Peter Paul Rubens Elevation of the Cross Antwerp Cathedral, Antwerp, Belgium 1610 oil on panel 15...

BAROQUE ART IN NORTHERN EUROPE AND ROCOCO ART

FLEMISH BAROQUE

Peter Paul RubensElevation of the CrossAntwerp Cathedral, Antwerp, Belgium1610oil on panel15 ft. 2 in. x 11 ft. 2 in.

Peter Paul RubensElevation of the CrossAntwerp Cathedral, Antwerp, Belgium1610oil on panel15 ft. 2 in. x 11 ft. 2 in.

In his Elevation of the Cross Rubens synthesized his study of classical antiquity

with the work of the Italian masters Michelangelo, Tintoretto and Caravaggio , while adding his own dynamism.

Three features that contribute to the drama of the scene:Foreshortened anatomy and twisted figures.Christ is placed on the cross diagonally which cuts dynamically across the picture while inclining back into it.Strong modeling in light and dark.

Peter Paul RubensThe Victory of Eucharistic Truth over Heresyca. 1626oil on board33 7/8 in. x 41 3/8 in.

Peter Paul Rubens

The Three Graces

oil on canvas87 in. x 71 1/4 in.

Peter Paul Rubens

Drawing of Laocoön

ca. 1600-1608black and white chalk drawing with bistre washapproximately 1 ft. 7 in. x 1 ft. 7 in.

Peter Paul RubensArrival of Marie de’ Medici at Marseilles1622-1625oil on canvasapproximately 5 ft. 1 in. x 3 ft. 9 1/2 in.

The famous Florentine House of Medici commissioned Rubens to paint a cycle memorializing and glorifying her career and that of her late husband was Marie de’ Midici.

Peter Paul RubensAllegory of the Outbreak of War1638oil on canvas6 ft. 9 in. x 11 ft. 3 7/8 in.

The painting that embodies Rubens’ attitude toward war was Allegory of the Outbreak of War.

Allegorical figures symbolized:Monsters:

Plague and famine.Woman with a broken lute:

Harmony cannot coexist beside the discord of war.

Architect fallen backwards:What is built in peace for the benefit and ornament of cities is laid in ruin and razed by the forces of arms.Book and paper at the feet of Mars:War tramples on literature and other refinements.Sorrowing woman in black:Unhappy Europe.

Anthony Van DyckCharles I Dismountedca. 1635oil on canvas9 ft. x 7 ft.

Van Dyck specialized in Court portraiture.

His style best be characterized as courtly manner of great elegance, and dramatic compositions of great quality.

Clara PeetersStill Life with Flowers, Goblet, Dried Fruit and Pretzels1611oil on panel1 ft. 7 3/4 in. x 2 ft. 1 1/4 in.

DUTCH BAROQUE

Religious and economic conditions in seventeenth‑century Holland effected artistic patronage and production in the following ways:

Amsterdam had the highest per capita income in Europe and enjoyed widespread prosperity across a large proportion of society, expanding the range of art patronage.

Political power increasingly passed into the hands of an urban patrician class of merchants. Art patronage catered to the tastes of a middle-class audience.

Calvinism demanded a puritanical rejection of art in churches, and thus artists produced relatively little religious art in the Dutch Republic, although it was tolerated when artists created it.

Hendrick ter BrugghenCalling of Saint Matthew1621oil on canvas3 ft. 4 in. x 4 ft. 6 in.

Gerrit van HonthorstSupper Party1620oil on canvas7 ft. x 4 ft. 8 in.

The work of Gerrit van Honthorst influenced Caravaggio by the mundane tavern setting and the nocturnal lighting.

Frans HalsArchers of Saint Hadrianca. 1633oil on canvasapproximately 6 ft. 9 in. x 11 ft.

Frans Hals was the leading painter of the Haarlem school, and specialized in group portraitsThe main elements of his style that distinguish his works from those of his contemporaries is that he was less ordered and regimented in his depiction of the sitters than his contemporaries. Each man is both a troop member and an individual. The figures look in multiple directions. He uses the uniformity of attire to create a lively rhythm.

Frans HalsThe Women Regents of the Old Men’s Home at Haarlem

1664oil on canvas5 ft. 7 in. x 8 ft. 2 in.

Rembrandt van RijnAnatomy Lesson of Dr. Tulp1632oil on canvas5 ft. 3 3/4 in. x 7 ft. 1 1/4 in.

The surgeon’s guild commissioned Rembrandt to paint The Anatomy of Dr. Tulp.Guilds continued to be active patrons of the arts in addition to the upper-middle, middle, and lower-middle classes who drove most of the market.

