Baroque - cool.ntu.edu.tw

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1 Baroque 陳慧宏 臺⼤歷史系教授 1 Baroque and Rococo 1600-1750 n Baroque, originally Portuguese word barroco, meaning an irregularly shaped pearl. n When used in the 19c.: unstructural, overornamented, theatrical, and grotesque [Gardner] n “Irregular, contorted” [Janson] Gardner’s Art Through the Ages, vol. 2, ninth edition (HBJ, 1991) H. W. Janson, History of Art, 3rd edition (New York: Harry N. Abrams, INC., 1986) 2

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Baroque

陳慧宏

臺⼤歷史系教授

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Baroque and Rococo1600-1750

n Baroque, originally Portuguese word barroco, meaning an irregularly shaped pearl.

n When used in the 19c.: unstructural, overornamented, theatrical, and grotesque [Gardner]

n “Irregular, contorted” [Janson]

Gardner’s Art Through the Ages, vol. 2, ninth edition (HBJ, 1991) H. W. Janson, History of Art, 3rd edition (New York: Harry N. Abrams, INC.,

1986)

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Baroque-II

n Shockingly bizarre, confused, and extravagantn Curves, exaggerated lighting, intense emotions, release from restraint, artistic sensationalismn與 the Counter-Reformation緊密結合。n巴洛克藝術再次肯定天主教信仰的情感層面

(emotional depths),而且同時榮耀教會及王朝。n Grander design, 特別適合用於對信仰及權力的公開呈現。! Lynn Hunt and others, The Making of the West: Peoples and Cultures, vol. I: To 1704, 2 ed. (Boston: Bedford/St. Martin’s, 2005), 607, 653.

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What is the Baroque?Baroque時期,有兩種界定其特質的說法。第一是視其為文藝復興的最後階段,第二是認為它是

文藝復興和現代 (modern) 之間的一個獨特時期[Janson]。兩種說法都有一定的正確性,因為我們

可看到文藝復興古典主義的復興 [Gardner: the

Classicism of the High Renaissance is restored] 或新詮釋,

也看到了與此時期歷史背景相關聯所產生的前所

未有的新的視覺表現方式。

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The Problem of Mannerismn Giovanni Pietro Bellori (1615-96; Le vite de’ pittori,

scultori et architetti moderni (Rome, 1672)) attacked Mannerism: an ideal born in the artist’s fantasy and based not upon reality but upon pratica: stylistic convention and technical expertise. The fantasy ideal is based on knack

rather than imitation (of nature) [Shearman, 18, 178].

n 十六世紀末,新的風格趨勢興起,總而言之,就是回歸自

然 (nature),追求真實的精神 (a spirit of truth)。

John Shearman, Mannerism (Penguin Books, 1990).

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The Problem of Mannerism-IIn Mannerism: excessiveness, artificiality, departure from

naturalness, anti-classic, “decline”n Mannerism, ca. 1520- ca. 1530-40

Maniera (courtly late Mannerism), ca. 1530-40 - 1560s. n Gombrich: distortum et elaboratum (twisted and

elaborate), more associated with the period of Mannerism. The critical standards of the Renaissance had not lost their force.

n Mannerism 顯示了文藝復興之「古典」的延續,而非反文藝復興和反古典。

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Counter Reformation

n在新教的衝擊後,十六世紀末葉以來,以羅馬教

廷為首的天主教也興起了一連串內部自我的改革,

稱為Counter Reformation or Catholic reform。n雖然現已普遍認為Counter Reformation 的主要動力並非Baroque art興起的唯一原因,但天主教為對抗新教而對聖像提出的合理化解釋及作為,

的確也與新興風格有某種程度的關聯。

n Baroque art不等於Counter Reformation art。

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Federico Barocci, Visitation, 1584-86, oil on canvas, Cappella Pozzomiglio, S. Maria in Vallicella, Rome

n Spirit of domesticity and of everyday life. Familial atmosphere

n Bellori (1672): “correspond to the requirements of decorum and sanctity and excite devotion”

[The Age of Caravaggio, Fig. 17]

