Chapter Fifteen: The Seventeenth Century: The Baroque Era
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Chapter Fifteen: Chapter Fifteen: The Seventeenth Century: The Seventeenth Century: The Baroque Era The Baroque Era Culture and Values, 8 th Ed. Cunningham and Reich and Fichner-Rathus
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Chapter Fifteen: The Seventeenth Century: The Baroque Era. Culture and Values, 8 th Ed. Cunningham and Reich and Fichner-Rathus. The Counter-Reformation Spirit. Council of Trent (1545-1563) Redefined doctrines, reaffirmed dogmas Assertion of discipline, education - PowerPoint PPT Presentation
Transcript of Chapter Fifteen: The Seventeenth Century: The Baroque Era
Chapter Fifteen:Chapter Fifteen:The Seventeenth Century:The Seventeenth Century:
The Baroque Era The Baroque Era
Chapter Fifteen:Chapter Fifteen:The Seventeenth Century:The Seventeenth Century:
The Baroque Era The Baroque Era
Culture and Values, 8th Ed.
Cunningham and Reich and Fichner-Rathus
Culture and Values, 8th Ed.
Cunningham and Reich and Fichner-Rathus
The Counter-Reformation SpiritThe Counter-Reformation SpiritThe Counter-Reformation SpiritThe Counter-Reformation Spirit
Council of Trent (1545-1563) Redefined doctrines, reaffirmed dogmas Assertion of discipline, education New artistic demands, purpose
Society of Jesus, Jesuits Ignatius Loyola (1491-1556) Missionaries, educational improvement
Council of Trent (1545-1563) Redefined doctrines, reaffirmed dogmas Assertion of discipline, education New artistic demands, purpose
Society of Jesus, Jesuits Ignatius Loyola (1491-1556) Missionaries, educational improvement
Seventeenth-Century BaroqueSeventeenth-Century BaroqueSeventeenth-Century BaroqueSeventeenth-Century Baroque
Decentralized styles Art for the middle-class Rich, ornate, elaborate, fanciful Emotionalism Psychological exploration New techniques, virtuosity
Decentralized styles Art for the middle-class Rich, ornate, elaborate, fanciful Emotionalism Psychological exploration New techniques, virtuosity
15.4 Saint Peter’s façade, Rome, Italy
15.4 Saint Peter’s façade, Rome, Italy
The Baroque Period in ItalyThe Baroque Period in ItalyBaroque Sculpture and Architecture in RomeBaroque Sculpture and Architecture in Rome
The Baroque Period in ItalyThe Baroque Period in ItalyBaroque Sculpture and Architecture in RomeBaroque Sculpture and Architecture in Rome
Gian Lorenzo Bernini (1598-1680) Chief architect of Counter-Reformation
Fountains, palaces, churches Conflict with Borromini
Religious-themed sculptures Baldacchino David (1623) The Ecstasy of Saint Teresa (1645-1652)
Gian Lorenzo Bernini (1598-1680) Chief architect of Counter-Reformation
Fountains, palaces, churches Conflict with Borromini
Religious-themed sculptures Baldacchino David (1623) The Ecstasy of Saint Teresa (1645-1652)
15.6 Gian Lorenzo Bernini, Baldacchino, 1624-1633
15.6 Gian Lorenzo Bernini, Baldacchino, 1624-1633
15.7 Gian Lorenzo Bernini, David, 1623
15.7 Gian Lorenzo Bernini, David, 1623
15.8 Gian Lorenzo Bernini, The Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy
15.8 Gian Lorenzo Bernini, The Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy
Gian Lorenzo Bernini,
Pluto and Proserpina,
marble, 1621-22 (Galleria Borghese, Rome)
Gian Lorenzo Bernini,
Pluto and Proserpina,
marble, 1621-22 (Galleria Borghese, Rome)
The Baroque Period in ItalyThe Baroque Period in ItalyBaroque Sculpture and Architecture in RomeBaroque Sculpture and Architecture in Rome
The Baroque Period in ItalyThe Baroque Period in ItalyBaroque Sculpture and Architecture in RomeBaroque Sculpture and Architecture in Rome
Francesco Borromini (1599-1667) Brooding, melancholy Obsessive elaboration of design Highly complex structures Church of San Carlo alle Quattro Fontane
Sinuous curves and counter-curves Concave and convex walls
Francesco Borromini (1599-1667) Brooding, melancholy Obsessive elaboration of design Highly complex structures Church of San Carlo alle Quattro Fontane
Sinuous curves and counter-curves Concave and convex walls
Francesco Borromini, San Carlo alle Quattro Fontane, begun 1638, façade finished 1667.
