Warm-Up 2/08/12• Describe the process by

which you completed your Sistine chapel tile. Be specific in detail.

• Think about the aesthetic of just your tile.

• What does it look like to you? Pretend you do not know the context.

The Baroque in Italy and

Spain

Practice Outline

• 1. Cultural attitudes about women are often revealed in art.

• • Select and fully identify two works of art that depict

one or more women. The works must come from two different cultures, one of which must be from beyond the European tradition. Explain how each work reveals its culture’s attitudes about women. (30 minutes)

The Baroque in Italy and

Spain

Historical Context: 17th Century• Continual Warfare: – Thirty Years’s War (1618-1648) between

France and The Hapsburgs (everywhere else)• Treaty of Westphalia ended the war• Germany is left in ruins, Netherlands begins a

new war with England and France until 1679

• Expansion of the Sciences– The artist begins to depart from the

philosopher (Descarte’s cogito ergo sum) as well as mathematics (calculus and abstractions)

– Keplar, Copernicus, Galileo– Understanding the LAWS of nature, not its

SECRETS

Historical Context: Baroque Art• Baroque Art and Imagery flourishes

despite warfare and divergence from philosophy– Independent of military imagery and

influence– Even though math is a separate

vocation, Baroque art is heavily influenced by the new mechanics and metaphysics of a developing scientific humanism.

• Baroque Art will NOT be neo-platonic (which dominated the philosophy of the Renaissance). Why?

Back to Rome: 1600’s• The papacy increased patronage as a

continued tradition of counter-reformation ideals (soon winding down)

• Many artists in Rome were inconspicuous mannerists, sought the Late Northern Italian Realists painters

• Caravaggio is credited with the early development of the Baroque Style

Caravaggio: Early Life• Michelangelo Merisi da Caravaggio

(1571-1610) born in Milan to an Architect and decorator– Barely escaped the plague that killed

his father in 1577– Connections with the Sforzas in Milan

• Began four year apprenticeship with Peterzano (former student of Titian)– Wounds a police officer in Milan,

leaves for Rome

Warm-Up 2/09/12• Come get your poster.• I will record your number and your

participation• I will display a projected image of the Sistine

Chapel map. • Your job is to locate what tile you are and sit

underneath your tile.

Caravaggio: Rome (1592-1600)• Starts some commissions under

Cesari (Clement VIII’s favorite artist) – “painting flowers and fruit” in his

workshop• Began several lesser known

paintings, including the influential Cardsharps– Reveals a new narrative and

psychological nature to subjects, almost a serendipity of gesture and expression

The Cardsharpsc. 1596Oil on canvas, 90 x 112 cmKimbell Art Museum, Fort Worth

Judith Beheading Holofernesc. 1598Oil on canvas, 145 x 195 cmGalleria Nazionale d'Arte Antica, Rome

Warm-Up 2/10/12

•What is your favorite work so far from the Baroque period? Defend your preference and provide the proper MARCS.

Contarelli Chapel• 1599, under the auspices of Del

monte (Italian Cardinal and patron) beings décor in the church of San Luigi

• Known for the new Tenebrism techniques and intense realism of character (both physically and emotionally)

• Let’s describe the MARCS of The Calling of Saint Matthew

The Calling of Saint Matthew1599-1600Oil on canvas, 322 x 340 cmContarelli Chapel, San Luigi dei Francesi, Rome

The Baroque in Italy and

Spain

Snapshot Quiz

Snapshot Quiz

CARAVAGGIOTaking of Christc. 1598Oil on canvas, 134 x 170 cmNational Gallery of Ireland, Dublin

CARAVAGGIOThe Raising of Lazarus1608-09Oil on canvas, 380 x 275 cmMuseo Nazionale, Messina

Caravaggio (Michelangelo Merisi)David con la testa di Golia1609-1610Olio su tela, cm 125x101 Provenienza: collezione del cardinale Scipione Borghese

Caravaggio. The Conversion of St. Paul. 1600-1601. Oil on canvas. Santa Maria del Popolo, Rome, Italy.

Caravaggio. The Crucifixion of St. Peter. 1600-1601. Oil on canvas. Santa Maria del Popolo, Rome, Italy.

Weekly Breakdown• Monday: Gentleschi, Carraci and Bernini• Tuesday: AP test: Prehistoric-Baroque• Wednesday: AP test (Cont.)• Thursday: Renaissance vs. Baroque • Symposium

– Essay prompt (5 paragraphs, due on Symposium): The theme of love is powerful and salient as Christian expression. Fully identify one Renaissance painting and one Baroque painting and describe how the art philosophies concerning God and Man influence the artist’s view of love.

