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Art History 57: Renaissance and Baroque Art

Professor Black

Late Renaissance

Three Geniuses
Leonardo, Raphael and Michelangelo Center of Italian art shifted from Florence to Rome Shift in patronage
Emergence of powerful ruling patrons (popes, noble families)
guilds become less important as patrons

Art effects
Refinement of early Renaissance ideals Interested in improving the natural world, while early Renaissance painters focused on truth to details (not improvement) Greater grandeur (unity of composition)
MORE SERENITY more movement interest in human figure and gesture

Maturation of Albertis historia (gestures tell the story) Inherits the obsession with organizing space (from early Renaissance) Inclination to generalize and idealize figures Strong light-dark contrasts (typical of Leonardo)
To create mystery

Turbulent, urgent movement in paintings (typical of Leonardo)

Late Renaissance Artists

Michelangelo Pieta, 1498-1500 Holy Family (Doni Tondo), 1503-1506 Raphael Madonna of the Meadows, 1505 Titian Assumption of the Virgin, 1516-1526 Pesaro Madonna, 1519-1526 Bacchanal of the Andrians, 1520 Portrait of Doge Andrea Gritti, 1540 Danae, 1554 Rape of Europa, 1559-1562s Lamentation, 1576 Giorgione (with Titian)Sleeping Venus, 1510

Michelangelo, Pieta, 1498-1500

Contemporaneous with Last Supper Defines the high renaissance sculpture Marble, 8.5 ft. tall Signed by Michelangelo in prominent place (on the virgin Marys chest band) Very audacious, not common at this time SubjectMary is holding her dead son after the crucifixion Scene of intense grief Michelangelo depicts it as ideal, perfected reality Mary is calm, stoic, accepting Rationality: RENAISSANCE IDEA THAT REASON MUST CONTROL ALL Restraint of Marys emotions Solid triangular shape There is no movement Idealized Christ appears to be sleeping Sweet-faced, reminiscent of Madonna and Child portraits Mary is youthful and beautiful the beauty of her body manifests the beauty of her soul Medium Stone is very shiny, highly polished, flesh-like

Michelangelo, Holy Family (Doni Tondo), 1503-1506

Characterization of the Holy family presented as figures of power and might These are not mere mortals Symbolism in the plants in the foreground: pointing to new life that Christians believe come with Christ Marys pose: seated on the ground: reference to her humility Mary and Joseph are presenting the Christ child to the viewer Christ characterized as a Hercules: a very heroic child Heroic male nudes in the background The 5 male nudes represent the pagan world John the Baptist is the link between the pagan and the Christian world Background landscape is dry and barren Michelangelos infatuation with the human body

Raphael, Madonna of the Meadows, 1505

Influenced by Leonardo and Michelangelo
Pyramidal composition with interlocking figures
Image of stability

Light is clear revealing form Lucid, accessible image Landscape is inviting and uncomplicated More intelligible Mary is perfectly centered and framed
Oval shaped face and smooth skin on Mary

Venetian High Renaissance 1500s

Venice
peaceful republic (called The most serene city) Religious leaders chosen by secular leaders, secular leaders chosen by people Connection with Islamic and Asian worlds Unique topographyconsists of 100 islands connected by walkways
Venice and Florence have very different topographies, contributing to their representational manners Florence has strong stone buildings and very straight linesnot surprising that perspective was created there Venice is surrounded by water and focuses on light and color

Venetian art theory

Less theoretical Love of light and color Light tends to be soft and more atmospheric Venetian painting tends to be more painterlyartist interested in color and brushwork as a representational form (focused on texture of actual medium) Figure types are fuller and fleshier Less emphasis on drawingpaint directly on the canvas instead of under drawing More relaxed style Patrons among the most powerful in EuropeHoly Roman Emperor, Pope, kings