Exterior façade 38′ (11.58 m) wide. Rome,
Italy.
Francesco Borromini, San Carlo alle Quattro Fontane, begun 1638, façade finished 1667.
Exterior façade 38′ (11.58 m) wide. Rome,
Italy.
15.10 Francesco Borromini, the dome of San Carlo alle Quattro Fontane, 1638-1641
15.10 Francesco Borromini, the dome of San Carlo alle Quattro Fontane, 1638-1641
The Baroque Period in ItalyThe Baroque Period in ItalyPainting in RomePainting in Rome
The Baroque Period in ItalyThe Baroque Period in ItalyPainting in RomePainting in Rome
Annibale Carracci Extreme emotion, realism of detail Exuberant life, movement, sensuality
Galleria of the Palazzo Farnese
Annibale Carracci Extreme emotion, realism of detail Exuberant life, movement, sensuality
Galleria of the Palazzo Farnese
Annibale Carracci, The Loves of the Gods, 1597–1601. Ceiling frescoes in
the gallery of the Palazzo
Farnese, Rome, Italy.
Annibale Carracci, The Loves of the Gods, 1597–1601. Ceiling frescoes in
the gallery of the Palazzo
Farnese, Rome, Italy.
The Baroque Period in ItalyThe Baroque Period in ItalyPainting in RomePainting in Rome
The Baroque Period in ItalyThe Baroque Period in ItalyPainting in RomePainting in Rome
Caravaggio (1573-1610) Dramatic naturalism, realism
Brutal, pessimistic Emotional, psychological
Tenebrism The Calling of St. Matthew (1600-1602) Judith and Holofernes (1598)
Artemisia Gentileschi Judith Decapitating Holofernes (1620)
Caravaggio (1573-1610) Dramatic naturalism, realism
Brutal, pessimistic Emotional, psychological
Tenebrism The Calling of St. Matthew (1600-1602) Judith and Holofernes (1598)
Artemisia Gentileschi Judith Decapitating Holofernes (1620)
15.12 Caravaggio, The Calling of Saint Matthew, 1600-1602
15.12 Caravaggio, The Calling of Saint Matthew, 1600-1602
Caravaggio,
Deposition
oil on canvas, c.
1600-04
(Pinocateca, Vatican)
Caravaggio,
Deposition
oil on canvas, c.
1600-04
(Pinocateca, Vatican)
Caravaggio, The Crowning with Thorns, 1602-04, oil on canvas, 165.5 x 127 cm (Kunsthistorisches Museum, Vienna)
Caravaggio, The Crowning with Thorns, 1602-04, oil on canvas, 165.5 x 127 cm (Kunsthistorisches Museum, Vienna)
The conversion of Saint Paul 1601
The conversion of Saint Paul 1601
15.14 Artemesia Gentileschi, Judith Decapitating Holofernes, ca. 1620
15.14 Artemesia Gentileschi, Judith Decapitating Holofernes, ca. 1620
Caravaggio, Judith and Holofernes, ca. 1598. Oil on canvas, 57″ × 77″ (145 cm × 195 cm). Galleria Nazionale d’Arte Antica, Palazzo
Barberini, Rome, Italy.
Caravaggio, Judith and Holofernes, ca. 1598. Oil on canvas, 57″ × 77″ (145 cm × 195 cm). Galleria Nazionale d’Arte Antica, Palazzo
Barberini, Rome, Italy.
