MODULE 5: Baroque art in europe, Chapter 19

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 Modules: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16

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The Baroque era of European Cultural history is characterized by conceptual contradiction, bloody conflict, dramatic scientific discoveries, religious strife, bourgeois wealth, rapacious colonization, indulgent excess, and proletariat revolution. This was also a time of Shakespeare, Cervantes, Descartes, Bach, Handel, Vivaldi, Voltaire, Swift, Goethe, Mozart.

Baroque- the term ‘Baroque’ is problematic. That is, there is little agreement as to a specific definition. The term Baroque is probably Portuguese for a ‘large, irregular shaped pearl,’ perhaps referring to its dramatic exaggerations and excesses of affect- its sense of movement, energy, and intense spirituality. Baroque art of the 17th century encompasses vast regional distinctions. Beginning with the work of Italian artist Carvaggio, the style included the art of Dutch artist Rembrandt, Spanish artist Velazquez, Flemish artist Rubens and Italian artist Bernini- though quite different, they share the use of dramatic lighting. Religious differences shaped their expressions- Catholicism emphasized emotional, realistic, and dramatic art while Protestantism emphasized simplicity and a relative severity of style.

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SLIDE:
Caravaggio "The Calling of Saint Matthew" (1600)  Pl. 19-17

Caravaggio, the artist, was as dramatic a personality as he was as a painter. His dramatic use of chiaroscuro or strong light and darks, reflected Baroque sensibilities, in particular, heightened emotions. "The Calling of Saint Matthew," interprets a biblical story with early 17th century characters. Caravaggio's use of rough, 'common' people as important characters in biblical stories caused some of the turmoil surrounding his short, dramatic artistic life.

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SLIDE:
Bernini “Baldacchino” (1633) Pl. 19-2

The Bernini baldacchino represents the architectural excesses of Baroque art. Its inlaid, corkscrew columns, its swooping roof and heraldric canopy, focused attention, from the vastness of the interior of St. Peter’s Basillica to the complex intimacy of the altar.

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SLIDE:
Bernini “Saint Teresa in Ecstasy” (1652) Pl. 19-9

“Saint Teresa in Ecstasy” exemplifies the excessive spiritual emotion found in Baroque art. Suspended in space from bolts in the wall, cantilevered and bracketed by golden shafts from heaven, it was a heightened,  mystical experience to behold.

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SLIDE:
Bernini "David" (1623)  Pl. 19-10

The biblical subject of David slaying Goliath was used as a metaphor for the city of Florence's triumph over greater forces. Donatello, Michelangelo, and Verrochio have used this theme. Here Bernini's interpretation of David is a working class man with the hardened muscles of someone who toils. His 'Babe Ruth' windup reflects Baroque's trusting arabesques and dynamic characteristics of visual forces.

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SLIDE:
Gaulli “The Triumph of the Name of Jesus…” (1685) Pl. 19-15

The Baroque experience was meant to convey a transcendent metaphysical existence. Gaulli painted an image so visually provocative one must question the objectivity of one’s eyes. It is a ‘virtual’ reality painted in a spectacular manner and a surprisingly natural credibility.

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SLIDE:
Mansart & LeBrun “Palais de Versailles” (1678) Pl. 19-23

Architectural applications of French Baroque style has its apex in the Palais de Versailles, a grandiose symbol of Louis XIV’s power and ambition. Not only was this huge project to build a massive palace but included the construction of a satellite city.

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SLIDE:
Prandtauer “Benedictine Monastery” (1738) Pl. 19-30

The Benedictine Monastery of Melk, Austria was as much an arm of the aristocracy as a religious retreat, obligated to house visiting dignitaries and traveling members of the Hapsburg court. The interior of the monastery appears more garish rococo theater than pious liturgical altar.

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SLIDE:
Velazquez “Las Meninas” (1656) Pl. 19-38

An important element of Velazquez’s professional character was his unabashed social climbing. He was determined to be a part of the aristocracy. Here in Las Meninas, he portrays himself as an aristocratic artist with the Red Cross of the Order of Santiago (the cross is said to be painted by the king himself.) The painting is far more complex than just a portrait of the royal family and their attendants. It honors Velazquez by placing him in the king’s private chambers, by reproductions of the artist Rubens’ paintings, by having the king and queen candidly appear in the doorway as if they just happening upon the scene, or a mirror reflection of the king & queen posing for their portrait.

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SLIDE:
Hals “Haarlem Militia…” (1627) Pl. 19-51

Hals, a contemporary of Rembrandt, painted the popular genre of the time, the group portrait. Here Hals gives the customer what they wanted, if not particularly aesthetically attractive, it clearly presents individual portraits in harsh clarity. Each person paid his share of the cost of the painting.

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SLIDE:
van Rijn “The Night Watch” (1642) Pl. 19-54

With Rembrandt’s Night Watch, we find a group genre painting similar to Hals’ but significantly different in appearance. Here Rembrandt creates a more dramatic moment in time, the participants actively engaging each other, somewhat chaotically. Some are hidden or obscured by the actions of others; one man loads a gun while another fires one, and a little girl in golden light dashes past. The men portrayed refused to pay for a painting that failed to portray their faces clearly.

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SLIDE:
Vermeer “Woman Holding a Balance” (1664) Pl. 19-64

The Baroque artists in Northern Europe, especially those of the Protestant Northern Netherlands, portrayed a prosperous, responsible citizenry, in spite of Calvinist condemnation of art in general. One of the common themes was the home. Vermeer’s work presents an ordered domestic moment of quiet tranquility.

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SLIDE:
Rigaud “Louis XIV” (1701) Pl. 19-1

This painting is notable primarily because of the image of Louis XIV and its ability to convey the arrogant excesses he initiated. As the self-anointed “Sun King”, he saw himself as the center of the universe. In spite of his short stature and small feet, he thought he had great legs, therefore the thrown-back ermine coronation robes to reveal them.

The chasm of economic power between the aristocracy and the people grew to revolutionary fervor. Rigaud’s portrait presents an indulged and indifferent French king whose personal vanity ignored the misery of his people. By the end of the century this attitude would lead to the 1789 French Revolution.

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