Venetian Renaissance Artists

Titian

Most influential of all paintings of this subject Figures below (apostles) In shadows below In motion Alternation of RED and GREEN Stress on red Angles repeat gesture of apostles, tying composition together God, the father and the angles create a lid at the top to close the composition High Renaissance principles Pyramidal composition CompareMichelangelo very similar Venetian Greater drama and expression Sensuous immediacy Richer color More varied light golden light, shadows, etc. light is softer and more atmospheric Brushwork is more spontaneous IMPOSTOapplication of pigment is thicker more painterly!!! More interested in the expressive possibilities of the use of oil paint Colors are built up with many layers of transparent glazes Oil paint dries slower and is easier to make revisions

Titian, Assumption of the Virgin, 1516-1518

Titian, Pesaro madonna, 1519-1526

Altarpiece for the Pesaro family chapel

CREATES NEW COMPOSTIIONAL TYPE! Commissioned to celebrate a victory against the Turks led by Pesaro
Turbaned figure being led to throne by a Christian knight Red flag has the papal coat of arms on it Similarities
monumental, heroic classical architecture use of red contains the movement by repetition of red Lid of cloud closes in composition Pesaro is less symmetrical Rhythm that moves up Diagonal of steps and figures links figures on bottom to figures on top More painterly More energy

CompareRaphael

Differences

Titian, Bacchanal of the Andrians, 1520

Commissioned for patrons private relaxation room filled with erotic bacchanal images Figures arranged in a garland Female nudesymbolizes the effects of wine Lighting
Dark on left, light on right

Composition
Males in dark on left, females in light on right

Several figures in contemporary dress

These figures are singing a bacchanal song and thus have started reenacting it

Portrait of doge andrea gritti, 1540

Ruler of Venice
Depicts him as a confident leader, although he was 80 at the time
torso moves to right, head to left swelling chest Wearing ermine fir Emblem of royalty and rule Huge, clutching hand reference to Michelangelos clutching hand of Moses shows awesomeness of the Doge

Very well-respected patron and subject

Giorgione (with titian), Sleeping Venus 1510

Started the tradition of the reclining female nude as the main focus of a painting Usually very passive, vulnerable Body is stretched out for the visual pleasure of the male viewer Commissioned as a wedding painting Cupid identifies her as Venusremoved later Composition Body is close to the front of the picture Skin is polished Pose of handfrom Aphrodite of Knidos, covering genitalia Seems weightless Body set in fertile landscape curves of her body are echoed by the landscape and clouds Possible action Suggestions that she may be masturbating Medical manuals of the time said that in order to conceive women had to have an orgasm eluding to the hope for children Landscape sensuality At this time people went outside into the landscape to have sex

TitIan, Venus of urbino, 1538

No notes on this.

Titian, danae, 1554

Female who was kept from having children because of a prophecy that her child would kill her father
He locked her in a tower

Zeus came in as a light shower and impregnated her. This is crudely humorous
Legs spread open

Titian, rape of Europa 1559-1562

A mythological god (which one?) was in love with Europa who refused him, so he disguised himself as a full with sweet smelling flowers on her head, and abducted her Somewhat humorous
Cupid looks up her dress at her spread legs Friends wave goodbye to her

Style
Very atmospheric Strong diagonal from bottom left to top right

Titian, lamentation of christ, 1576

No notes on this.

Mannerism
1520s-1600 (Between High Renaissance and Baroque
periods)

Artificial, unnatural qualities

Elongated proportions, affected poses, unclear perspective Contrasts with High Renaissance conventions

(such as balance) After quest for perfect realism (i.e., mastery of the human form) during the High Renaissance, Mannerists attempted to diverge entirely Began distorting human figures Irrational space and perspective to reveal emotional turmoil

Mannerist Artists
Bronzino Parmigianino

Brozino, christ in limbo, 1552

Strong zigzagging upward movement

Parmigianino, madonna of the long neck 1534-1540

No notes on this.

El greco, assumption of the virgin, 1577

No notes on El Greco

El Greco, Burial of the Count of Orgaz, 1586

No notes on this.

El Greco, Agony in the Garden 1590-1595

No notes on this.

