Baroque Art Fountain at Versailles

Baroque: The Ornate Age 1600-1750 Advanced the techniques and grand scale of the Renaissance were married to the emotion, intensity and drama of Mannerism Styles ranged from Italian realism to French flamboyance Common thread was a sensitivity to and absolute mastery of light to achieve maximum emotional impact.

It began around 1600, with the Catholic Popes financing to advertise their triumphs after the Counter Reformation. Attraction to new worshippers with “must see” architecture Spread to France where rulers spent sums similar to the Egyptian Pharaohs to glorify themselves.

Themes ranged from classical to religious in the Catholic countries to still lifes and landscape paintings in Protestant countries where religious paintings were forbidden.

Carravagio: “The Conversion of St. Paul” 1601 Italian Baroque Took realism to new lengths. Criticized for depicting holy figures as common people. Use of light brought focus to particular details. St. Paul, thrown from horse, showing an “explicit rear-end view”

Italian Baroque Differed from Renaissance in its emphasis on emotion rather than rationality, dynamism rather than stasis. “It was as if Baroque artists took Renaissance figures and set them spinning like tops.”

“The Calling of St. Matthew” He advocated direct paintings from nature—often directly from the seamy slums. Apostle to be as a tax collector, in a tavern, surrounded by dandies, when the light comes on him and the call from Jesus.

Bernini: “The Ecstasy of St. Theresa” 1645-1652 Sculptor His work showed dynamic, explosive energy This work fuses sculpture and architecture.

St. Peters Cathedral The essence of Baroque style: mixture of dazzling colors, forms and materials—provide an overwhelming theatrical effect.

Borromini: “San Carlo alle Quattro Fontane” 1665-1667 Serpentine nature makes the walls seem to be in motion Used never before linked shapes Alternating convex and concave walls give rippling effects.

Flemish Baroque Flanders (S. Netherlands—now Belgium) Remained Catholic after the Reformation, which gave artists ample incentive to produce religious paintings. Key artist was Sir Peter Paul Rubens

Rubens: “The Descent from the Cross” 1612 Worked everywhere, bringing synthesis of all styles Over 2,000 paintings This painting shows “Baroque curves and dramatic lighting.

“Marie Arrives at Marseilles 1622-1625 Famous for his paintings of full figured nudes The arrival of the French Queen depicted as a “sensory extravaganza spilling over with color and opulence”

Van Dyke: “Charles I at the Hunt” 1635 Flemish painter; hired by English King, Charles I Painted officials in “action poses” Popular for flattering adjustments given to subjects of his work.

Dutch Baroque

Heda: “Still Life” 1636 Dutch Still life paintings began in “post-reformation” Netherlands. Extraordinary realism in portraying domestic scenes.

Hals: “The Jolly Toper” 1627 Dutch Used sweeping brush strokes to freeze the passing moment (here, he looks just about to talk) Known for enlivening his subjects

Ruisdael: “Windmill at Wijk-bij-Duurstede 1665 Dutch Most versatile landscape artist Emphasized great stretches of sky water and fields, with contrasting colors to add somber mood to his paintings

Rembrandt: “The Nightwatch” 1642; Dutch Perhaps most famous painter of Western World. Early in career did many commissioned works “Nightwatch” was a turning point between early and later in his career. Later works moved from Baroque style to darker, moodier themes

Vermeer: “The Kitchenmaid” 1658 Dutch Master of using light and shapes and texture to bring out features in paintings.

English Baroque

Hogarth: “Breakfast Scene” 1745 England Very satirical artist Influenced by his father’s imprisonment for debt. Targeted idle aristocracy, drunken urban workers and corrupt politicians

Wren: “St. Paul’s Cathedral” 1675-1712 Dome: diameter 112 feet and height 365 feet. Lantern and cross at the top weighed 64,000 tons.

Velazquez: “Las Meninas” 1656 Spanish Created forms through color and light rather than through lines. . . “preferred understatement to ostentation and realism to idealism.”

La Tour: “The Penitent Magdalen” 1638-1643 Use of light ala Carravagio. Use of geometrical shapes/less life like Human features “hidden”

Poussin: “Burial of Phocion” 1648 Most famous French painter of 17th c. Took classical rationalism seriously Battles, heroic actions, and religious themes were the only thing worth painting according to Poussin.

La Brun & Hardouin-Mansart: “Hall of Mirror” (Versailles) 1680 240-foot-long gallery, lined with massive silver furniture 17 floor to ceiling windows and mirrors reflect the sun.

Le Notre: “The Grounds at Versailles” 1669-1685 Water added to appease the complaints of Louis XIV’s mistresses complaints about the symmetry.