Baroque art_______________________

The word “baroque” derives from the Portuguese and Spanish words for _________________________________________(“barroco” and “barrueco,” respectively).

Eighteenth century critics were the first to apply the term to the art of the 17th century. ___________________. To the eyes of these critics, who favored the restraint and order of Neoclassicism, the works of Baroque artist seem bizarre, absurd, even diseased—in other words, misshapen, like an imperfect pearl.

Baroque works of art are____________________________________ _____________________________. If you saw a Baroque painting today, you couldn’t help but notice the fact that those portrayed in the work look rather as you would expect people to look. Poor people look poor and the wealthy look wealthy.

It was during this time that art was created to appeal to the average people and their sense of emotion. Colors were exaggerated making brighter than bright, dark was darker than dark and light was lighter than light. This helped create a dramatic mood and even with all the realistic imagery, the more dramatic the better.

Facts about the Baroque period:

Baroque refers to a style of European architecture, music, and art of the 17th and 18th centuries that followed mannerism and is characterized by ornate detail.

Baroque art took place after the Renaissance through the 17th and 18th century as a Catholic counter-reformation to draw people back into the church.

Above all else, Baroque art reflected the _____________________________’-notably the desire of the Catholic Church in Rome to reassert itself in the wake of the Protestant Reformation.

New technique of ____________________ was developed to enhance atmosphere. Brushwork is creamy and broad, often resulting in thick impasto.

Key elements of Baroque art were: _____________________________________ _________________________________________________________________

In architecture the period is exemplified by the palace of Versailles and by the work of Bernini in Italy.

Major composers include Vivaldi, Bach, and Handel.

Key Vocabulary

_____________________is the visual effect or optical illusion that causes an object ordistance to appear shorter than it actually is because it is angled toward the

viewer. Additionally, an object is often not scaled evenly: a circle often appears as an ellipse and a square can appear as a trapezoid.

_____________________ is a philosophical viewpoint according to which everything arises from natural properties and causes, and supernatural or spiritual explanations are excluded or discounted.

_____________________ is an effect of contrasted light and shadow created by light falling unevenly or from a particular direction on something.

_____________________ is from the Italian, tenebroso (murky), also called dramatic illumination, is a style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the image.

_____________________ is a visual illusion in art, especially as used to trick the eye into perceiving a painted detail as a three-dimensional object. French for “Deceive the eye”

_____________________ is a technique used in painting, where paint is laid on an area of the surface very thickly, usually thickly enough that the brush or painting-knife strokes are visible. Paint can also be mixed right on the canvas.

The Art of Persuasion: to Instruct, to Delight, to Move

While the Protestants harshly criticized the cult of images, the Catholic Church ardently embraced the religious power of art. The visual arts, the Church argued, played a key role in guiding the faithful. They were certainly as important as the written and spoken word, and perhaps even more important, since they were accessible to the learned and the unlearned alike. In order to be effective in its pastoral role, religious art had to be clear, persuasive, and powerful. Not only did it have to instruct, it had to inspire. It had to move the faithful to feel the reality of Christ’s sacrifice, the suffering of the martyrs, the visions of the saints.

The Church’s emphasis on art’s pastoral role prompted artists to experiment with new and more direct means of engaging the viewer. Artists like Caravaggio turned to a powerful and dramatic realism, accentuated by bold contrasts of light and dark, and tightly-cropped compositions that enhance the physical and emotional immediacy of the depicted narrative.

The Catholic Monarchs and their Territories

The monarchs of Spain, Portugal, and France also embraced the more ornate elements of seventeenth century art to celebrate Catholicism. In Spain and its colonies, rulers invested vast resources on elaborate church facades, stunning, gold-covered chapels and tabernacles, and strikingly-realistic polychrome sculpture. In the Spanish Netherlands, where sacred art had suffered terribly as a result of the Protestant iconoclasm (the destruction of art), civic and religious leaders prioritized the adornment of churches as the region reclaimed its Catholic identity. Refurnishing the altars of Antwerp’s churches kept Peter Paul Rubens’ workshop busy for many years. Europe’s monarchs also adopted this artistic vocabulary to proclaim their own power and status. Louis XIV, for example, commissioned the splendid buildings and gardens of Versailles as a visual expression of his divine right to rule.

Elevation of the Cross (1610) Peter Paul Rubens oil on wood15 feet 1-7/8 inches x 11 feet 1-1/2 inches

(originally for Saint Walpurgis, Antwerp (destroyed), now in Antwerp Cathedral)

Elevation of the Cross (1610)

Peter Paul Rubens (1577–1640)

oil on wood

15 feet 1-7/8 inches x 11 feet 1-1/2 inches

The Protestant North

In the Protestant countries, and especially in the newly-independent Dutch Republic (modern-day Holland), the artistic climate changed radically in the aftermath of the Reformation. Two of the wealthiest sources of patronage—the monarchy and the Church—were now gone. In their stead arose an increasingly prosperous middle class eager to express its status, and its new sense of national pride, through the purchase of art.