The Baroque Period Outside ItalyThe Baroque Period Outside ItalySpainSpain
The Baroque Period Outside ItalyThe Baroque Period Outside ItalySpainSpain
Diego Velázquez (1599-1660) Vitality of scene Lives of ordinary people Las Meninas (1656)
Color Space Reality of detail
Diego Velázquez (1599-1660) Vitality of scene Lives of ordinary people Las Meninas (1656)
Color Space Reality of detail
15.15 Diego Velazquez, Las Meninas (The Maids of Honor), 1656
15.15 Diego Velazquez, Las Meninas (The Maids of Honor), 1656
Diego Velázquez, The Surrender of Breda, 1634-35, oil on canvas, 307 cm × 367 cm / 121 in × 144 in (Museo del Prado, Madrid)
Diego Velázquez, The Surrender of Breda, 1634-35, oil on canvas, 307 cm × 367 cm / 121 in × 144 in (Museo del Prado, Madrid)
The Baroque Period Outside ItalyThe Baroque Period Outside ItalyFlandersFlanders
The Baroque Period Outside ItalyThe Baroque Period Outside ItalyFlandersFlanders
Peter Paul Rubens (1577-1640) The Rape of the Daughters of Leucippus
Restless energy, sense of action Female nudity, ample proportions
Anthony Van Dyck (1599-1641) Formal portraits Refined tastes, noble patrons
Peter Paul Rubens (1577-1640) The Rape of the Daughters of Leucippus
Restless energy, sense of action Female nudity, ample proportions
Anthony Van Dyck (1599-1641) Formal portraits Refined tastes, noble patrons
15.16 Peter Paul Rubens, The Rape of the Daughters of Leucippus, 1617
15.16 Peter Paul Rubens, The Rape of the Daughters of Leucippus, 1617
Peter Paul Rubens,
The Elevation of the Cross,
1610, oil on wood,
Peter Paul Rubens,
The Elevation of the Cross,
1610, oil on wood,
Anthony van Dyck, Marchesa Elena Grimaldi,
Wife of Marchese Nicola
Cattaneo, ca. 1623. Oil on
canvas, 84⅞″ × 48½″ (242.9 ×
138.5 cm). National Gallery
of Art, Washington,
DC.
Anthony van Dyck, Marchesa Elena Grimaldi,
Wife of Marchese Nicola
Cattaneo, ca. 1623. Oil on
canvas, 84⅞″ × 48½″ (242.9 ×
138.5 cm). National Gallery
of Art, Washington,
DC.
The Baroque Period Outside ItalyThe Baroque Period Outside ItalyThe Dutch Republic (Holland)The Dutch Republic (Holland)
The Baroque Period Outside ItalyThe Baroque Period Outside ItalyThe Dutch Republic (Holland)The Dutch Republic (Holland)
Frans Hals (c. 1580-1666) Group portraits
Jan Vermeer (1632-1675) Inner contemplation, repose Light, stillness
Frans Hals (c. 1580-1666) Group portraits
Jan Vermeer (1632-1675) Inner contemplation, repose Light, stillness
15.18 Frans Hals, Banquet of the Officers of the Civic Guard of Saint George at Haarlem, 1616
15.18 Frans Hals, Banquet of the Officers of the Civic Guard of Saint George at Haarlem, 1616
15.26 Jan Vermeer, Young Woman With a Water Jug, 1665
15.26 Jan Vermeer, Young Woman With a Water Jug, 1665
The Baroque Period Outside Italy The Baroque Period Outside Italy The Dutch Republic (Holland)The Dutch Republic (Holland)
The Baroque Period Outside Italy The Baroque Period Outside Italy The Dutch Republic (Holland)The Dutch Republic (Holland)
Rembrandt van Rijn (1606-1669) Spiritual matters, problems of existence The Night Watch (1642) Self-understanding through self-portraits
Psychologically reflective Tragic nature of human destiny
Emotionality through virtuosity
Rembrandt van Rijn (1606-1669) Spiritual matters, problems of existence The Night Watch (1642) Self-understanding through self-portraits
Psychologically reflective Tragic nature of human destiny
Emotionality through virtuosity
15.21
Rembrandt
van Rijn,
The Sortie
of Captain
Frans
Banning
Cocq’s
Company
of the
Civic
Guard
(The Night
Watch),
1642
15.21
Rembrandt
van Rijn,
The Sortie
of Captain
Frans
Banning
Cocq’s
Company
of the
Civic
Guard
(The Night
Watch),
1642
15.19
Rembrandt van Rijn, Self-Portrait, 1652
15.19
Rembrandt van Rijn, Self-Portrait, 1652
Rembrandt van Rijn, The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas, 67″ × 85 ¼″ (170 × 217 cm). The Royal Picture
Gallery Mauritshuis, The Hague, The Netherlands.