El Greco, View of Toledo, 1600

No notes on this.

El Greco, Resurrection of Christ, 1597-1604

 Council of Trent (1545-1563)Roman Catholic Church declares that art should be

more vernacular Should speak to the uninformed, rather than the intellectuals (contrast with
However, Baroque appeared a generation after the Council
intellectualism of mannerism) Importance of interplay with viewer (keeps attention, less worked involved in reading work)

Baroque

Style
Simple figures Aimed at the senses Use of spotlight (Caravaggio) Iconography is direct and simple to read
Requires minimal thought to appreciate Broader, less ambiguous than Mannerist poses; less classical, more opera/drama-like

Gestures ContrappostoBaroque movement of figures in time Baroque depends on the counter-directional movement of hips and shoulders to create the illusion of movement

Summary: Study nature, reality effects (including use of model), painterly

qualities, emotion from Venetian tenebrism (dark/light contrast!)

Baroque Artists
Caravaggio Volatile person Murdered a man in Rome in a disagreement over a tennis match Had to flee to Naples Became a knight, attacked another Fled to Sicily Three groups looking for him

Roman govt
Knights The prison he had escaped from Expected a pardon and sailed over to get it Died on the ship, pardon was given three days later! Accomplishments Direct and real communication between artwork and viewer Validates true religious emotions Observer feels sensually and emotionally involved in the scene Made art seem believable, realistic figures and emotions Use reality effects to a previously unseen degree Merged Central Italian and North manners Sculpture forms of Central Use of light and pigment of Northern Artemisia Gentileschi

Caravaggio,Bacchus, 159596
Plays to the spectator offering the viewer the wine with other hand he is loosening his toga possibly homoerotic, was Caravaggio gay? 1603accused of having male and female lovers Representational strategies traces of Mannerism face is stylized, idealized Rejection of mannerism also present: extremely REALISTIC fruit basket Not idealized at all Reaction against mannerism, New Baroque traits Very physical Importance of interplay with viewer Very direct, not complicated Convincing reality effects (the still life)

Caravaggio, Fortuneteller, 1596

More Baroque than Bacchus complete break from mannerism So immediate and true to life Moralizing theme fortuneteller and young man hes infatuated with her and she is stealing his ring the foolish young man Her sash points to the important part of the paintingthe hands Shows women as wily deceivers, moral of not trying to grow up too fast Why is it baroque Basic figures neutral background that doesnt complicate scene sash points to what is important convincing reality effects realism detail texture through the use of light crinkled cotton, leather gloved, cold medal of sword, feathers Use of spotlight In background

Annibale Caracci, Butcher Shop, 1582

Earlier than Caravaggio, but he is more baroque than Caravaggio Well organized Brush work inspired by Venetian Renaissance
Painterly brush strokes Strict verticals and horizontals

References to Michelangelo
Butcher is Noah Animal about to be slaughtered represents figures in foreground of Noah painting

Caravaggio, Calling of St. Matthew, 1598-1600

First religious commission given to Caravaggio Revolutionary for catholic religious art
Recalls the dictates of the Council of Trent
Art must be humble and in the simplest form

St. Matthew is the bearded man sitting with ruffians

Jesus and St. Peter are asking him to become a believer Means even an evil tax collector can become a good Christian
composes it with gures around the table The is an open space of the front left side of the table for the viewer to have a spot BAROQUE INVOLVEMENT!

More figures than ever

Calling of St. Matthew, continued

Spotlight TechniquePopularized by Caravaggio, used earlier by Carracci light on the wall shines down gives objects and figures immediacy expressive faces of most important figures have more light on them reveals texture adds drama and life carries symbolic message light comes from Christs direction and overpowers the light from the window! Christs light is greater than earthly light Absolutely realistic, not idealized bare feetabsolute humility and poverty in the 1600 Matthew, however is very richly dressed Reference to Michelangelos Creation of Adam the hand of Jesus is similar to Adams Christ as the new Adam Technique Expert colorist Rich colors, light influence of Northern Italian Renaissance Painted directly on canvas Sculptural figures comes from Michelangelos technique ThusMerges Central Italian and Venetian Renaissance

