1. Baroque Art Grade 11 "An art-historical term used both as an adjective and a noun to denote, principally, the style that originated in Rome at the beginning of the 17th century superseding Mannerism.

2. Baroque Religious background Economics: “style of absolutism” Warfare: “Thirty Years War” Science: Descartes, Galileo Galilei Architecture: religious, secular Art: painting and sculpture

3. Religious background Division between Roman Catholicism and Protestantism: Counter-Reformation: a response to the Protestant Reformation (which introduced Protestantism) by the Catholic Church reinforcing its power Catholics used art to encourage piety/faithfulness and devotion into the church

4. Politics/ Economics: “style of absolutism” Middle class emerged with money Europe ruled by autocrats (one ruler with absolute power…likened today to ‘despot’, ‘dictator’, ‘tyrant’) France: Louis XIV Austria: Hapsburgs England: Henry VIII

5. “Thirty Years War” Europe is in a time of political unrest: constant warfare Thirty Years War: 1618-48 Started with the conflict between Protestants and Catholics French kings wanting to control all of Europe and battling with the Hapsburg dynasty

6. Science: Descartes, Galileo Galilei Discoveries in biology, physics, astronomy, philosophy changed the artistic view Centre of universe is sun (Galileo); human anatomy studies; law of gravity (Newton); questioning and reasoning (Descartes) Opposite from the Renaissance ideal and idea of humanism Now about light, movement, logic

7. Architecture Religious: churches are becoming more and more elaborate and decorative and decadent to encourage a faithful following Secular (non religious): palaces and mansion (by emerging powerful middle class), theatres, stage sets are all elaborate and visually seductive Bourgeois and the monarchy/ autocracy battle for stylistic victory (i.e. one-up manship)

8. Art: painting and sculpture Types: Religious Scientific drawings for texts Historical paintings (e.g. of battles, betrayals, of coronation) Portraiture Still life Genre painting (of everyday)

9. Baroque Style Open composition with diagonal movement High contrast: extreme light shrouded in extreme dark Loose and free technique Naturalistic rather than idealization of Renaissance: verisimilitude Media: (thin glazes to heavy impastos) Picture factories: concept was more revered than the actual ‘original’ copy; therefore, many copies could exist of any one design

10. The Viewer in Baroque Art More emotionally and physically engaged in the work E.g. Bernini’s David: the viewer expects David to throw the rock into her space and past to the awaiting (imagined) Goliath Emotionally involved: E.g. Ecstasy of Saint Teresa of Avila: a scene of martyrdom & ecstasy: renew faith in Catholics

11. Caravaggio. “The Calling of St. Matthew” 1599-1602. Oil on Canvas Italy

12. Caravaggio (1573-1610). Probably the most revolutionary artist of his time, the Italian painter Caravaggio abandoned the rules that had guided a century of artists before him. They had idealized the human and religious experience. Caravaggio, Michelangelo Merisi da (1573-1610)

13. Caravaggio, Judith Beheading Holofernes c. 1598; Oil on canvas, 56 3/4 x 76 3/4 in; Galleria Nazionale dell'Arte Antica, Rome

15. Caravaggio, The Crucifixion of Saint Peter 1600-01; Oil on canvas, 90 1/2 x 70 in; Cerasi Chapel, Santa Maria del Popola, Rome

18. Gentileschi 1620

19. Caravaggio 1598 Gentileschi 1620

20. Artemisia Gentileschi (Italian, 1593-1651/53), “Judith and Her Maidservant with the Head of Holofernes” c. 1625, oil on canvas, 1.8 x 1.4 m (72 1/2 x 55 3/4 inches)

21. Gentileschi, Artemisia Judith and her maidservant c. 1612-1613 Oil on canvas 44 7/8 x 36 13/16 in (114 x 93.5 cm) Pitti Gallery, Florence

23. Gianlorenzo Bernini “David”. 1623. Marble, life size. Galleria Borghese, Rome Italy

24. Gianlorenzo Bernini “David”. 1623. Marble, life-size. Galleria Borghese, Rome Italy

25. Gianlorenzo Bernini “Ecstasy of St. Teresa” 1645-52 Marble, life-size. Santa Maria della Vittoria, Rome Italy

31. Diego Velazquez. “The Maids of Honor (Las Meninas)”. 1656. Oil on canvas. 10’5”x 9’ Spain

32. Peter Paul Rubens. “Venus at a Mirror” c. 1615 Oil on panel, 124 x 98 cm Collection of the Prince of Lichtenstein, Vienna Flanders & Holland

