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Chapter Fifteen: The Baroque World

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1 Chapter Fifteen: The Baroque World
Culture and Values, 6th Ed. Cunningham and Reich

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4 The Counter-Reformation Spirit
Council of Trent ( ) Redefined doctrines, reaffirmed dogmas Assertion of discipline, education New artistic demands, purpose Society of Jesus, Jesuits Ignatius Loyola ( ) Missionaries, educational improvement

5 Seventeenth-Century Baroque
Decentralized styles Art for the middle-class Rich, ornate, elaborate, fanciful Emotionalism Psychological exploration New techniques, virtuosity

6 Visual Arts in the Baroque Period Painting in Rome
Caravaggio ( ) Dramatic naturalism, realism Brutal, pessimistic Emotional, psychological Chiaroscuro The Calling of St. Matthew ( ) The Martyrdom of St. Matthew (c. 1602) Orazio and Artemisia Gentileschi

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9 Visual Arts in the Baroque Period Painting in Rome
Annibale Carracci ( ) Extreme emotion, realism of detail Exuberant life, movement, sensuality Galleria of the Palazzo Farnese The Flight into Egypt ( ) Ideal proportion Classical order, realism of landscape

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11 Gian Lorenzo Bernini (1598-1680)
Visual Arts in the Baroque Period Roman Baroque Sculpture and Architecture Gian Lorenzo Bernini ( ) Chief architect of Counter-Reformation Fountains, palaces, churches Conflict with Borromini Religious-themed sculptures David (1623) Saint Teresa in Ecstasy ( )

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14 Francesco Borromini (1599-1667)
Visual Arts in the Baroque Period Roman Baroque Sculpture and Architecture Francesco Borromini ( ) Brooding, melancholy Obsessive elaboration of design Highly complex structures Church of San Carlo alle Quattro Fontane

15 Baroque Art in France Académie des Beaux-Arts
Louis XIV Defense of traditional standards, values Conservative, restrained Georges de La Tour ( ) Restrained mood, repressed emotionality

16 Baroque Art in France Nicolas Poussin (c. 1594-1665)
Protest against baroque excesses Nostalgic yearning for idealized past Claude Gellée ( ) Hyacinthe Rigaud ( ) Portrait of Louis XIV (1701)

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18 Baroque Art in France The Palace of Versailles
Louis XIV = the Sun King Politics, psychology Grandiose symbolism Baroque extremes + Classical simplicity

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21 Baroque Art in Spain Strong religious emotion El Greco (1541-1614)
Moral responsibility and choice Mannerist tendencies José de Ribera ( ) Realism, muscular brutality Contrasts of light, dark

22 Baroque Art in Spain Diego Velázquez (1599-1660) Vitality of scene
Lives of ordinary people Las Meninas (1656) Color Space Reality of detail

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24 Baroque Art in Northern Europe
Peter Paul Rubens ( ) Hélène Fourment and Her Children Intimate, tender Personalized emotionality The Rape of the Daughters of Leucippus Restless energy, sense of action Female nudity, ample proportions

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27 Baroque Art in Northern Europe
Anthony Van Dyck ( ) Formal portraits Refined tastes, noble patrons Frans Hals (c ) Group portraits Jan Vermeer ( ) Inner contemplation, repose Light, stillness

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29 Baroque Art in Northern Europe
Rembrandt van Rijn ( ) Spiritual matters, problems of existence The Night Watch (1642) Self-understanding through self-portraits Psychologically reflective Tragic nature of human destiny Emotionality through virtuosity

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32 Baroque Music Emphasis on rhythm and melody
Listening pleasure and glory of God Sacred music with universal appeal Growing interest in secular music

33 Baroque Music: The 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

34 Baroque Music: The Birth of Opera
Claudio Monteverdi ( ) L’Orfeo Dramatic instinct, emotionality of music Academic principles of Camerata Opera houses Audience appeal Lavish stage spectacles, arias

35 Baroque Instrumental and Vocal Music
Oratorio Giacomo Carissimi ( ) Heinrich Schütz ( ) Independent instrumental compositions Girolamo Frescobaldi ( ) Jan Pieterszoon Sweelinck ( ) Chorale variations

36 Baroque Instrumental and Vocal Music
Dietrich Buxtehude ( ) Chorale fantasies, suites for harpsichord Domenico Scarlatti ( ) Harpsichord virtuoso, sonatas George Frideric Handel ( ) Oratorios (Messiah) Operas

37 Baroque Instrumental and Vocal Music: Johann Sebastian Bach (1685-1750)
Virtuoso of composition, performance Complexity of musical thought Polyphony, fugue, counterpoint Expression of deep religious faith Chorale preludes, cantatas Brandenburg Concertos Concerto grosso (Vivaldi)

38 Philosophy and Science in the Baroque Period
“Coming of age” of modern philosophy Philosophy as independent discipline Objective demonstration vs. abstract generalization Supernatural explanations insufficient

39 Philosophy and Science in the Baroque Period
Galileo Galilei ( ) Astronomy, physics Heretical denunciation of Ptolemaic view Support of Copernican theory Experiment, observation Telescope Motion

40 Philosophy and Science in the Baroque Period
René Descartes ( ) Father of Modern Philosophy Criteria for defining reality “Cogito, ergo sum” What is clearly perceived must exist Argument for the existence of God

41 Philosophy and Science in the Baroque Period
Thomas Hobbes ( ) Materialism Leviathan Theory of society, no divine law Offended theologians, rationalists Personal liberty vs. security

42 Philosophy and Science in the Baroque Period
John Locke ( ) Predecessor to the Enlightenment Nature of ideas Perceptions, personal property Limitations of human knowledge Significance of experience

43 Seventeenth-Century Literature: French Baroque Comedy and Tragedy
Molière ( ) Comedic drama deflates pretense, pomposity Pierre Corneille ( ) Eternal truths about human behavior Jean Racine ( ) Themes of self-destruction Psychological explorations

44 Seventeenth-Century Literature: The 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

45 Seventeenth-Century Literature: The English Metaphysical Poets
King James version of the Bible Metaphysical concern with self-analysis John Donne ( ) Richard Crashaw ( ) Giambattista Marino ( )

46 Seventeenth-Century Literature: John Milton’s Heroic Vision
Paradise Lost (1667) “justify the ways of God to men” Biblical and Classical references Humanist principles + Christian doctrine Dramatic fervor, psychological insight

47 Chapter 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?

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