1. Baroque Stylistic Details SOCIAL and POLITICAL issues of the 17 th century ~ Age of Absolutism: Rule by Divine Right ~ Little time in this era without war in Europe ~ Social Theories of Governance: Hobbes vs Locke ~ Geographic discoveries and colonization ~ Scientific discoveries: Heliocentricity, Gravity, etc… Stylistic details shared by most Baroque Artwork: Barroco = Imperfect or irregular pearl ~ Unrestrained, overtly emotional, highly energetic and theatrical ~ Not Bizarre or stylized like Mannerism ~ Asymmetrical compositions based on sharp diagonals ~ Landscape, portraiture, and genre become more important as well as the psychological aspects of mythological and biblical narratives ~ Dramatic lighting, high contrast, and severe perspectives

2. Versailles, Charles Le Brun and Jules Hardouin-Mansart, built 1624, enlarged 1661-1704 ~ French Baroque is different from Italian – more rectilinear – as opposed to curved. A more strictly ordered style was in keeping with their Absolute Monarchy. ~Pools and fountains with integrated sculpture is typical Baroque ~Iconography throughout the palace and gardens glorified Louis XIII – the “Sun” King. Clear in the choice of Apollo in the pool above ~ Hall of Mirrors: 17 large arched mirrors opposing 17 windows – multiplied the light and reflected it ontot he people in the room

3. Bernini, David, Marble, 1623 ~No Mannerist detailing at all ~Choice of action vs relaxation (Donatello) ~Strong emotion and expression ~Diagonals and “Breaking the Space” involves the viewer in the action ~ even the hair is wild – beyond Hellenistic

4. Caravaggio, Calling of St. Matthew, woodcut, 1599-1600 ~ Michelangelo Merisi ~No preliminary drawing ~ Christ’s gesture is similar to Adam in the Sistine Chapel ~ Christine event in contemporary setting ~ Appeals to all classes not just elite ~ TENEBRISM (dark manner) uses a focused light to illuminate a specific area of the painting

5. Peter Paul Rubens, Raising of the Cross, oil on wood, 1609 ~ Amazing cloud formations ~Shifts from light to dark and neutrals to color ~Takes effort to Follow the story ~Motion and diagonals involve the viewer – moving the eye around the page ~ St Lieven was Mugged and his tongue pulled out and fed to a dog ~Violence Peter Paul Rubens, Martyrdom of St. Lieven, Oil on Canvas, 1633

6. Rembrandt van Rijn, Blinding of Samson, oil on Canvas, 1636 ~ Use of Spotlighting to direct viewer to the action ~ Sense of being in the tent where the action is ~ Dramatic Perspective ~Violence ~ Very much influenced by Caravaggio ~Woman leaving the tent Is modeled by Rembrandt's wife, Saskia

7. Rembrandt, Self-portrait, oil on Canvas, 1661 ~ Rembrandt did not often accept commissions. ~He painted what he wanted to and then people went to him to buy – much like modern day art galleries. ~ Dutch East India Company helped establish a larger, wealthy merchant class that could afford the luxury of paintings ~ 75 self-portraits! ~ He was the most sought after portrait artist in Europe ~ Early portraits follow Renaissance models – later ones are more Baroque

8. Frans Hals, Laughing Cavalier, oil on canvas, 1624 ~Courtly soldier – expression : whether positive or negative ~ Alternating diagonals lead in and out of the picture and are repeated in multiple places ~ Elaborate clothing and flamboyant tilt to the hat ~Not known for use of light and dark as much as other Baroque artists

9. Judith Leyster, The Last Drop, oil on canvas, 1628 ~Only woman in the guild ~Energetic, active figures ~Caravaggio’s use of Tenebrism ~Narrative?

10. Jan Vermeer, The Lacemaker, oil on Canvas, 1669 ~ Genre painting; Scenes from daily life ~ These paintings are tiny – Vermeer used brushes with one or two hairs… ~ He used genre scenes with allegorical meanings: weighing pearls = weighing souls, pearls meaning vice and pride, balance is moral judgement… ~Often used natural light through a window, and light and dark areas to focus attention

11. Jacob van Ruisdael, Jewish Cemetery, oil on Canvas, 1655-60 ~Dramatic storm effects and use of ruins ~ Diagonals that leadin and around the picture plane ~Ruins show the deterioration of that which is man-made ~This landscape is atypical many are expanse flat landscapes with the ruins in the distance ~Artificial topography – created by dikes that held back the ocean and created land mass

12. Marie van Oosterwyck Vanitas Still Life, oil on Canvas, 1668 ~ Moralizing: all objects have a meaning. Many related to death, appropriate pursuits and morality ~Ex: Watch = passing of time, skull = death, extuingished lamp = death, ~Flowers often reflected the relative wealth of the commissioning person Harmen Steenwyck, Vanitas, Oil on canvas, 1660

13. ~ SPANISH BAROQUE ~Velazquez did portraiture, political pictures, religious, mythological, etc ~ Female nude is unusual in Spain ~Different take on the Giorgione Venus ~ Identity obscured – this is more intended for private viewing Diego Velazquez, Venus with a Mirror, Oil on canvas, 1648

14. Marie van Oosterwyck Vanitas Still Life, oil on Canvas, 1668 ~ 5 year-old princess is focal point ~ attended by maids (meninas), a dwarf and dog ~Artist’s self-portrait ~Brush strokes highlight the texture of the dresses textiles ~King and Queen in a mirror on the back wall – are they sitting for the painting Diego is working on, or are they watching him paint their daughter? ~paintings on walls are mythological victories. Diego Velazquez, Las Meninas, Oil on canvas, 1656

15. ~ FRENCH BAROQUE: lighter, brighter, more elevating ~Most classical of the Baroque painters – Raphael- like? This is somewhat Titian-like ~Swirling clouds are Baroque as is the asymmetrical treatment of the columns behind the pyramid of figures Nicholas Poussin, Assumption of the Virgin, Oil on canvas, 1626