Caravaggio, Conversion of Saul, 1600-01

Saula man whos job was to persecute Christiansis on the way to his persecution, stuck down by God and becomes a Christianbecomes ST. PAUL Depicts it as inner religious experience of one person, spiritual exercise, not historical event Other representations have many people watching (none here) This scene however has been reduced to figures and a horse no background Composition Saul is foreshortened, made small, vulnerable dwarfed by enormous horse only illusion to divine are three yellow lines coming down from top right Use of light makes figures sculptural brings out texture transfixes Saul to the ground, pushes him down Horse senses something important is going on and lifts his leg to not step on Saul Baroque Technique Figures extremely unidealized, non-stylized, REALISTIC Does not look like a religious work, rather an accident in a stable

Caravaggio, Crucifixion of St. Peter, 1600-01

Peter wanted to be crucified upside down because he was not worthy of being crucified right side up like Christ Much tension Dirty, unidealized figure lifting the cross
Feet dirty, rear end up and out
realistic human imperfection

Peter
Rugged old man Michelangelos natural musculature Presented as symbol of humanity
all of the torturers are faceless and inhumane

Caravaggio, Madonna of Loreta, 1603-04

Subject: Pilgrims pray to the image of Madonna and Child and their faith causes the pair to appear Divinity is once again very underplayed
Only one step up from pilgrims No shoes Face is slightly idealized (slight reference to Mannerism?) Man can practically touch the feet of the Christ child Crumbling house Pilgrims entirely unidealized Profoundly humble and personal This is like the panels of the Flemish Renaissance where patrons are rewarded with miraculous image for praying hard

Humble

Caravaggio, Burial of St. Lucy, 1608

Huge painting Painted in Sicily when he was on the run from the law Somber and pessimistic Resignation to death and burial of St. Lucy Nothing suggests afterlife or divine presence gloom from absence of light Arrangement of figures look in different directions no communal response to death no communication with viewer Large grave diggers, very tiny dead Lucy on the ground Compositiondepressing upper half of canvas empty makes humans looks puny and powerless before death

Caravaggio, Adoration of the Shepherds, 1609

Painted while Caravaggio was still on run from the law This picture is uplifting, bright, lighted, optimistic Expression of shepherds are very realistic and truthful Baroque use of light Picks out faces Shows interaction between baby and Mary Light comes to rest on a basket in the lower left corner basket contains bread, altar cloth, and carpentry tools (Josephs career, and the tools of the crucifixion)

Artemisia Gentileschi, Judith Beheading Holofernes, 1630

Artemisia's background: Brilliant prodigy Raped by her drawing teachercase against him ended in 9 months, teacher defended himself by saying she was promiscuous Tortured during trial to get her to tell the truth Case ends when she marries an Italian and moves, later divorces him Trial killed reputation because it made her appear promiscuous

Persian general is trapped by composition Have their bodies on top of him Very physically involved in scene Feminist interpretation Violence of these scenes were related to the rapes of the artist by her teacher painted means of revenge? decapitation is symbolic of castration?

Baroque Classicism
BAROQUE CLASSICISMRenaissance Classicism combined with Baroque emotion
Renaissance features
Rational Very organized, in grid

Compete break from Mannerism Baroque features

Complexity Rich color contrasts Clever illusions Greater unity (continuity) between the wall and the vault More complete inclusion of spectator in decoration Baroque sexuality

Baroque Classicist Artists

Annibale Carracci Guido Reni Guercino Pietro da Cortona

Annibale Carracci, Triumph of Bacchus and Ariadne, 1597-1600

Ceiling fresco Not situated to help viewer see painting Representational strategies
Renaissance features
Rational Very organized, in grid

Compete break from Mannerism Baroque features

Complexity Rich color contrasts Clever illusions Greater unity (continuity) between the wall and the vault More complete inclusion of spectator in decoration Baroque sexuality

