Chapter 20The Catholic Reformation

and the Baroque Style

The Age of the Baroque

• 1600-1750

The Age of the Baroque• Main features: dramatic expression theatrical spectacle spatial grandeur (Fiero 503)

Macao's Ruins of St Paul, whose correct name is the Church of Madre de Deus, is the only example of Baroque art and architecture in China.

The Catholic Baroque

Italy and elsewhere

The aristocratic Baroque

France

The Protestant Baroque

Northern Europe

•The Catholic Reformation

The Counter-Reformation

1534-90 Counter-Reformation popes

1530s Loyola founded the Jesuits

1545-63 Council of Trent

Ignatius Loyola- 1491- 1556- Founded the Soci

ety of Jesus, or the Jesuits

- Spiritual Exercises

“We should always be disposed to believe that that which appears white is really black, if the hierarchy of the Church so decides.”

(Ignatius Loyola)

The Jesuits1) Took an oath of strict obedience

to the pope

2) Espoused a life of active service in the world

3) Committed to education and missionary work

Matteo Ricci•1552-1610

Council of Trent1545-63

1) to reform the church:

Unified church doctrine

Abolished corruption

Confirmed papal authority

Council of Trent2) to confront the Protestant

challenge: Insisted on the integration of both

faith and good works in the process of salvation.

Emphasized spiritual renewal through faith, prayer, and religious ceremony.

Sterner Means of Control

• The Inquisition:

the church court dealing with heretics

• Censorship:

Index Expurgatorius

(Index of Prohibited Books)

Cristiano Ban, 1857, Galileo in front of the Roman Inquisition

Catholic Mysticism• Loyola’s Spiritual Exercises

• Teresa of Avila’s autobiographical writings

• Poetry of Richard Crashaw

Catholic Mysticism• Emphasize the immediacy of

religious experience

•Development of the Baroque Style

Mannerism -A pejorative term in the beginning,

referring to artists who were felt to imitate the manner, esp. of Michelangelo, without catching anything of the spirit.

-Now applied to Italian painting and sculpture of the period between the climax of High Renaissance (1520) and the beginning of Baroque (1600).

Mannerism -figural distortions

-irrational space,

-bizarre colors,

-general disregard of Renaissance “rules” (symmetry & geometric clarity)

figura serpentinata

• Serpentine figure

• The figure and all its parts should resemble the letter S. All the figures are characterized by athletic twists and turns.

Michelangelo, Victory, c.1530

Giambologna, Hercules and the Centaur, 1594-1600

Giambologna, Mercury, c. 1564

Michelangelo, The Last Judgment

Parmigianino, “The Madonna of the Long Neck, c. 1535

Mannerism

• El Greco

(1541-1614)

Da Vinci

The Immaculate conception

View of Toledo

The Baroque• Italy: Caravaggio, Carracci, Bernini

• France: Poussin

• Spain: Velazquez

• Flemish: Rubens

• Dutch: Vermeer, Rembrandt

Caravaggio•1573-1610

The Supper at Emmaus

Caravaggio, The Conversion on the Way to Damascus1600

http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html

Caravaggio, The Crucifixion of Saint Peter1600

http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html

Caravaggio, The Sacrifice of Isaac1601-02

http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html

Caravaggio, David, 1606-7

http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html

http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html

Caravaggio, The Calling of Saint Matthew1599-1600

foreshortening• To shorten (as a design) by

proportionately contracting in the direction of depth so that an illusion of projection or extension in space is obtained.

Trompe l’oeil•To “fool the eye”

•An illusionistic style

Bernini

•1598-1680

Artemisia Gentileschi

•1593-1653

Caravaggio, Judith Beheading Holofernesc. 1598

http://www.wga.hu/frames-e.html?/html/c/caravagg/index.html

•Baroque Architecture

• Saint Peter’s Basilic: by Bernini

– piazza in front of Saint Peter’s Basilic

– the colonnade of the courtyard

– the bronze canopy over the high altar of the basilica

• Il Gesù: by Giacomo della Porta

• San Carlo (alle Quattro Fontane): by Francesco Borromini

•The End