Post on 19-Oct-2015
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Baroque Art: 17th - Early 18th cBaroque Art: 17 - Early 18 c.
BaroqueFrom the Portuguese word barocco - irregularly shaped pearl which is beautiful, fascinating and strange.
A style of artistic expression prevalent especially in the 17th y p p p ycentury that is marked generally by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements often conveying a sense of drama, movement, and tension.
B f l d b th t l b t th R f ti f M ti L th d
Reformation and Counter Reformation
Baroque era was fueled by the struggle between the Reformation of Martin Luther and John Calvin in northern Europe, and the resulting Counter Reformation in
predominately Catholic southern Europe.
Reformation- Holland, Germany, England
Iconoclasm The art patronage of church and monarchy was substituted in the
Netherlands by a newly formed and wide based middleclass.Th i f till lif d bj t tt i D t h i ti
Counter-Reformation - Italy, Spain, Flanders
The rise of still life and genre subject matter in Dutch painting
y, p , Push to restore the power of the Catholic Church Building campaign in Romeg p g Art as religious propaganda
Baroque Architecture
CARLO MADERNO, Santa Susanna, Rome, Italy, 15971603.
C i G ACO OColumns with Corinthian
EntablaturesComparison: GIACOMO DELLA PORTA, facade
of Il Ges, Rome, Italy, ca.
Corinthian capitals
15751584.
Pedimented e
CARLO MADERNO, Santa Susanna, Rome, Italy, 15971603.
Scroll Buttresses
Pilasters with Corinthian capitals
Baroque: Maderno, Santa Susanna,15971603.
Early Renaissance: Alberti. Faade of S tA d 1470SantAndrea, 1470 Late Renaissance:
Della Porta, facade of Il Ges, 1575-84
St. Peter's Basilica stands on the traditional site where Peter - the apostle who is considered thewho is considered the first pope - was crucified and buried.
CARLO MADERNO, Facade of Saint Peter's, commissioned by Pope Paul V, Vatican City, Rome, Italy, 1606-1612.
Pope Benedict XVI with the 114 Cardinals that elected him. April, 2005Cardinals that elected him. April, 2005
Pope Benedict XVI looks on for the "Urbi et Orbi" ("To The City and to The World")City and to The World") Easter address from the central balcony of St Peter's Basilica at the Vatican. April 2007
Basilica Greek Cross Greek Cross with a Portico Latin Cross
Saint Peters:http://youtu.be/R5UK0dEFSoM
Latin CrossGreek Cross
Comparison:PantheonRome, Italy,118125 CE.
The inscription states: "Paul V Borghese, Roman, Pontiff, in the year 1612, the seventh of his pontificate, [erected] in honour of the Prince of Apostles.
CARLO MADERNO, NO,
Facade of Saint Peter's, Rome,
Italy, 1606-1612.
CARLO MADERNO, facade of Saint Peter's, commissioned by Pope Paul V, Vatican City, Rome, I l 1606 1612Italy, 1606-1612.
CARLO MADERNO, Santa Susanna, Rome, Italy, 15971603.
What makes Maderno's facade Baroque?
Wavy facade creates light & shadow
Mix of columns and pilasters
Sculptures decorate the top of the facade
Small pediment
Swiss Guards at the St. Peter's Basilica
Swiss Guards are Swiss mercenary soldiers who have served as bodyguards, ceremonial guards, and palace guards at foreign European courts from the late 15th century until the present day.
St. Peters with Berninis Piazza, 1656-1667
The square provides a monumental entrance to St. Peter's and a place where crowds, up to half a million at a time, gather to receive the pope's blessing. , p , g p p g
Aerial view of Saint Peters, Vatican City, Rome, Italy. Madernos faade 1606-12. Berninis Piazza c. 1656-57
The keys used as a symbol of the Pope'sThe keys used as a symbol of the Pope s authority refer to the "keys of the kingdom of Heaven" promised to Peter (Matthew 16:1819).16:18 19).
Gian Lorenzo Bernini. St Peter's Square (Piazza San Pietro). 240m wide. 1656-1667
Colonnade
Tuscan Order
Francesco BorrominiFrancesco Borromini 1599-1667
Italian Baroque architect. Though he worked with Bernini on the design of the famous baldachin in St. Peter's Basilica, the two later became bitter rivals. His works, composed of flowing concave andworks, composed of flowing concave and convex forms, contain spaces that are irregular ovals and polygons.
Though bitterly resentful of what he felt to be a lack of just recognition, he was indifferent toward wealth and rejected the jfashions of normal dress. Intractable and melancholic, he was infamous for his fits of rage. His fortunes declined in later years, and in 1667 he committed suicideand in 1667 he committed suicide.
BORROMINI, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1665-1676.
Renaissance: Alberti. Faade of SantAndrea, 1470
Borromini, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1665-1676.
FRANCESCO BORROMINI. Facade of San Carlo alle Quattro Fontane, Rome,
Italy 1665-1676Italy, 1665-1676.
FRANCESCO BORROMINI SanFRANCESCO BORROMINI. San Carlo alle Quattro Fontane, Plan and Dome. 1665-1676.
The dome is decorated with a l t i tt fcomplex geometric pattern of
coffers of crosses, ovals, octagons and hexagons. The upper lantern shows clouds opening to show ashows clouds opening to show a descending white dove.
Exterior and interior details
FRANCESCO BORROMINI, Chapel of Saint Ivo (plan and view into dome), College of the Sapienza, Rome, Italy, begun 1642.