Rembrandt van Rijn, The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas, 67″ × 85 ¼″ (170 × 217 cm). The Royal Picture
Gallery Mauritshuis, The Hague, The Netherlands.
The Baroque Period Outside ItalyThe Baroque Period Outside ItalyFranceFrance
The Baroque Period Outside ItalyThe Baroque Period Outside ItalyFranceFrance
Nicolas Poussin (c. 1594-1665) Protest against baroque excesses Nostalgic yearning for idealized past
Georges de La Tour (1590-1652) Restrained mood, repressed emotionality
Nicolas Poussin (c. 1594-1665) Protest against baroque excesses Nostalgic yearning for idealized past
Georges de La Tour (1590-1652) Restrained mood, repressed emotionality
15.27 Nicholas Poussin, The Rape of the Sabine Women, ca. 1636-1637
15.27 Nicholas Poussin, The Rape of the Sabine Women, ca. 1636-1637
15.28 Georges de La Tour, The Penitent Magdalen, ca. 1640
15.28 Georges de La Tour, The Penitent Magdalen, ca. 1640
The Baroque Period Outside ItalyThe Baroque Period Outside ItalyFranceFrance
The Baroque Period Outside ItalyThe Baroque Period Outside ItalyFranceFrance
The Palace of Versailles Louis XIV = the Sun King Politics, psychology Grandiose symbolism Baroque extremes + Classical simplicity
The Palace of Versailles Louis XIV = the Sun King Politics, psychology Grandiose symbolism Baroque extremes + Classical simplicity
Hyacinthe Rigaud, Louis XIV, King of France
and Navarre, oil on canvas, 1701 (Musée du Louvre, Paris)
Hyacinthe Rigaud, Louis XIV, King of France
and Navarre, oil on canvas, 1701 (Musée du Louvre, Paris)
15.29 Palace of Versailles, begun 166915.29 Palace of Versailles, begun 1669
15.30 Hall of Mirrors (Galerie des Glaces), begun 1676, Palace of Versailles
15.30 Hall of Mirrors (Galerie des Glaces), begun 1676, Palace of Versailles
The Baroque Period Outside ItalyThe Baroque Period Outside ItalyNew EnglandNew England
The Baroque Period Outside ItalyThe Baroque Period Outside ItalyNew EnglandNew England
Anne Bradstreet Thomas Smith
Anne Bradstreet Thomas Smith
15.31 Thomas Smith, Self-Portrait, ca. 1680
15.31 Thomas Smith, Self-Portrait, ca. 1680
Baroque MusicBaroque MusicBaroque MusicBaroque Music
Emphasis on rhythm and melody Listening pleasure and glory of God Sacred music with universal appeal Growing interest in secular music
Emphasis on rhythm and melody Listening pleasure and glory of God Sacred music with universal appeal Growing interest in secular music
Baroque Music:Baroque Music:
The Birth of OperaThe Birth of OperaBaroque Music:Baroque Music:
The Birth of OperaThe Birth of Opera Play in which text was sung, not spoken Aristocratic and middle-class audience Florentine Camerata
Objected to polyphonic style Monody, recitative Inspired by Greek drama, tradition
Jacopo Peri: Dafne, Euridice
Play in which text was sung, not spoken Aristocratic and middle-class audience Florentine Camerata
Objected to polyphonic style Monody, recitative Inspired by Greek drama, tradition
Jacopo Peri: Dafne, Euridice
Baroque Music:Baroque Music:
The Birth of OperaThe Birth of OperaBaroque Music:Baroque Music:
The Birth of OperaThe Birth of Opera Claudio Monteverdi (1567-1643)
L’Orfeo Dramatic instinct, emotionality of music Academic principles of Camerata
Opera houses Audience appeal
Lavish stage spectacles, arias
Claudio Monteverdi (1567-1643) L’Orfeo Dramatic instinct, emotionality of music Academic principles of Camerata
Opera houses Audience appeal
Lavish stage spectacles, arias
Baroque Instrumental Baroque Instrumental and Vocal Musicand Vocal Music
Baroque Instrumental Baroque Instrumental and Vocal Musicand Vocal Music
Oratoriio Dietrich Buxtehude (1637-1707)
Chorale fantasies, suites for harpsichord Domenico Scarlatti (1685-1757)
Harpsichord virtuoso, sonatas Georg Frideric Handel (1685-1759)
Oratorios (Messiah) Operas