– Bring in a food item. Tell us how it relates to Baroque ideals or Renaissance ideals

– Team Art Game for extra credit

Artemisia Gentileschi• Most accomplished of the

second gen. Baroque painters – More than 34 masterpieces– First woman to join the

Accademia di Arte del Disegno in Florence

• Main themes:– Strong women of the bible– Suffering Mythic Females– Characteristic tenebrism– Looks of astonishment,

tense surprise, open form

Gentileschi, Artemisia Self-Portrait as the Allegory of Painting 1638/39 Oil on canvas 38 7/8 x 29 5/8 in (98.6 x 75.2 cm) Her Majesty Queen Elizabeth II

Bible: You Go GURLZ!• Bathsheba:

– Takes a bath on a rooftop…right next to David’s palace

– Conspires to send her husband to war since she is pregnant

• Queen Esther– Becomes wife of Persian king– Saves her exiled people from

destruction• Deborah

– Judge in early Hebrew society– Organizes an army and

sucessfully defeats the canaanites

Roman beginning (1593)• Learned painting while

visiting her father’s workshop– Orazio is friends with Cravaggio

• Completes first work at age 17– Susanna and the Elders depicts the

deauterocanonical account of voyeurism, sexual assault and blackmail

• 2 years later, Gentileschi is raped while being “tutored” by Tazzi during a commission

Gentileschi, Artemisia Susannah and the Elders 1610 Oil on canvas 66 7/8 x 46 7/8 in (170 x 119 cm) Collection Graf von Schoenborn, Pommersfelden

Gentileschi, Artemisia Judith Beheading Holofernes 1620 Oil on canvas 78 3/8 x 64 in (199 x 162.5 cm) Uffizi, Florence

Weekly Breakdown• Monday: Gentleschi, Carraci and Bernini• Tuesday: AP test: Prehistoric-Baroque• Wednesday: AP test (Cont.)• Thursday: Renaissance vs. Baroque • Symposium

– Essay prompt (5 paragraphs, due on Symposium): The theme of love is powerful and salient as Christian expression. Fully identify one Renaissance painting and one Baroque painting and describe how the art philosophies concerning God and Man influence the artist’s view of love.

– Bring in a food item. Tell us how it relates to Baroque ideals or Renaissance ideals

– Team Art Game for extra credit

Annibale Carracci• 1582, Born in Bologna

– Studied Florentine linear drafsmanship (Raphael)

– Combined Raphael’s rich colors with the misty edges of the Venetian school

• Style and Characteristics– Contrast of color, with misty colors,

blended neutrals in the foreground– Idealized religious figures, contrasts

Caravaggio• It was his work that is praised in the

coming decades– More than Caravagio, who had a

devout, yet limited, audience

The Flight into Egypt1603Oil on canvas, 122 x 230 cmGalleria Doria Pamphilj, Rome

CARRACCI, AnnibaleDomine quo vadis?1601-02Oil on panel, 77,4 x 56,3 cmNational Gallery, London

CARRACCI, AnnibaleCeiling fresco1597-1602FrescoPalazzo Farnese, Rome

Timed WriteThis question asks you to explore the stylistic relationships between the form and content of figurative art. How a culture is perceived is often expressed in depictions of the human figure. Choose two specific representations of the human body from different cultures. Only one of your choices may be from a European artistic tradition. Discuss significant aspects of each culture that are revealed by the way in which the human body is depicted. (30 minutes)

Gian Lorenzo Bernini• Born to a mannerist

sculptor (1598-1680)– Age of 8, helped his father

on several commissions for Pope Paul V

• Received his first commission soon after by Cardinal Borghese

• Worked for the Cardinal, as well as 4 other popes (except Innocent X)

Gian Lorenzo Bernini• Major Works:– Rape of Proserpina– Aeneas, Anchises and

Ascanius– Apollo and Daphne– David– Ecstasy of St. Theresa– Fountains in Rome– Colonade of St. Peter’s

Gian Lorenzo Bernini• Characteristics:

1. Upholds the waning Counter-Reformation tone infused within a Baroque setting

2. Naturalistic realism to both classical sculptural content and religious work

3. Underscored by a strong sense of narrative

4. Dramatic, often violent tension in face and body representative of Hellenistic sculpture (Dionysian)

5. Infusion of Painterly style to sculpture

The Rape of Proserpina1621-22Marble. height 295 cmGalleria Borghese, Rome

The Martyrdom of St Lawrence1614-15Marble, 66 x 108 cmGalleria degli Uffizi, Florence

Gianlorenzo BerniniDamned Soul1619White Marble38cmSpanish embassy, Palazzo di Spagna, Rome

Gianlorenzo Bernini, David, 1623.Marble, 5 7 high. GalleriaBorghese, Rome.Bernini’s sculptures

Apollo and Daphne1622-25Carrara marble, height 243 cmGalleria Borghese, Rome

The Ecstasy of Saint Therese1647-52MarbleCappella Cornaro, Santa Maria della Vittoria, Rome

The Ecstasy of Saint Therese1647-52MarbleCappella Cornaro, Santa Maria della Vittoria, Rome

Warm-Up • This is Constantine• Describe how

Constantine is depicted in terms of gesture, line direction, and use of light.

