Italian Baroque Post

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Transcript of Italian Baroque Post

  • 1. The Baroque in Italy

2. Baroque
Meant as derogatory, exaggerated, excessive, perverse
Advanced techniques of Renaissance married to the intense emotions of Mannerism
Courts and palaces designed to impress visitors
Theatrical emphasis on emotion over rationality
3. CatholicProtestant
Provinces (Belgium)
Holy Roman Empire
Swiss Confederation
North Germany
4. CatholicProtestant
Caravaggio - Italian
Bernini Italian
Poussin French
Versailles and Louis XIV French
Rubens Flemish
Velazquez Spain
The Counter Reformation & Absolutism
Rembrandt Dutch
Vermeer Dutch
Capitalist markets for Art
The Age of Science
5. 6. Caravaggio (1573 1610)
Rebelled against convention
Started in Rome, but fled after murder and worked in many cities
Used drowned corpse as a model for Death of a Virgin refused by patron but purchased by Duke of mantua on advice of Rubens
Used prostitutes, drunks and street people for models
New Powerful Naturalism
Died at 37 (unknown cause but lots of speculation)
Intense Light/Dark contrasts
Dramatic chiarioscuro revolutionizes European art as well as the use of common people
Varicose veins, dirty fingernails, and other attributes of truth in painting
Often worked straight onto canvas without preliminary drawings
High Psychological content
7. In 1565 the French Monsignor Matteo Contarelli acquired a chapel in San Luigi dei Francesi in Rome, but when he died twenty years later it had not yet been decorated. The executor of his will, Virgilio Crescenzi, and later his son, Giacomo, undertook the task. The decorative scheme called for a statue of St Matthew and the Angel, commissioned first to Gerolamo Muziano, and then to the Flemish sculptor Cobaert, for the high altar; and for a fresco cycle for the walls and ceiling by Cavalier d'Arpino. The latter decorated the vault in 1591-93, but the walls were left bare. On 13 June 1599 a contract was stipulated before a notary by which Caravaggio undertook to execute two paintings for the lateral walls (The Calling of Saint Matthew and The Martyrdom of St Matthew), for which he was paid the following year (1600), after the paintings had been set in place. Later, on 7 February 1602, after Cobaert's statue had been judged unsatisfactory, an altarpiece was entrusted to Caravaggio in a separate contract that called for delivery of the work by 32 May, the Feast of the Pentecost. This painting was rejected, the artist made another one (which was accepted) in a surprisingly brief time, receiving payment for this second work on 22 September.
8. 9. 10. Caravaggio, Calling of Saint Matthew

  • Tenebroso

11. Light comes from two sources on the right; top source illuminates Saint Matthew 12. Ordinary figures 13. Some dressed as 17th Century dandies, fashionably coiffed 14. Influence of Michelangelos Creation of Adam in the hand of Christ: Gods hand but Adams reversed position