Guido Reni, Aurora ceiling fresco, 1621

Influenced by Carracci
Ceiling fresco Less sensual More intellectual than Carracci Aurora, the dawn, is fleeing from Apollo in his chariot
Female figures represent the hours of the day

Classical referencemythology is characteristic of Baroque Baroque qualitiesdawns emotional retreat from Apollo

Classicism because Renaissance painters focused on antiquity QUADRO REPORTATOnot fixed to aid viewer in looking at the ceiling painting
No foreshortenings to aid viewer

PAPAL HISTORY

Papal History
Paul V
Years of austerity Reintroduced pomp and richness into Catholicism Wanted to restore glory of catholic church in realm of arts

Pope Urban VIII Barberini (1623-44)

Preferred

Dynamic Baroque

Used this style to celebrate and commemorate Catholic victory over the Protestants entering the CATHOLIC RESTORATION era! Comes after the Reformation

1622canonized five new saints after not canonizing any for decades New appreciations
ScienceGalileo, Copernicus
infinite universe

DYNAMIC BAROQUE
Pope Urban VIII Barberini (1623-44) had preference for this style Qualities
Complex Emphasis on light and color Irregularintended to overwhelm
Dramatic Idealized Very aesthetic Painterly Catholic themes
Reason: The Catholic Restoration had just taken place and the Catholic church was celebrating and commemorating its victory over Protestantism

Guercino, Aurora fresco ceiling, 1621

Ceiling painting DYNAMIC BAROQUEcorrected for the viewer below
Painterly brushstrokesTitian influence Fictive architecture

New pope, Urban VIII, had just come into powerdawning of a new day
Had great preference for dynamic baroque and popularized the style

Pietro da Cortona, Glorification of the Barberini Family, 1629-31

Located at the Palazzo Barberini in Rome

Papal propaganda
Commissioned by the new Barberini-bred pope, Urban VIII, a supporter of the Baroque

Everything merges together, no separation on the ceiling Light, color, dynamism

Cant tell the difference between real and fictive architecture

Bees around wreath represent the Barberini family

Bernini, Apollo and Daphne, 1622-25

Could be for feminist art history critique
As Apollo catches Daphne she turns into a tree Extreme Baroque
Change, becoming Looks like real, soft flesh

Return to realism

Bernini, Pluto and Proserpina, 162122

Pluto is trying to take her to hell VERY violent!
Tears on her face

Beautiful, realistic representation of flesh Very sculptural, physical

Bernini, Tomb of Pope Urban VIII

At the Vatican Very colorfulbronze, colored stone, marble Same elements as Della Portas 16th century Tomb
The Bernini is more organic, part of a whole Richer color More dramatic Pope is activated in Bernini, not just sitting
he is blessing with his hand

Allegories
Charity
baby suckling a woman, while an other baby cries at the death of the pope and she smiles at him to give comfort twisted postures dynamic draperies pockets of shadow made by deep cuts in the marble for beautiful draperies folds

Bernini, Ecstasy of St. Teresa, 165752

Non-papal commission
Pope Urban VIII had died and his successor disliked Bernini and fired him Created o the Cornaro Chapel in Rome

Angel appears to St. Teresa and pierces her heart with a flaming arrow

Baroque Emotion
Spanish mysticismdescribes union with divine
Uses physical terms for a spiritual experience Very emotional drapery Cloud vs. smooth skin Deep grooves cut in marble to create texture and extreme drama in draperies Diagonal between faces heads downward toward St. Theresa

Texture

Composition

Francesco Borromini

Dynamic Baroque Archaitecture

Bernini
Giuliano da Sangallo

Primary purpose: to persuade viewers of some truth, meant to stimulate emotions Traits of Baroque Architecture: 1 more complex ground plans 2 greater height, greater emphasis on the ` dome 3 curved walls 4 fully projecting columns instead of pilasters 5 rhythmic bay arrangements 6 fusion of sculpture and architecture 7 coextensive space that engages the spectator

San Carlo alle Quattro Fontane, 1648

Francesco Borromini

Dynamic Baroque architecture

Coffered ceilingmakes the dome look higher

Illogical arrangement of domes

Church of Sant Andrea al Quirinale

1658-52

Bernini

Classical Baroque: Triangular pediment

Church of Santa Maria delle Carceri

1685-92
Giuliano da Sangallo

Displays the

7 Dynamic Baroque Architecture Traits

Located in Prato

Early to mid 1600s

Spanish. Realism.

