Sayre2e ch21 integrated_lecture_pp_ts-150652

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Jean-Antoine Watteau. The Embarkation from Cythera. ca. 1718-19.50-3/4" × 76-3/8”.


Gianlorenzo Bernini. Aerial view of Bernini's Colonnade circumscribing the Piazza (square) before St. Peter's Basilica, looking eastward towards

Mussolini's Via della Conciliazione and the Tiber River. 1656-67.


Carlo Maderno. St. Peter's Basilica, Vatican, Rome: Façade. 1914.


Michelangelo. Plan for St. Peter's Basilica, Vatican, Rome. 1546-64.


Maderno. Plan for St. Peter's Basilica, Vatican, Rome. 1607-12.

Architectural Panorama: St Peter’s Basilica (ROME, ITALY, FAÇADE 1607-12; COLONNADE, 1657)

Architectural Simulation: St. Peter’s Basilica

External Video: Designing St. Peter’s

MyArtsLabChapter 21 – The Baroque in Italy: the Church and Its Appeal

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/architectural_panoramas/st-peters-pan.html



http://mediaplayer.pearsoncmg.com/media_flash_set.width.300___set.height.420___set.title.St_Peters_Basilica__/ph/hss/SSA_SHARED_MEDIA_1/art/archSim/Basilica-B.mov

http://www.learn.columbia.edu/ha/related_sites/stpeter/swf/main.html

http://www.learn.columbia.edu/ha/html/ancient_athens_parthExSw.htm

http://www.learn.columbia.edu/ha/related_sites/acropolis_360_public/html/1_5/1.3_01.html

http://www.learn.columbia.edu/ha/html/ancient_athens_parthExW2.htm

http://www.learn.columbia.edu/ha/html/ancient_athens_parthExW.htm

http://www.myartslab.com/


Map: Central Italy, with inset map of Vatican, Rome, ca. 1600.

Baroque Style and the Counter-Reformation

What is the Baroque?

• Sculpture and Architecture: Bernini and His Followers — Bernini’s baldachino helps to define the altar space of Saint Peter’s Basilica. Probably no image sums up the Baroque movement better than Bernini’s sculptural program for the Cornaro Chapel. His theme is a pivotal moment in the life of Teresa of Avila. Action is central to Baroque representation as seen in hi David. Bernini is responsible for a series of figurative fountains that changed the face of Rome.

• The Society of Jesus — Founded by Ignatius of Loyola, the Jesuits, as they were known, led the Counter-Reformation. All agreed that the purpose of religious art was to teach and inspire the faithful, that it should always be intelligible and realistic, and that it should be an emotional stimulus to piety.

• Another feature of the Baroque is surprise as can be seen in the Church of San Carlo alle Quattro Fontane.

• Discussion Question: What architectural features constitute the “grandeur” of Saint Peter’s?


Gianlorenzo Bernini. Baldachino, at crossing of St. Peter's, Vatican, Rome. 1624-33.

Height: approx. 100’.

Architectural Simulation: Cornaro Chapel


http://mediaplayer.pearsoncmg.com/media_flash_set.width.300___set.height.420___set.title.Cornaro_Chapel__/ph/hss/SSA_SHARED_MEDIA_1/art/archSim/CornaroChapel.mov




http://www.learn.columbia.edu/ha/html/ancient_athens_parthExW.htm

http://www.myartslab.com/


Anonymous. Painted view of Cornaro Chapel, Santa Maria della Vittoria, Rome, including Bernini's Ecstasy of St. Theresa. ca. 1654.

5’ 6-1/4" × 3’ 1/4”.


Gianlorenzo Bernini. Ecstasy of St. Theresa, Cornaro Chapel, Santa Maria della Vittoria, Rome. 1654-52.

Height: 11’ 6”.


Gianlorenzo Bernini. David. 1623.Height: 5’ 7”.


Gianlorenzo Bernini. Fountain of the Four Rivers, representing the Nile, the Danube, the Ganges, and the Plata rivers, each carved by a different

member of Bernini's workshop. Piazza Navona, Rome. 1648-51.


Giacomo della Porta. Il Gesù, Rome: Façade. ca. 1575-84.


Leon Battista Alberti. Santa Maria Novella, Florence, Italy: Façade. 1458-70.


Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola. Detail, America. 1691-94.

Approx. 56' × 115’.


Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola. Detail, Saint Ignatius. 1691-94.

Approx. 56' × 115’.


Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola. Detail, Europe. 1691-94.

Approx. 56' × 115’.


Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola. 1691-94.Approx. 56' × 115’.


Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola. Detail, Africa. 1691-94.

Approx. 56' × 115’.


Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola. Detail, Saint Francia Xavier. 1691-94.

Approx. 56' × 115’.


Andrea Pozzo. Closer Look: Andrea Pozzo's Apotheosis of Saint Ignatius of Loyola. Detail, Asia. 1691-94.

Approx. 56' × 115’.


Francesco Borromini. San Carlo alle Quattro Fontane, Rome. Façade. 1665-67.


Francesco Borromini. San Carlo alle Quattro Fontane, Rome. Plan. 1665-67.


Francesco Borromini. San Carlo alle Quattro Fontane, Rome. Interior, dome. 1665-67.

The Drama of Painting: Caravaggio and the Carravaggisti

How does the Baroque style manifest itself in painting?

• Master of Light and Dark: Caravaggio — The most dramatic element of The Calling of Saint Matthew is light. The revelatory power of light is analogous to the transformative power of faith. One of the clearest instances of Caravaggio’s uses of light to dramatize moments of conversion is the Conversion of Saint Paul.

• Elisabetta Sirani and Artemisia Gentileschi: Caravaggisti Women — Caravaggio had a profound influence on other artists of the seventeenth century. Sirani painted portraits, religious works, allegorical works, and occasionally mythological works and stories from ancient history. Gentileschi was one of the first women artists to achieve an international reputation. She painted five separate versions of the biblical story of Judith and Holofernes.

• Discussion Question: Discuss the revolutionary innovations of Caravaggio’s style, and his influence.


Caravaggio. The Calling of Saint Matthew. ca. 1599-1600.11’ 1" × 11’ 5”.


Caravaggio. Conversion of Saint Paul. ca. 1601.90-1/2" × 68-7/8”.


Caravaggio. Bacchus. ca. 1597.37-3/8" × 33-1/2”.


Elisabetta Sirani. Virgin and Child. 1663.34" × 27-1/2”.


Artemisia Gentileschi. Judith and Maidservant with the Head of Holofernes. ca. 1625.

72-1/2" × 55-3/4”.

Active Listening Guide: A. Gabrieli: Ricercar a 4 del duodecimo tuono





Venice and Baroque Music

How is the Baroque style manifest in music, particularly in Venice?

• Giovanni Gabrieli and the Drama of Harmony — Venice earned its place at the center of the musical world largely through the efforts of Gabrieli. He was among the first to write religious music intended specifically for wind ensemble.

• Claudio Monteverdi and the Birth of Opera — Monteverdi was the musical director at Saint Mark’s in Venice where he mastered a new, text-based musical form, the opera. The inspiration for his first opera, Orfeo, was the musical drama of ancient Greek theater.

• Arcangelo Corelli and the Sonata — In Italian, sonata simply means “that which is sounded,” or played by instruments, as opposed to that which is sung, the cantata.

• Antonio Vivaldi and the Concerto — Corelli’s instrumental flair influenced Venice’s most important composer, Vivaldi. Many of his works were written specifically for performance by girl choirs and instrumental ensembles. Vivaldi specialized in composing concertos, a three-movement secular form of instrumental music.

• Discussion Question: How does Baroque music differ from the music of the Renaissance?


Gentile Bellini. Procession of the Reliquary of the True Cross in Piazza San Marco. Detail, including Venetian musical instruments. 1496.

12'-1/2" × 24’ 5-1/4”.

Closer Look: The Violin


Active Listening Guide: Monteverdi: "Tu se' morta" from Orfeo



Musical lines from Arcangelo Corelli's Opus no.5 (violin sonata).


Jacopo Guarana. Apollo Conducting a Choir of Maidens. 1776.


Diagram: Ritornello.

Active Listening Guide: Vivaldi: Spring, I from The Four Seasons



Gianlorenzo Bernini. Continuity & Change: Design for the east facade of the Palais du Louvre, Paris. 1664.


Louis Le Vau; Claude Perrault; Charles Le Brun. Continuity & Change: East façade, Palais du Louvre, Paris. 1667-70.

Sayre2e ch21 integrated_lecture_pp_ts-150652

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