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Scipione Pulzone, Lamentation,1591(signed and dated), oil on canvas, Metropolitan Museum of Art, New York

n Painted for the Chapel of Angels and Archangels in Il Gesù, Rome n Dead body of Christn Realism

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Annibale Carracci, ceiling frescos in the Palazzo Farnese, Rome, 1597-1601

n Ceiling’s subject: loves of the Gods--subtle and various stages and degrees of earthly and Divine love nNaturalism 和classicism 的再興,是Baroque art 興起的關鍵因素。

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Venus and Anchises: Venus (Roman goddess) fell in love with Anchises, a Trojan shepherd. The offspring of this union was Aeneas, the legendary ancestor of the Romans. “Genus unde Latinum (whence came the Latin race)” from the opening of the Aeneid.n結合了北意大利對色彩和光影技術的傳統 (colore; chiaroscuro, 被認為是一artistic 自然主義; tonal relationship in a way that the eye readily and naturally ; the synonym for naturalistic art in the past),和中部意大利Renaissance寫生與仿傚的disegno (drawing) 傳統 (classicism)

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Caravaggio, The Calling of St. Matthew, Contarelli Chapel, S. Luigi dei Francesi, Rome

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Caravaggio, Youth Bitten by a Green Lizard, LonghiCollection, Florence

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Caravaggio, Doubting of St. Thomas, Neues Palais, Potsdam

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Caravaggio, The Death of the Virgin, 1606, Oil on canvas, 369 x 245 cm, Musée du Louvre, Paris

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Hieronymus Wierix, Vision of Ignatius de Loyola, copper engraving

n Evoke emotion and devotion,聖像的宗教性及教導性功能被強調。

n Simplicity and clarity,visual or visible truth,或從觀者的角度而言,熟悉的當代寫

實的場景建構,如上述作品所

示,能與觀者的感情 (human affetti) 直接溝通,而激起說服力量,所以可以達成其圖像的

功能。

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Peter Paul Rubens, The Raising of the Cross, panel, 1609-10, Antwerp Cathedraln Muscular figures, 受到Italian的Michelangelo (Sistine Chapel) 或Carracci的影響,而光影的使用,則可能來自

Caravaggio。n壯麗大型的氣勢,是

Rubens 之前北方作品少見。

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Peter Paul Rubens, The Assumption of the Virgin Mary, 1626Oil on panel, 490 x 325 cm, O.-L. Vrouwekathedraal, Antwerp

n 為教堂所作的大型的

altarpieces,是Rubens藝術高峰期的最重要代表之一。

n Rubens數件關於聖母昇天之作,是Counter Reformation 時期典型而卓越的代表。

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n Rubens 作品所示,dramatic force,不穩定的重心及事件的動作性,都是典型的Baroque。

n新教並不接受聖母昇天神蹟的可信性,而這題材在

Baroque art被發展到極致,代表此期天主教在反宗教改革中的氛圍。題材勝利氣氛的營造 (作為耶穌一生事蹟最終的歡喜的句點),在Rubens手中發展到極致。在這個新的圖像母題中,當代人形象描繪的出

現,也有意無意地在加重事件的真實性,並引導觀

者參與之意圖。

Baroque- “participation” and “moment”

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Peter Paul Rubens (1577-1640), Glory of Ignatius of Loyola, and that ofFrancis Xavier, oil, 1616, Kunsthistorische Museum, Vienna

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St. Peter’s, Vaticann Developed from Peter’s tomb, Vatican City’s most important architectural

monument. Original basilica built by Constantine around 320 A.D.n The official consecration of the “Temple”—as the new St. Peter’s then

came to be called—was officiated by Pope Urban VIII in 1626.