Rembrandt van RijnThe Company of Captain Frans Banning Cocq (Night Watch)1642oil on canvas11 ft. 11 in. x 14 ft. 4 in.

The Company of Captain Frans Fanning Coq, the varnish Rembrandt used, had darkened considerably over time. A feature of the painting that led to its being misnamed The Night Watch

Devices Rembrant used to enliven the group portrait include the company is presented scurrying about in dramatic lighting.

Rembrandt van RijnReturn of the Prodigal Sonca. 1665oil on canvas8 ft. 8 in. x 6 ft. 9 in.

Three adjectives or phrases that would contrast Rembrandt’s religious works to Counter-Reformation art works:

Spiritual stillness.Humanity and humility of Jesus.Psychological insight and sympathy.

He refined light and shade into finer and finer nuances until they blended with one another, a development from earlier painters’ use of abrupt lights and darks. A greater fidelity to actual appearances is created because the eyes perceive light and dark not as static but as always subtly changing.

His use of light and shade effected the mood of his later portraits in that the variation of light and shade, subtly modulated, could be read as emotional differences: “the psychology of light.” The prevailing moods are that of quietness, tranquil meditation, philosophical resignation, and musing recollection.

Rembrandt van Rijn

Self-Portrait

ca. 1659-1660oil on canvas3 ft. 8 3/4 in. x 3 ft. 1 in.

Rembrandt trying to express the most subtle nuances of character and mood in his portraits and self-portraits

Rembrandt van RijnChrist with the Sick around Him, Receiving the Children (Hundred Guilder Print)ca. 1649etching11 x 15 1/4 in.

etching.A copper plate is covered in a layer of wax or varnish. The artist incises

the design into this surface with an etching needle or pointed tool, exposing the metal below. The plate is then immersed in acid, which eats away the exposed parts of the metal, acting the same as the burin in engraving.

Advantages etching has over engraving;It is more manageable than engraving and allows greater freedom in drawing the design. The medium’s softness gives etchers greater carving freedom and offering the greatest subtlety of line and tone.

Judith LeysterSelf-Portraitca. 1630oil on canvas2 ft. 5 3/8 in. x 2 ft. 1 5/8 in.

Dutch painter Judith Leyster is most famous for portraiture.

Spontaneity was a characteristic she shared with Hals

Albert CuypA Distant View of Dordrecht, with a Milkmaid and Four Cows and Other Figures (The Large Dort)late 1640soil on canvas5 ft. 1 in. x 6 ft. 4 7/8 in.

The Dutch had a very direct relationship to the land, having undertaken an extensive land reclamation project that lasted almost a century that impacted social and economic life.

Jacob van Ruisdael

View of Haarlem from the Dunes at Overveen

ca. 1670oil on canvas1 ft. 10 in. x 2 ft. 1 in.

Jan VermeerThe Letter1666oil on canvas1 ft. 5 1/4 in. x 1 ft. 3 1/4 in.

Vermeer's use of light differed from Rembrandt's in that he rendered space so convincingly through his depiction of light that in his works, the picture surfaces functions as an invisible glass pane through which the viewer looks in to the constructed illusion.

camera obscuraLight is passed through a tiny pinhole or lens to

project an image on a screen or the wall of a room.

Jan Vermeer

Allegory of the Art of Painting

1670-1675oil on canvas4 ft. 4 in. x 3 ft. 8 in.

Three important facts about the optics of color that are illustrated in Vermeer’s paintings:

Shadows are not colorless and dark.

Adjoining colors affect each other.

Light is composed of colors.

Jan Vermeer

Allegory of the Art of Painting


Jan VermeerGirl with the Pearl Earring1670-1675oil on canvas18 x 16 in.

Jan SteenThe Feast of Saint Nicholas1660-1665oil on canvas2 ft. 8 1/4 in. x 2 ft. 3 3/4 in.

The mood created by Steen’s interiors differ from that created by Vermeer's as Steen painted scenes of chaos and disruption with a festive atmosphere.

The children’s behavior in The Feast of Saint Nicholasmight be a satirical commentary on adult behavior, in this case selfishness, pettiness, and jealousy.

Pieter ClaeszVanitas Still Life1630soil on panel1 ft. 2 in. x 1 ft. 11 1/2 in.

“Vanitas”Still lifes that contain objects that function as

reminders of death, or memento mori.

Willem Kalf

Still Life with a Late Ming Ginger Jar

1669oil on canvas2 ft. 6 in. x 2 ft. 1 3/4 in.

Rachel Ruysch

Flower Still Life

after 1700oil on canvas2 ft. 6 in. x 2 ft.