Oratoriio Dietrich Buxtehude (1637-1707)
Chorale fantasies, suites for harpsichord Domenico Scarlatti (1685-1757)
Harpsichord virtuoso, sonatas Georg Frideric Handel (1685-1759)
Oratorios (Messiah) Operas
Baroque Instrumental and Vocal Music:Baroque Instrumental and Vocal Music:Johann Sebastian Bach Johann Sebastian Bach (1685-1750)(1685-1750)
Baroque Instrumental and Vocal Music:Baroque Instrumental and Vocal Music:Johann Sebastian Bach Johann Sebastian Bach (1685-1750)(1685-1750)
Virtuoso of composition, performance Complexity of musical thought
Polyphony, fugue, counterpoint Expression of deep religious faith
Chorale preludes, cantatas Brandenburg Concertos Antonio Vivaldi
Concerto grosso (Vivaldi)
Virtuoso of composition, performance Complexity of musical thought
Polyphony, fugue, counterpoint Expression of deep religious faith
Chorale preludes, cantatas Brandenburg Concertos Antonio Vivaldi
Concerto grosso (Vivaldi)
Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period
Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period
“Coming of age” of modern philosophy Philosophy as independent discipline Objective demonstration vs. abstract
generalization Supernatural explanations insufficient
“Coming of age” of modern philosophy Philosophy as independent discipline Objective demonstration vs. abstract
generalization Supernatural explanations insufficient
Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period
Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period
Galileo Galilei (1564-1642) Astronomy, physics Heretical denunciation of Ptolemaic view
Support of Copernican theory Experiment, observation
Telescope Motion
Galileo Galilei (1564-1642) Astronomy, physics Heretical denunciation of Ptolemaic view
Support of Copernican theory Experiment, observation
Telescope Motion
Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period
Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period
René Descartes (1596-1650) Father of Modern Philosophy Criteria for defining reality
“Cogito, ergo sum” What is clearly perceived must exist Argument for the existence of God
René Descartes (1596-1650) Father of Modern Philosophy Criteria for defining reality
“Cogito, ergo sum” What is clearly perceived must exist Argument for the existence of God
Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period
Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period
Thomas Hobbes (1588-1679) Materialism Leviathan
Theory of society, no divine law Offended theologians, rationalists
Personal liberty vs. security
Thomas Hobbes (1588-1679) Materialism Leviathan
Theory of society, no divine law Offended theologians, rationalists
Personal liberty vs. security
Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period
Philosophy and Science Philosophy and Science in the Baroque Periodin the Baroque Period
John Locke (1632-1704) Predecessor to the Enlightenment Nature of ideas
Perceptions, personal property Limitations of human knowledge Significance of experience
John Locke (1632-1704) Predecessor to the Enlightenment Nature of ideas
Perceptions, personal property Limitations of human knowledge Significance of experience
Seventeenth-Century:Seventeenth-Century:
French Baroque Comedy and TragedyFrench Baroque Comedy and TragedySeventeenth-Century:Seventeenth-Century:
French Baroque Comedy and TragedyFrench Baroque Comedy and Tragedy
Molière (1622-1673) Comedic drama deflates pretense, pomposity
Pierre Corneille (1606-1684) Eternal truths about human behavior
Jean Racine (1639-1699) Themes of self-destruction Psychological explorations
Molière (1622-1673) Comedic drama deflates pretense, pomposity
Pierre Corneille (1606-1684) Eternal truths about human behavior
Jean Racine (1639-1699) Themes of self-destruction Psychological explorations