Characteristics of Baroque Architecture:
Great curving forms with undulating f dfacades
Dramatic use of light and sense of movement Gian Lorenzo Bernini
Opulent use of ornaments and sculptural treatment of surfaces
St Peter's Square, 1656-57
Maderno, Facade of Saint Peter's, 1606-1612
The external faade is often characterized by a dramatic central projection
Illusory effects like trompe l'oeil and the y pblending of painting and architecture
Domes of various shapes
Use of the classical architectural vocabulary
Colossal scale incorporating urban and landscape planning Borromini Sanp p g
Complex architectural plan shapes, often based on the oval
Borromini, San Carlo alle
Quattro Fontane, 1665-1676
Baroque Sculpture Baroque Sculpture is characterized by high drama tension and extravagancehigh drama, tension, and extravagance.
Combines different materials within a single work and often uses one material to i l hsimulate another.
Gianlorenzo Bernini (1598-1680), Italian Sculptor, architect, painter, and poet, who made an outstanding contribution to the evolution of Baroque. Born in Naples, his family settled in Rome (c.1605), where he spent the rest of his life. By the age of 20 he was famous, and from the election of Pope Urban VIII (162344) his rise was meteoric.
Bernini won fabulous acclaim for his theater spectaculars He wrote plays and staged those byspectaculars. He wrote plays and staged those by others in the vast theater of the Barberini Palace. For these he invented stage machinery to produce effects that amazed his audiences: rising platforms
Bernini. Self-Portraits
g pfilled with people, sheets of water that seemed about to flood the theater, flames that seemed about to destroy it.
Baldachin (Italian: baldacchino) : Freestanding
f d lcanopy of stone, wood, or metal over an altar or tomb.
Gianlorenzo Bernini, Baldacchino, Saint Peter's, Vatican City, Rome, Italy, 1624-33. Gilded bronze (taken from the portico of the Parthenon), 100' h.
Gianlorenzo Bernini,
Baldachin and The Altar of the Chair of St. Peter
Saint Peter's Vatican City RomeSaint Peter's, Vatican City, Rome, Italy, 1624-33. Gilded bronze (taken from the portico of the Parthenon), 100' h100 h.
GianlorenzoBernini,
Baldacchino, 1624-
Workshop of Raphael The Donation of Constantine
Baldacchino, 162433. Gilded bronze
Workshop of Raphael, The Donation of Constantine(1520s)
In the 4th century Constantine the GreatIn the 4th century, Constantine the Great brought a set of columns to Rome and gave them to the original St. Peter's Basilica. The Donation of Constantine shows these columnsDonation of Constantine shows these columns in their original location.
The middle and upper sections of the columns are covered in olive and bay branches, which are populated with a myriad of bees and small putti.
Pope Urban VIII's family coat of arms, those of the ,Barberini family, with their signature bees, are at the base of every column.
Berninin. Cathedra P t i Alt f thPetri, Altar of the
Chair of St. Peter. Gilt Bronze. 1656-66
Holy Spirit as Dove, Stained
Glass
Gianlorenzo Bernini, David, 1623-24, Marble, height 170 cm
Bernini. Self-Portrait
The tense facial expression is modeled on Bernini himself as he struggled with his tools to work the hard marble. According to contemporary sources Cardinal M ff B b i i (l t P U b VIII) hi lf h ld th i d i itMaffeo Barberini (later Pope Urban VIII) himself held the mirror during its execution.
The oversize body armor leant to David by King Saul before the encounter lies on the ground with Davids harp, which is decorated with an eagle's head, a symbolic
f h B h f ilreference to the Borghese family.
Gianlorenzo Bernini, David, 1623. Marble, 5' 7" hi h G ll i B hAgasias of Ephesus, Borghese Gladiator high. Galleria Borghese, Rome.
Agasias of Ephesus, Borghese Gladiator Roman Copy (ca. 100 AD) of Hellenistic original of the 3rd century BC. By 1613 it was in the Borghese collection.
Gianlorenzo Bernini, David, 1623. Marble, 5' 7" hi h G ll i B h
Donatello, David, 1430, bronze Michelangelo, David,
1501 marble high. Galleria Borghese, Rome.
1501, marble.
Comparison:ManneristSculpture
The first large-scale group since classical antiquitysince classical antiquity designed to be seen from multiple view points
Giovanni Bologna
R f th S bi WRape of the Sabine Womenmarble, 13 1/2 feet high1583
ATHANADOROSATHANADOROS,
Greek HellenisticGreek Hellenistic
HAGESANDROS, and POLYDOROS OF M i t
Baroque
RHODES, Laocon and his sons, from Rome, Italy, early
first century CE Marble,
Mannerist
Giovanni BolognaRape of the Sabine
Gianlorenzo Bernini, David, 1623. Marble, 5' 7" high. Galleria B h Rapprox. 7 10 1/2 high.
Vatican Museums, Rome.
Rape of the Sabine Women
marble, 13 1/2 feet high, 1583
Borghese, Rome.
GianlorenzoBernini, Ecstasy of
Saint Teresa, CornaroChapel, Santa Maria d ll Vitt i Rdella Vittoria, Rome,
Italy, 1645-1652. Marble, height of
group 11' 6"group 11 6 .
GianlorenzoBernini, Ecstasy of
Saint Teresa, CornaroChapel, Santa Maria della Vittoria, Rome,
Italy, 1645-1652. M bl h i h fMarble, height of
group 11' 6".
I felt such infinite sweetness th t I i h d th i t l tthat I wished the pain to last eternally. It was the sweetest caressing of the soul by God.
St. Teresa
Cardinal Federigo Cornarogcommissioned Bernini to execute the sculpture.
Federigo his deceased father and sixFederigo, his deceased father and six cardinals appear on the balconies on both sides.
Michelangelo, Pieta, c. 1500. marble, H 5 8 St. Peter's, Vatican, Rome.
Gianlorenzo Bernini, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645-1652. Marble, H. 11' 6".