Emphasized reality effects Lowly, dignified people evoke higher ideas Secular scenes have religious intent Few mythological scenes because the Inquisition banned female nudity, essential to mythological art Why .Spanish culture has always preferred reality effects Fernando Gallego (1470)early Renaissance reality effects .Influence of Spanish Mysticismunification of the soul with god ..mystical union described in earthy, realistic, plain-spoken language, religion reveals itself through the most mundane parts of life Anxiety about the strength of Christianity in Spain ...Muslims had control until 1400s Spanish Inquisition took control back

Spanish. Realism. .Artists.

.Jusepe De Ribera .Francisco de Zurbaran .Velazquez

St. Jerome and the Angel of Judgment. 1626.

Ribera..

No notes on this.

Drunken Silenus.

Ribera..

1626.
Grotesque approach to mythology Dark, grotesque colors Satyrs and father of Silenus, Pan, present Moralrepresents the evils of over indulgence Sluggish turtle Sluggish donkey Ripped paper with artists signature

Bearded Woman.

1631.

Ribera..

Portrait .A woman, who at 37 began to grow a beard, and at 52 she and her husband had a baby Demonstrates Spanish interest in the grotesque, unusual, macabre Emphasis gender flexibility .Emphasis on manly-looking features Yet exposes large breast .Husband is timid in background .Spanish fad in cross-dressing and crossing gender roles is this due to strictness of gender laws in Spain Secular, as well as religious/moral meaning? Feminine Symbols .Cornucopia and spindle are references to the tasks of domestic women and fertility

Clubfooted Boy.

1642.

Ribera..

Appears secular, but is religious .Club-footed, tooth-rotted peasant boy, smiling, holding a paper that says Give me alms for the love of god This gives form to the catholic view of salvationto perform good works assures your place in paradise Boy .Smiling because he is an instrument of salvation and will go to heaven Indifferent to his suffering, Christ-like .Has great dignity, holding crutch proudly as if it is a royal baton or gun Towers over the mountains in the background

St. Serapion.

Zurbaran..

1623.
Meant to be a model for the monks of the monastery it was commissioned by SerapionMurdered in Africa trying to convert people Depicts the monk hanging from a tree by his arms Spanish traits .Spanish austerityNot gory details, just the peacefulness following the martyrdom Composition Block-like composition Hands turned in so as not to disrupt the box shape Extremely balanced Loops of drapery counter-balance the head on the left to keep balance of composition Extremely 3D accomplished through lighting and coloring delicate handling of the degrees of white, very realistic

Still Life with Oranges and Lemons. 1633.

Zurbaran..

One of the first still-lives since the ancient world Simplethree objects Lemons, Basket of oranges, a Group of a cup, pewter saucer, and rose Eye moves from left to right (lemons to cup Move up to leaves of oranges and down into oranges, forceful indentation of naval of oranges forces you to stay there Moves down toward cup Handle is turned toward the left, opposite side that most right-handed viewer would grabthis cup is not for the viewer Mood calm dark background Religious theory The objects represent the Virgin Mary Roserepresents Marys divine love Lemonsrepresent her fidelity Orange blossomsrepresent her purity (In Mediterranean brides wore these in their hair on their wedding day)

Velazquez..

Dwarf Francisco Lescano. 1634.