• Who is the Artist? How can you tell?

Gianlorenzo Bernini, baldacchino, Saint Peter’s,Vatican City,Rome, Italy, 1624–1633. Gilded bronze, 100 high.

Gianlorenzo Bernini, Scala Regia (Royal Stairway),VaticanCity, Rome, Italy, 1663–1666.

Gianlorenzo Bernini, Scala Regia (Royal Stairway),VaticanCity, Rome, Italy, 1663–1666.

Aerial view of Saint Peter’s,Vatican City, Rome, Italy. Piazza designedby Gianlorenzo Bernini, 1656–1667.

The Piazza and Colonnade: the Church embraces the world

St. Peter’s Basillica• Location: Vatican City,

Italy• Completion Date: 1626• Dome Diameter: 138 feet• Dome Type: Ribbed• Height: 452 feet above the

street, 390 feet above the floor

• Purpose: Supremacy of Papacy, Counter Reformation

• Materials: Concrete, brick (masonry)

• Architects: Donato Bramante, Rafael, Michelangelo, Bernini

Quick Glance at Construction

1. 1506- Pope Julius II hires Bramante to create plans for St. Peter’s Basilica and its dome

2. 1514- Bramante dies, Antonio Sangallo becomes capomaestro

3. 1546- Sangallo dies, Pope Paul III orders Michelangelo to take the commission

4. 1564- Michelangelo dies 5. 1586- della Porta’s plan for a

new dome is approved 6. 1588-1590- Dome constructed

jointly by della Porta and Fontana

7. 1590-1593- Lantern constructed

St. Peter’s Basilica, nave

Dome and Altar of St. Peter

St. Longinus

The Baldacchino (or Ciborium)

Gianlorenzo BerniniAt St. Peter’s

The High Altar with the Doctors of the Church and the Cathedra Petri

Bernini’s symbolism of the Church Triumphant and the new Rome: the vivification of the main processional axis

•The power of the Church as an institution takes expression in the new churches of the 17th century. Along with it other kinds of forces also appear, including • dynamism (energy and motion), • spatial fluidity, • destruction of limits and boundaries

leading to the notion of “continuum.”• Broader Naves (Ovals)• Dramatic use of Light and narrative

sculpture• Large Ceiling Frescoes

Ss. Luca e Martina, by Pietro daCortona, 1634-69

Energy can be perceived in the nervous perimeter established by the entablature over the wall columns. The interior becomes part of a continuum that is not clearly bounded in the layered wall system. The interior is no

longer a container delimited by wall planes but a locus of forces.

San Carlo alle Quattro Fontane (St. Charles at the Four Fountains) by Borromini, 1634ff

The dynamic energies of Italian Baroque architecture were explored by many designers and artists.

St. Ivo della Sapienza by Francesco Borromini, 1642ff

Chapel of the Holy Shroud, Turin by Guarino Guarnini, 1667ff

San Lorenzo, Turin, by Guarino Guarnini, 1668-80

Identify and Label.

Analyze the Principles and Elements of Design for this work.

Warm Up 2/23/12

Sketch what you see! No more than a quarter sheet. Then, trace in your notes for today’s analysis

Baroque in

Spain

Spanish Baroque• Most Spanish painters

were inspired during travels to Italy and the North– Due to the conservative

courts and lowly artisan place

– All fine because Netherlands was ruled by Spain (Hapsburgs)

• Spain = MAJOR SAINTS

Diego Velasquez• Caravaggesque painter in

Seville• Early painter of bodegones,

or scenes of people eating.• Associated with Rubens

who brought the influence of Titian

• Major Works:– The Water Carrier of Seville– Pope Innocent X– Maids of Honor

Diego Velázquez. The Waterseller in Seville. c. 1620. Oil on canvas. Wellington Museum, London, UK.

Diego Velázquez. Pope Innocent X. 1650. Oil on canvas. Galleria Doria Pamphilj, Rome, Italy.

Diego Velázquez. Las Meninas (The Maids of Honor) or the Royal Family. 1656/57. Oil on canvas. Museo del Prado, Madrid, Spain.

Who are we?

Diego Velázquez. Las Meninas (The Maids of Honor) or the Royal Family. 1656/57. Oil on canvas. Museo del Prado, Madrid, Spain.