By the middle of the 17th century a new market had emerged to meet the artistic tastes of this class. The demand was now for smaller scale paintings suitable for display in private homes. These paintings included religious subjects for private contemplation, as seen in Rembrandt’s poignant paintings and prints of biblical narratives, as well as portraits documenting individual likenesses.

But, the greatest change in the market was the dramatic increase in the popularity of landscapes, still-lifes, and scenes of everyday life (known as genre painting). Indeed, the proliferation of these subjects as independent artistic genres was one of the 17th century’s most significant contributions to the history of Western art.

In all of these genres, artists revealed a keen interest in replicating observed reality—whether it be the light on the Dutch landscape, the momentary expression on a face, or the varied textures and materials of the objects the Dutch collected as they reaped the benefits of their expanding mercantile empire. These works demonstrated as much artistic virtuosity and physical immediacy as the grand decorations of the palaces and churches of Catholic Europe.

Self-Portrait c.1630Judith Leysteroil on canvas651 x 746 cm

(National Gallery of Art, Washington)

Michelangelo de Caravaggio1571-1610

Michelangelo da Caravaggio was an Italian painter active in Rome, Naples, Malta, and Sicily.

Caravaggio trained as a painter in Milan under Simone Peterzano.

In his twenties Caravaggio moved to Rome where there was a demand for paintings to fill the many huge new churches and palazzos being built at the time. It was also a period when the Church was searching for a stylistic alternative to Mannerism in religious art that was tasked to counter the threat of Protestantism.

Caravaggio's innovation was a radical naturalism that combined close physical observation with a dramatic, even theatrical, use of chiaroscuro which came to be known as tenebrism.

Chalk portrait of Caravaggio by Ottavio Leoni, circa 1621.

Supper at Emmaus 1601Caravaggio (1571–1610) Medium oil on canvas141 x 196,2 cm

Descent from the Cross 1617-1618 Peter Paul Rubens (1577–1640)oil on canvas 116.9 in-78.7 in

Catholic-inspired Baroque art tended to be large-scale works of public art, such as monumental wall-paintings and huge frescoes for the ceilings and vaults of palaces and churches.

Rembrandt van Rijn (1606 - 1669)Rembrandt van Rijn was a Dutch painter and etcher. He is generally considered one of

the greatest painters and printmakers in European art and the most important in Dutch history.

His contributions to art came in a period of great wealth and cultural achievement that

historians call the Dutch Golden Age when Dutch Golden Age painting, although in many ways

antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative,

and gave rise to important new genres in painting.Having achieved youthful success as a portrait painter,

Rembrandt's later years were marked by personal tragedy and

financial hardships. Yet his etchings and paintings were popular

throughout his lifetime, his reputation as an artist remained high,

and for twenty years he taught many important Dutch painters.

Rembrandt's greatest creative triumphs are exemplified

especially in his portraits of his contemporaries, self-portraits

and illustrations of scenes from the Bible. His self-portraits form

a unique and intimate biography, in which the artist surveyed

himself without vanity and with the utmost sincerity.

In his paintings and prints he exhibited knowledge of

classical iconography, which he molded to fit the requirements

of his own experience; thus, the depiction of a biblical scene

was informed by Rembrandt's knowledge of the specific text, his

assimilation of classical composition, and his observations of

Amsterdam's Jewish population. Because of his empathy for the

human condition, he has been called "one of the great prophets

of civilization."

Self-Portrait 1659Rembrandt van Rijn oil on canvas33 1/4 in x 26 in

The Stoning of Saint Stephen, 1625, The first painting by Rembrandt, painted at the age of 19

1628 1629 1630 1634

1640 16521655 1660

1669.1628

Ms. Kornas Gets really animated when she talks about

this sculpture! What is it that has her so excited?

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Gian Lorenzo Bernini, David, 1623-24, marble, 170 cm

Baroque architecture is the building style of the Baroque era, begun in late 16th-century Italy, that took the Roman vocabulary of Renaissance architecture and used it in a new rhetorical and theatrical fashion, often to express the triumph of the Catholic Church and the absolutist state. It was characterized by new explorations of form, light and shadow, and dramatic intensity.

Whereas the Renaissance drew on the wealth and power of the Italian courts and was a blend of secular and religious forces, the Baroque was, initially at least, directly linked to the Counter-Reformation, a movement within the Catholic Church to reform itself in response to the Protestant Reformation Baroque architecture and its embellishments were on the one hand more accessible to the emotions and on the other hand, a visible statement of the wealth and power of the Church.

Buildings in the Baroque style have many of these features:

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Italian Baroque:Catholic Popes in Italy wanted architecture to express holy splendor.