33. Peter Paul Rubens. “The Three Graces” 1639. Oil on wood 87 x 71 1/4 in. (221 x 181 cm Prado, Madrid Flanders & Holland

38. Rembrandt van Rijn “The Night Watch (The Company of Captain Frans Banning Cocq). 1642. Oil on Canvas. 12’2” x 14’7”

39. Rembrandt van Rijn Aristotle contemplating a bust of Homer 1653 Oil on canvas 143.5 x 136.5 cm Metropolitan Museum of Art, New York

40. Rembrandt van Rijn "The Anatomy Lecture of Dr. Nicolaes Tulp" 1632. Oil on Canvas

41. Rembrandt van Rijn Portrait of the Artist at His Easel 1660 Oil on canvas 43 1/2 x 35 1/2" (111 x 90 cm) Musee du Louvre, Paris

42. Rembrandt van Rijn “Self-Portrait”. 1658. Oil on canvas

43. Jacob van Ruisdael. “The Jewish Cemetery”. 1655- 60. Oil on canvas. 4’6” x 6’21/2 “

44. Jan Vermeer “The Letter” 1666. Oil on canvas. 17 ¼ “ x 15 ¼ “

45. Jan Vermeer “Girl with a Pearl Earring”. 1666. Oil on Canvas.

46. Nicolas Poussin “The Rape of the Sabine Women” 1633-34 Oil on canvas 60 7/8 x 82 5/8 in. France & England

47. Claude Lorraine. “A Pastoral Landscape”. 1650. Oil on copper. 15 ½ “ x 21 “ France & England

48. Pierre-Paul Puget. “Milo of Cortona”. 1671-83. Marble, height: 8’10 ½ “ France & England

49. Louis Le Vau and Jules Hardouin-Mansart. Garden front of Palace of Versailles. 1669-85. France & England

50. Palace of Versailles. 1669-85 France & England

51. Hall of Mirrors. Palace of Versailles. 1669-85

52. The Rococo Grade 11

53. Rococo An l8th century style, principally associated with the decorative arts, deriving its name from the French, rocaille, meaning 'rock work'. The name was first used in the early 19th century as a pejorative term, denoting the frivolous over- elaboration which contemporary critics considered the salient feature of the style. Rococo evolved in France from, and as a reaction against, the formal and somewhat ponderous style centred on the court of Louis XIV at Versailles. Following Louis XIV's death in 1715 the court moved to Paris and Rococo reflected the new taste for lighter, more delicate decoration suitable for the smaller, more comfortable and intimate interiors of town houses.

54. Jean-Antoine Watteau “A Pilgrimage to Cythera” 1717. Oil on Canvas

55. Jean-Antoine Watteau “Gilles and Four Other Characters from the Commedia dell’Arte (Pierrot) c. 1719. Oil on Canvas

56. Jean-Baptiste-Simeon Chardin. “Back from the Market” 1739 Oil on Canvas

57. Francois Boucher. “The Toilet of Venus” 1751 Oil on Canvas

58. Baptiste Chardin. “The Ray”. 1750. Oil on canvas.

59. Sir Joshua Reynolds. “Mrs. Siddons as the Tragic Muse” 1784 Oil on Canvas

60. Thomas Gainsborough “Mr. And Mrs. Andrews” 1750. Oil oncanvas.

61. Gainsborough, Thomas Mrs. Peter William Bake 1781 Oil on canvas 89 5/8 x 59 3/4 in. (227.6 x 151.8 cm) Frick Collection, New York

62. GAINSBOROUGH, Thomas The Blue Boy c. 1770 Oil on canvas 70 x 48 in. (177.8 x 112.1 cm) The Huntington Art Collections, San Marino, California

63. Oil on Canvas Completed in 1767 Original dimensions: 65.0cm x 81.0cm (25.6in x 31.9in) Original Painting held in Wallace Collection, London England Jean-Honoré Fragonard