazzo. He choose a plan resembling a star of David, andmerged a curved facade of the church with the courtyard of the palace.
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