Dwarf playmate of the prince, commissioned by king Unable to walk, shown seated Possible interpretations Penitent compositionsubject sits by rocky wall/cave by a distant landscape (like Riberas Mary Magdalene) why?makes the sitter more noble Warning This could happen to you The cards represent the hand youre dealt Joke To make fun of handicapped people Hung in the royal hunting lodge with other dwarf portraits and animals It is a joke, then, to in the saintly penitent composition The Spanish court kept hundreds of dwarfs to serve as playmates to children and something to laugh at

Velazquez..

Surrender of Breda.
1634.

Historical painting for the throne room, hung on walls leading toward the throne Depicts fall of Dutch Breda to the Spanish Dutch on left, Spanish on right Spanish depiction: Dark, uniform outfits, Officers in front , Very straight, proudly held-up lances, Energetic horse Dutch depiction: Tattered garments, Foot soldiers are in front, Useless, blunt weapons, Tired horse Main Scene: Justin of Nasa giving Spinoza the key to the city puts hand on shoulder of Dutchman in a chivalrous, friendly, respectful way Reveals influence of Italian trips on Velazquez Paint effects Smokey atmospheresensitivity to optical effects Brushwork is looser and more varied Thick in foreground, thin in background

Rokeby Venus.

Velazquez..

1649.

Rare example of mythology in Spanish art Nudity is accepted because this is a private commission Inquisition cannot take ban its production Body is facing opposite viewer Probably sourced from the Hellenistic Hermaphrodite Technical qualities Interest in texture Curves of the poses emphasized Venetian, painterly, colorful brushwork Unidealizedflesh of real woman/model Venus is older than usualbeauty is fleeting Blurry reflection of face does not display the common Venus youth

Las Meninas.

Velazquez..

1656.

Velazquez painting princess Paradoxesreading of the painting meant to be unstable Is that a mirror or a portrait Representation is an act of blindness , not vision The picture looks out at a scene for which it scene False RealityRepresentation presented as real but Painting reacts to the limitations of representation

itself is a

its not

Spanish Renaissance and Baroque Style:

Birth of Baroque in Americas

History: --European practices mixed with indigenous art forms --Baroque realism aids political movements How?---Cortez invaded the Americas to free the people from their tyrant Montezuma, Spain won, so Spain gains control of Americas from 1500 to 1800 Religion: --Spiritual conquest: Goal of Spanish conquest was to convert the natives to Catholicism; wanted to create a new catholic utopia centered around mission complexes Destroyed temples and built churches, forbade local artists to depict their saints Backlash: This started one of the greatest building booms in the history of the world, assisted by native slave forced labor

Augustinian Mission Complex 1540 Acolman, Mexico

Post-Cortez church at Typical counter-reformation church Focus is on altar Allows focus to procession to altar focus is on god at altar, not humans PlateresqueSpanish Renaissance style in Mexico Spanish and indigenous Aztec arm is on faade Looks like a military fortress Enormous fortress buttress Why? Designed to impress natives with power of catholic church friars thought of themselves as soldiers for Christ May have been used as fortress when attacked by natives

Open Balcony Chapel Native Christian converts not allowed to enteronly Spaniards monks preached to them from balcony Located in same religious place used before the turn to Christianity Atrium Cross You see just his face, not his body On the lower part of the crucifix there are stories of the crucifixion Thought that these crosses were meant to teach people about religion Base of cross: Mary sad about Christ Style Flat, native style Crucifixion Fresco, 1560-80 Modeling is 3D, Christ is musculaturesimilar to Michelangelo Black and white with touches of red in Mary Magdalene and Johns hair Detailed landscape in background Indigenous elements Ointment jar, attribute of Mary Magdalenetop of lid is a jaguar head, a native symbol of a deity

Baroque Realism:

Doubting Thomas

Lopez de Artega, 1640

Looks very Caravaggio Textbook example of baroque realism Light adds drama Picks out important arrears Light creates texture Realistic wound is in the center Christ looks dead because this is after the crucifixion Difference from Italian Baroque Realism Caravaggio is very realistic and modest Artegas work is seductive and idealized (mannerism)

