(If it ain’t Baroque, don’t fix it) Baroque Art (If it ain’t Baroque, don’t fix it)

Quick Art Update The end of Renaissance Art is marked officially by Michelangelo’s “Last Judgment” in the Sistine Chapel, which was painted from 1536-1541 So what came next? Mannerism…

Renaissance vs. Mannerism Raphael’s “Cowper Madonna” and Parmigianino’s “Madonna of the Long Neck” 1534

Renaissance vs. Mannerism Raphael’s “School of Athens” and El Greco’s “The Burial of Count Orgasz” 1586

Renaissance vs. Mannerism Content Humans—normal or idealized Abnormal and Strange Events Narrative Direct, easy to understand Difficult to Comprehend Space Harmonious, Measured, Controlled Disjointed, Spasmodic Composition Harmonious, Centralized Conflicting, Pushed to the Side Proportions Realistic Stretched or Compacted, Unnatural Figures Posed naturally, Move easily Tensely and/or Strangely Positioned Color Bright but Balanced, Natural Contrasting, Irritating, Acidic, Unexpected

So Where does Baroque Fit? The 17th Century—Baroque follows Mannerism and is a reaction to this style as well as a continuation of it. The change from Mannerism was prompted by the Council of Trent, which reaffirmed the significance of artistic works (especially those with religious themes) and increased patronage.

Renaissance Davids: Donatello and Michelangelo

The Baroque David: Gianlorenzo Bernini 1623-4

Bernini, Rape of Persephone, Villa Borghese, Rome, 1621-2

“St. Theresa in Ecstasy” Bernini 1647-52 “This too was completely original, for no one before had combined together, in a single artistic design, and on the largest possible scale, marble and stone, brass and gilt, gold and silver, plain and stained glass, all wrought together to produce a single emotional spasm. The divine dove descends, skeletons arise from the pavement, angels swirl around and crown the scene with flowers, while all the time, in the centre, Teresa writhes with joy. It is an amazing composition which drew admirers from all over Europe, and was imitated by all who had the means.” From artchive.com

“Baldacchino” in St. Peter’s Basilica Bernini 1624-33 “He placed four immense marble bases at each corner, and on them constructed colossal gilt bronze columns, wrought into spirals and joined by a cornice, with angels, each twice life-size, guarding its crowned superstructure. It is a work of complete originality, for nothing like it has been built before or since (apart from smaller copies).” From artchive.com

“ To enjoy and admire Bernini one must accept the minute core of detail within the hugeness of scale, the roundness of every line as if an angle would hurt the eye, and perhaps hardest of all, the suppliant of suffering poses, eyes turned to heaven, limbs contorted by passion. The magnificent exaggeration tells us that in any given instant everything in heaven and on earth is at stake.” Barzun

“The Calling of St. Matthew” Caravaggio 1599-1600

“Judith Beheading Holofernes” Caravaggio 1598

“Judith and her Maidservant” Artemesia Gentileschi 1612-13

“The Arrival of Marie de Medici at Marseilles” Peter Paul Rubens 1622-26

“The Dance of the Villagers” Rubens 1636

General Characteristics of Baroque Art HUGE SIZE—impressive and sometimes overwhelming Movement Drama Emotion Use of Diagonal lines in composition Religious Content that is popularized for the masses—more dramatic and emotional and very human in content Proportions that are realistic but exaggerated—somewhere between the perfection of the Renaissance and the exaggeration of Mannerism