They commissioned churches with enormous

domes, swirling forms, huge spiraled columns,

multicolored marble, and lavish murals

The Church of Saint Andrea al Quirinale, designed by Gian Lorenzo Bernini.

Fresco with trompe l'œil dome painted on low vaulting, Jesuit Church, Vienna, by Andrea Pozzo, 1703

Trompe l'oeil is a visual illusion in art, especially as used to trick the eye into perceiving a painted detail as a three-dimensional object. French for “Deceive the eye”

The Palace of VersaillesThe Palace of Versailles was executed in the French Baroque style by architect ____________, a French Classical architect who worked for King Louis XIV. French Baroque architectural style is characterized by its large curved forms, twisted columns, high domes, and complicated shapes.

View of Rome from the Dome of St. Peter's Basilica

Beautifying the city: Bernini and Pope Alexander VII

On his accession to the Chair of St Peter _________________________immediately commissioned large-scale architectural changes in Rome, connecting new and existing buildings by opening up streets and piazzas. It is no coincidence that Bernini's career showed a greater focus on designing buildings during this pontificate, as there were far greater opportunities.

Rococo______________________

Rococo – a style of art, especially architecture and decorative art, that

originated in France in the early 18th century and is marked by elaborate

ornaments, as with a profusion of scrolls, foliage, and animal forms.

The Rococo movement was an art movement that emerged in ____________and spread

throughout the world in the late _____and early _______ century. The word is a derivative of the

French term rocaille, which means “rock and shell garden ornamentation”.

It began in ___________after the French King, _______________, demanded more

youthful art to be produced under his reign. It is also referred to as Late Baroque because it

developed as Baroque artists moved away from symmetry to more fluid designs.

The Rococo movement addressed the most important controversy of the time –

__________________– and combined the two to create beautiful pieces. Artists of this period

focused more on attention to detail, ornamentation and use of bright colors.

Rococo furniture and architecture was defined by a move away from the austere religious

symmetrical designs of the Baroque. Instead, they focused on ___________________________

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In art, light colors, curvaceous forms and graceful lines became characteristic of the Rococo

movement. Canvases were adorned with cherubs and myths of love, while keeping with the

jocular trend of the period, portraiture was also popular. The Rococo artists moved away from

the intense dramatics of the Baroque period and became more ______________in their works.

About Rococo

Rococo is sometimes considered a final phase of the Baroque period,

and can be referred to ________________________.

The Rococo painting style started in France and was a very relaxed, and

playful style of art. It placed emphasis on ________________________

_________________________________. Love and romance were

considered to be better subjects for art than historical or religious subjects.

Showing brightness was very important as were curves, colors and other

tiny details. Rococo artists were particularly concerned with properly

depicting things like slippers, ribbons, and patterns in clothing. They also

created landscapes that looked like they were straight out of fairy tales. This

style was full of _____________________.

The style was characterized by ________________________________

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Rococo's origins and characteristics-

Rococo appeared in ______________in about 1700, primarily as a style of

______________________. The french rococo exterior was most often

simple, or even plain, but rococo exuberance took over the interior.

The Palace of Queluz in Portugal

Rococo rooms were designed as total works of art with elegant and ornate

furniture, small sculptures, ornamental mirrors, and tapastry complementing

architecture, reliefs, and wall paintings.

A Rococo interior in Gatchina

Describe the ways in which the interior on the following images is a visual

"definition" of the Rococo lifestyle

Hall of Mirrors in the Amalienburg Pavilion at Nymphenburg Palace in Munich designed by Francois de Cuvilliés the Elder in the 1730s.

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Basilica at Ottobeuren (Bavaria) (1737-66)

The rococo rooms-with their alternating ___________molding, vivacious relief

sculptures, luxurious furniture, and daintily colored ornamentation of ________

and garlands- must have harmonized with the chamber music played in them,

with the elaborate costumes of satin and brocade, and with the equally elegant

etiquette and sparkling wit of the people who graced them.

Painting

Though Rococo originated in the purely decorative

arts, the style showed clearly in painting. These painters

used delicate colors and curving forms, decorating their

canvases with cherubs and myths of love.

Portraiture was also popular among Rococo painters.

Some works depict a sort of naughtiness or impurity in

the behavior of their subjects, indicating a departure

from the Baroque's church/state orientation.

Landscapes were pastoral and often depicted the

leisurely outings of aristocratic couples.

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How to identify Rococo art?

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The Swing - is an 18th-

century oil painting by

Jean-Honoré Fragonard

in the Wallace Collection

in London.

It is considered as one of

the masterpieces of the

rococo era, and is

Fragonard's best known

work.

What about this painting

makes it fall in to the

Rococo style?

Jean Honore

Fragonard

The Blind man's bluff game, 1751 The Love Letter, 1770

The Secret Meeting, 1771 The Lover Crowned, 1771–73