Northern Baroque
Hollandmid-1600s --Dominated by ProtestantsCalvinists and Mennonites --No church commissions for art because these groups did not support religious objects and huge alter pieces --There was no monarchy so there is no royal patronage -Holland ruled by State holder -Thus there was private art PATRONAGE BY MIDDLE CLASS -Effect--shift to portrait, genre paintings and still-lives

Interior of St. Odolphus Church in Assendelft

P. Saendredam, 1649
Baroque realism Harmony and order (Protestantism) ---Similar to painting, Madonna and Child in a Catholic church by Jan van Eyck secularized scene ---Similar archways and buttresses, attention to line Protestantism No alterpulpit instead ---the spoken word was considered more important than the reenactment of the last supper at the alter -No art Emphasis on geometric structure --Figures seem insignificant this is the Protestant version of a medieval church

---

The Concert
Honthorst, 1620

Influence from Caravaggio

Organizing figures around a table Use of a repossoir (sp?)figures in corner who define the foreground (set up spatial recession)
either have backs turned or are in view

Use of monumental figures Unity of actionall singing

Themetied to biblical story of the prodigal son

Prodigal son is the figure in yellow Young woman is a prostitute Older woman is prostitutes madam (pimp)

Moralistic message
Frankness of sexuality

Large-scale painting Figures cut off (Italian influence) Emphasis on figures Use of light and shade, spotlight

The Alchemist
Ostade, 1661

Detailed, disorderly
Trying to convey the confused mind of the foolish alchemist who thinks he can make gold

Neglecting family
Wife is in background wiping the babies bottom
associated with Dutch proverb: This body, this body, What is it but waste and shit? Only the after-life matters

View of Dordrecht
Jan van Goyen, 1640 Harlem school

Tonal landscapevery limited pallet

No intense colors
only yellow, brown, blue light is diffused

atmosphere is thick and heavy

very panoramic chief subject is sky

sky is the only bright color

Windmill by a River
Goyen, 1642

Tonal landscape
Colors are only yellow and grey and green

Windmill and sand dunes signify Holland Human figures very insignificant Sky dominates

Winmill at Wijk near Duurstede

Jacob van Ruisdael, 1665
Focus is on windmill

STRUCTURAL LANDSCAPE (or High Baroque Dutch

landscape)
1650-70s Controls your VIEWING! Forceful contrast of light and shade Sense of mass
clouds have definite thick light and shade to create heavy clouds In the Goyen, everything merges together

Separation of parts of land (land, water, sky) Reading of picture is controlled by strong diagonals Less sky, more land Color contrasts are much more drastic than the Goyen

Jewish Cemetery
J.V. Ruisdael, 1660

Structural landscape
Rich, dark colors Dramatic use of light and shade Tangibility of objects depicted

Allegorical
Church ruins added in
represent fleeting life also an attempt to Christianize the painting

Rainbow represents hope

Composition
Eye enters in at left with rainbow because that is how Westerners read Continues right toward tree that points down to the coffins

Dutch Portrait and Genre paintings

Jonker Ramp and His Sweetheart

Frans Hals, 1623

MERRY COMPANIES theme of Dutch painting Is this moralizing?

This has been related to prodigal son story upraised hand holding beer is associated with gluttony Also: Love of dogs, whores, hospitality of innkeepers you cannot have without paying the deceptive nature of pleasure
Looks happy, but is a slippery slope

Malle Babbe
Frans Hals, 1633

Portrays an actual female bar-goer Body turns one way, head the other
creates strong diagonal to organize painting

Spontaneous brushwork Is this a portrait or a genre scene? Characterization of Malle Babbe

Owl sitting on her shoulder supposedly a creature of night that is stupid by day emblem of stupidity and drunkenness she is grasping the pitcher of beer negative characterization of her

The Proposition
Judith Leyster, 1630

Foreigner is offering a young woman a coin in the dark and she turns away, fearful of him Does not look happy; usually in these types of portraits the women are happy and excited at the advances of men
Perhaps Leysters opinion is different because she is a woman

 Dutch in the new world