1. The Catholic Reformation and the Baroque Style
Chapter 20
The Catholic Reformation and the Baroque Style

2. The Age of the Baroque

3. The Age of the Baroque Main features: dramatic expression
theatrical spectacle
spatial grandeur
(Fiero 503)

4. Macao's Ruins of St Paul, whose correct name is the Church of Madre de Deus, is the only example of Baroque art and architecture in China.

5. The Catholic Baroque
Italy and elsewhere
The aristocratic Baroque
France
The Protestant Baroque
Northern Europe

6. The Catholic Reformation

7. The Counter-Reformation
Counter-Reformation popes
1530s Loyola founded the Jesuits
Council of Trent

8. Ignatius Loyola
- Founded the Society of Jesus, or the Jesuits
- Spiritual Exercises

9. “We should always be disposed to believe that that which appears white is really black, if the hierarchy of the Church so decides.”
(Ignatius Loyola)

10. The Jesuits Took an oath of strict obedience to the pope
Espoused a life of active service in the world
Committed to education and missionary work

11. Matteo Ricci

14. Council of Trent 1545-63 1) to reform the church:
Unified church doctrine
Abolished corruption
Confirmed papal authority

15. Council of Trent 2) to confront the Protestant challenge:
Insisted on the integration of both faith and good works in the process of salvation.
Emphasized spiritual renewal through faith, prayer, and religious ceremony.

17. Sterner Means of Control
The Inquisition:
the church court dealing with heretics
Censorship:
Index Expurgatorius
(Index of Prohibited Books)

18. Cristiano Ban, 1857, Galileo in front of the Roman Inquisition

20. Catholic Mysticism Loyola’s Spiritual Exercises
Teresa of Avila’s autobiographical writings
Poetry of Richard Crashaw

21. Catholic Mysticism
Emphasize the immediacy of religious experience

22. Development of the Baroque Style

23. Mannerism
-A pejorative term in the beginning, referring to artists who were felt to imitate the manner, esp. of Michelangelo, without catching anything of the spirit.
-Now applied to Italian painting and sculpture of the period between the climax of High Renaissance (1520) and the beginning of Baroque (1600).

24. -figural distortions Mannerism -irrational space, -bizarre colors,
-general disregard of Renaissance “rules” (symmetry & geometric clarity)

25. figura serpentinata Serpentine figure
The figure and all its parts should resemble the letter S. All the figures are characterized by athletic twists and turns.

26. Michelangelo, Victory, c.1530

27. Giambologna, Hercules and the Centaur, 1594-1600

28. Giambologna, Mercury, c. 1564

29. Michelangelo, The Last Judgment

32. Parmigianino, “The Madonna of the Long Neck, c. 1535

33. Mannerism
El Greco
( )

35. Da Vinci

36. The Immaculate conception

39. View of Toledo

40. The Baroque Italy: Caravaggio, Carracci, Bernini France: Poussin
Spain: Velazquez
Flemish: Rubens
Dutch: Vermeer, Rembrandt

41. Caravaggio

42. The Supper at Emmaus

43. Caravaggio, The Conversion on the Way to Damascus 1600

44. Caravaggio, The Crucifixion of Saint Peter 1600

46. Caravaggio, The Sacrifice of Isaac 1601-02

47. Caravaggio, David,

48. Caravaggio, The Calling of Saint Matthew 1599-1600

49. foreshortening
To shorten (as a design) by proportionately contracting in the direction of depth so that an illusion of projection or extension in space is obtained.

51. Trompe l’oeil
To “fool the eye”
An illusionistic style

54. Bernini

56. Artemisia Gentileschi

58. Caravaggio, Judith Beheading Holofernes c. 1598

63. Baroque Architecture

64. Saint Peter’s Basilic: by Bernini
piazza in front of Saint Peter’s Basilic
the colonnade of the courtyard
the bronze canopy over the high altar of the basilica
Il Gesù: by Giacomo della Porta
San Carlo (alle Quattro Fontane): by Francesco Borromini

65. The End