Baroque 1600-1750.

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Presentation transcript:

Baroque 1600-1750

1600 – the modern world

The old way – a network of loyalties CITY CITY CITY CITY

The new way – THE STATE CITY CITY CITY CITY

This idea in art – Versailles Not fortified p. 278-79

Baroque Change from church to absolute monarchy Exemplified by Louis 14th and Versailles an insult -“grotesque”- applied to design & architecture comes to mean: light, energy, motion, drama in painting & sculpture

Baroque comes to mean: light, energy, motion, drama also: complex, ornamented, convoluted

Artists El Greco - Spain Caravaggio - Italy Bernini – Italy Rubens - France Rembrant – Holland Vermeer - Holland

El Greco, The Burial of Count Orgaz, 1586 p. 258

Detail, The Burial…

Detail, The Burial…

El Greco View of Toledo c. 1597 Oil on canvas 47 3/4 x 42 3/4 in. (121.3 x 108.6 cm) The Metropolitan Museum of Art, New York

El Greco Laocoon 1608-1614 Oil on canvas 142 x 193 cm 2-faced woman El Greco Laocoon 1608-1614 Oil on canvas 142 x 193 cm

El Greco The Adoration of the Shepards The Resurrection

Caravaggio The Calling of St. Matthew, c. 1600 KEY IMAGE p. 269

From the Renaissance stability of the triangle or pyramid (the balance valued in Classicism) to the DRAMATIC DIAGONAL of the Baroque

Caravaggio Murderous, difficult personality perhaps as notorious as famous worked from life directly in oil, no intervening sketching controversial style – considered sacrilegious by some used contemporary peasants & common settings for Biblical stories followers called “Caravaggisti” reputation languished; rehabilitated in 20th-Century

CARAVAGGIO Bacchus c. 1597 Oil on canvas 37 3/8 x 33 1/2 in Twisted pose

Caravaggio Amor Vincit Omnia c Caravaggio Amor Vincit Omnia c. 1601-02 Oil on canvas 75 1/4 x 58 1/4 in Caravaggio, Michelangelo Merisi da Amor Vincit Omnia c. 1601-02 Oil on canvas 75 1/4 x 58 1/4 in

CARAVAGGIO The Crucifixion of Saint Peter 1600-1601 Oil on canvas 90 1/2 x 70 in CARAVAGGIO, Michelangelo Merisi da The Crucifixion of Saint Peter 1600-1601 Oil on canvas 90 1/2 x 70 in. Cerasi Chapel, Santa Maria del Popola, Rome

Supper at Emmaus, c.1601

Sacrifice of Isaaco

Caravaggio, The Conversion of St. Paul, 1600-1601

Gentileschi, Judith Slaying Holofernes, 1620 FAMOUS FEMALE ARTIST; A CARAVAGGISTI p. 269; on final!

Bernini, Ecstasy of St. Teresa, 1647-52 KEY IMAGE pp. 267-268

Bernini, David, 1623-24 p. 266

Bernini, Baldacchino of St. Peters 1624-33 Gilt bronze, Height approx Bernini, Baldacchino of St. Peters 1624-33 Gilt bronze, Height approx. 100 ft. p. 263

Vatican p. 265

Velazquez, Las Meninas, 1656 p. 260

SUMMARY – BAROQUE ART POLITICS: emergence of The State ART: light, motion, drama, complex, ornamented, convoluted, diagonal CHURCH still an active patron with the energy of the Counter-Reformation ROYAL patronage & PRIVATE patronage shape tastes too IDEAS: scientific method