FRENCH BAROQUE

Georges de La Tour

Adoration of the Shepherds


Louis Le Nain

Family of Country People

ca. 1640oil on canvas3 ft. 8 in. x 5 ft. 2 in.

Jacques Callot

Hanging Tree

1621etching3 3/4 x 7 1/4 in.

Nicholas PoussinEt in Arcadia Egoca. 1655oil on canvas2 ft. 10 in. x 4 ft.

Four characteristics of Et in Arcadia Ego are typical of Poussin's fully developed Classical style;

Figures based on classical statuary.The compact, balanced grouping of the figures.The even light.The thoughtful, reserved, and mournful mood.

Subjects Poussin considered to be appropriate for paintings done in the "grand manner” were battles, heroic actions, and religious themes.

Nicholas PoussinBurial of Phocion1648oil on canvas3 ft. 11 in. x 5 ft. 10 in.

Claude Lorrain

Landscape with Cattle and Peasants

1629oil on canvas3 ft. 6 in. x 4 ft. 10 1/2 in.

François Girardon & Thomas Regnaudin

Apollo Attended by the Nymphs

Grotto of Thetis, Park of Versailles Versailles, France

ca. 1666-1672marblelife-size

Pierre Puget

Milo of Crotona

1671-1682marble3 ft. 6 in. x 4 ft. 10 1/2 in.8 ft. 10 in. high

Hyacinthe Rigaud

Louis XIV


Claude Perrault, Louis Le Vau and Charles Le Brun

east façade of the Louvre

Paris, France

1667-1670

Palace at Versailles

Versailles, France

1669

Jules Hardouin-Mansart & Charles Le Brun

Galerie des Glaces (Hall of Mirrors)Palace of Versailles

Versailles, France

1667-1670

Jules Hardouin-Mansart and Charles Le Brun

Galerie des Glaces (Hall of Mirrors)Palace of Versailles

Versailles, France

1667-1670

Jules Hardouin-Mansart

Royal ChapelPalace of Versailles

Versailles, France

1698-1710

Jules Hardouin-Mansart

Église de DômeChurch of the Invalides

Paris, France

1676-1706

ENGLISH BAROQUE

Inigo Jones

Banqueting House at Whitehall

London, England

1619-1622

Christopher Wren

new Saint Paul’s Cathedral

London, England

1675-1710

John Vanbrugh

Blenheim Palace

Oxfordshire, England

1705-1722

GERMAN BAROQUE

Balthasar Neumann

interior of the pilgrimage chapel of Vierzehnheiligen

near Staffelstein, Germany

1743-1772

Balthasar Neumann

plan of Vierzehnheiligen

near Staffelstein, Germany

1743-1772

Egid Asam

Assumption of the Virgin

monastery church at Rohr, Germany

1723

Giambattista Tiepolo

The Apotheosis of the Pisani Familyceiling fresco in the Villa Pisani, Stra, Italy

1761-1762fresco

Rococo

Germain Boffrand

Salon de la Princessewith painting by Charles-Joseph Natoire andsculpture by J.B. Lemoine

Hôtel de Soubise, Paris, France

1737-1740

François de Cuvillièsthe AmalienburgNymphenburg Palace Park, Munich, Germanyearly 18th C.

One of the best examples of French Rococo architecture, known as the Amalienburg was built near Munich, Germany. It was designed by François de Cuvillés.Three Rococo features of this small building:Myriad scintillating motifsEverything seems organic, growing, and in motion.Shapes and contours weave rhythmically around the walls.

François de Cuvilliès

Hall of Mirrors, the AmalienburgNymphenburg Palace Park, Munich, Germany

early 18th C.

Antoine Watteau

L’Indifferent

ca. 1716oil on canvas10 x 7 in.

Antoine Watteau

View through the Trees in the Park of Pierre Crozat (La Perspective)

ca. 1715oil on canvas18 3/8 x 21 3/4 in.

fête galantA type of Rococo painting depicting the outdoor amusements of upper-class society.

Antoine WatteauReturn from Cythera1717-1719oil on canvas4 ft. 3 in. x 6 ft. 4 in.

Four characteristics of Watteau’s Return from Cythera that are typical of Rococo art in general:Exquisite shades of color differenceSubtly modeled shapesGliding motionAir of suave gentility

François Boucher

Cupid a Captive


Jean-Honoré Fragonard

The Swing


Clodion

Nymph and Satyr

ca. 1775terracotta1 ft. 11 in. high

Francis Mansart

Orléans wing of the Château de Blois

Blois, France

1635-1638

Peter Paul Rubens Elevation of the Cross Antwerp Cathedral, Antwerp, Belgium 1610 oil on panel 15...

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