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n Counter Reformation church: remodeled to express greatness, nave lengthened to convey the concept of immensity and to accommodate the grandiose ceremonies and extensive procession.

n 187 meters long, c. 219 including portico

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Tomb of Pope Urban VIII (Maffeo Barberini; 1623-44), St. Peter’s, Bernini

n Gianlorenzo Bernini(1598-1680), the greatest architect-sculptor of the century, St. Peter’s 17 c. 擴建最重要的artistn Urban VIII, The greatest patron of sculpture in papal historyn Charity and Justice (allegorical figures)

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Tomb of Pope Alexander VII (1655-67), St. Peter’s, Bernini

n Baroque art-- “no sharp distinction between sculpture and painting,” “both may be combined with architecture to form acompound illusion, like that of the stage.” [Janson]

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Baldachin and the Confessional Altar, St. Peter’s, commissioned by Urban VIII to Bernini, in 1624, gilt bronze, finished in 1633

n 29 meters high excluding the cross, communicated a sense of celestial lightness. Drawing our attention to the altar, vertically to the original tomb. Twisting movement of the bronze columns suggest a spiraling ascent. “Veryepitome of Baroque style.”n Seen in late antiquity

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Colonnade, St. Peter’s Plaza, Pope Alexander VII commissioned Bernini (who spent 11 years), 1656-1667n 240 m along the line of the fountains, 196 m in length n Colonnaded theater

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(L) Bernini, David, marble, lifesize,1623, Galleria Borghese, Rome(R) Michelangelo, David, marble, 1501-1504, Galleria dell’Accademia, Florence

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Bernini, The Ecstasy of St. Teresa, marble, lifesize, 1645-52, Cornaro Chapel, Santa Maria della Vittoria, Rome

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Guercino, Aurora, ceiling fresco, 1621-23, Villa Ludovisi, Rome

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Fra Andrea Pozzo, The Glorification of St. Ignatius, ceiling fresco, 1691-94, nave of Sant’ Igazio, Romen Pozzo, lay brother of the Jesuitordern Ignatius is carried to the waiting Christ in the presence of figures personifying the four corners of the worldn Continues the actual architecture of the church into the vaultn Visual illusion, emotionn Bernini actually practiced the Spiritual Exercises of Loyola

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Visual and Auditory Sensesn Baroque church: stimulation of both the visual and auditory senses. Audience is transported by the physical means. Mystery made visible to the outward sight (different from the Medieval- medieval humanity aspired to Heaven). Baroque humanity wanted Heaven to come down to their station, where they might see it. Optical vision is the supreme faculty in 17c. art and science. The heavens are more and more within reach, such as Galileo and Newton [Gardner].

n “Plato declared that the phenomenal world was an illusion of the senses.”

Ingrid Rowland, The Ecstatic Journey: Athanasius Kircher in Baroque Rome (Chicago: The University of Chicago Library, 2000).

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Rembrandt (1606-69), The Night Watch, canvas, 1642, Rijksmusuem, Amsterdam --Realistic, everyday scenes

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Rembrandt, The Anatomy Lecture of Dr. Nicolaes Tulp, 1632, Oil on canvas, 169,5 x 216,5 cm , Mauritshuis, The Hague

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Rembrandt, Anatomical Class, oil on canvas, signed and dated 1656, Rijksmusuem, Amsterdam

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The University of Leiden’s anatomy theater, in Johannes Meursius’ Athenae Batavae (Leiden, 1625)

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Jan Vermeer (1632-75), The Art of Painting, Kunsthistorisches Museum, Vienna

n Light, constructed illusionn Timeless still life worldn Vermeer translates reality into a mosaic as he puts it on canvas [Janson, 534]

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David Bailly, Still Life, 1651, Stedelijk Museum de “Lakenhal,” LeidenFrancis Bacon (1561-1626): “Seeing the nature of things betrays itself more readily under the vexations of art than in its natural freedom.”

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French Rococon After the death of Louis XIV (1715), centralized control

stopped.n The nobility, hitherto attached to the court at Versailles,

were now freer of royal surveillance. Not to return to ancestral chateaux, but building hôtels, elegant town house in Paris

n Layout of décor of the rooms, interior decoration, private living style

n Or called “the Style of Louis XV”n From rocaille, playful decoration of grottoes with irregular

shells and stones [Janson, 556]

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Salon de la Princesse, Hôtel de Soubise, Paris, 1737-1740. Decorations by Germain Boffrand

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Clodion, The Invention of the Balloon, 1784, Terracotta, h.110 cm, Metropolitan Museum of Art, New York

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