Literature in the Seventeenth Century:Literature in the Seventeenth Century:
The Novel in Spain: CervantesThe Novel in Spain: CervantesLiterature in the Seventeenth Century:Literature in the Seventeenth Century:
The Novel in Spain: CervantesThe Novel in Spain: Cervantes
Picaresque novel Don Quixote
Satire of medieval chivalric romances Reality vs. Illusion Relationship between art and life
Synthesis of comedy and tragedy
Picaresque novel Don Quixote
Satire of medieval chivalric romances Reality vs. Illusion Relationship between art and life
Synthesis of comedy and tragedy
Seventeenth-Century Literature:Seventeenth-Century Literature:
The English Metaphysical PoetsThe English Metaphysical PoetsSeventeenth-Century Literature:Seventeenth-Century Literature:
The English Metaphysical PoetsThe English Metaphysical Poets
King James version of the Bible Metaphysical concern with self-analysis
John Donne (1572-1631) Richard Crashaw (1613-1649) Andrew Marvell (1621-1678)
King James version of the Bible Metaphysical concern with self-analysis
John Donne (1572-1631) Richard Crashaw (1613-1649) Andrew Marvell (1621-1678)
Seventeenth-Century Literature:Seventeenth-Century Literature:
John John MiltonMilton’’s Heroic Visions Heroic VisionSeventeenth-Century Literature:Seventeenth-Century Literature:
John John MiltonMilton’’s Heroic Visions Heroic Vision
Paradise Lost (1667) “justify the ways of God to men” Biblical and Classical references Humanist principles + Christian doctrine Dramatic fervor, psychological insight
Paradise Lost (1667) “justify the ways of God to men” Biblical and Classical references Humanist principles + Christian doctrine Dramatic fervor, psychological insight
Chapter Fifteen: Discussion QuestionsChapter Fifteen: Discussion QuestionsChapter Fifteen: Discussion QuestionsChapter Fifteen: Discussion Questions In what ways does Bernini’s sculpture of David highlight the
characteristics of the Baroque period? Compare Donatello’s David and Michelangelo’s David with that of Bernini. What cultural and/or historical statements can be made about each of the David sculptures if they are viewed as “signs of their times”? Why would these artists choose David as their subject? Why does each artist depict him differently? Explain.
Despite the French dislike of the Baroque, how did the style permeate the art and architecture of France? Cite specific examples that illustrate the characteristics of the Baroque in seventeenth- and eighteenth-century France.
What contributed to the lack of wealthy and/or noble patrons of Baroque art in Northern Europe? In what ways did the intended audience influence the artwork? Explain, citing specific examples.
Explain the parallels and connections among Baroque art, philosophy, and literature. What elements of the Baroque are the most prevalent in our current culture?
In what ways does Bernini’s sculpture of David highlight the characteristics of the Baroque period? Compare Donatello’s David and Michelangelo’s David with that of Bernini. What cultural and/or historical statements can be made about each of the David sculptures if they are viewed as “signs of their times”? Why would these artists choose David as their subject? Why does each artist depict him differently? Explain.
Despite the French dislike of the Baroque, how did the style permeate the art and architecture of France? Cite specific examples that illustrate the characteristics of the Baroque in seventeenth- and eighteenth-century France.
What contributed to the lack of wealthy and/or noble patrons of Baroque art in Northern Europe? In what ways did the intended audience influence the artwork? Explain, citing specific examples.
Explain the parallels and connections among Baroque art, philosophy, and literature. What elements of the Baroque are the most prevalent in our current culture?
