AP Art History blog: Baroque Art of the 17th Century

There are 2 trends that dominate Baroque painting - Naturalism and Classicism.

Naturalist painters, such as Caravaggio and Gentileschi, painted with an expressive sense of movement. They employed descriptive and evocative use of color and favored the strong off-stage light and shadow effects that imbued their figures with great drama. Inspiration for this school of painting stemmed from the Venetian Renaissance artists, such as Titian.

Titian >>> Caravaggio >>> Rubens >>> his followers

Classicist painters, such as Carracci and Reni, downplayed the wild emotions and colors favored by the naturalists, inspired by artists who favored classicizing subjects - like Raphael. The art of Nicholas Poussin exemplified this school of Baroque painting, which was dominant throughout France throughout the entire 17th Century.

Raphael >>> Carracci >>> Poussin >>> his followers

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Baroque sculpture
The major sculptural influence for sculptors of this time was Hellenistic sculpture.

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Flemish Baroque

Sir Peter Paul Rubens

Peter Paul Rubens: Descent from the Cross

Peter Paul Rubens: Arrival of Marie d'Medici

Peter Paul Rubens: Effects of War

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French Baroque

Nicholas Poussin

Nicholas Poussin: Self-portrait

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Georges de Latour

Georges de Latour: Adoration of the Shepherds

Georges de Latour: Penitent Magdalene

Penitent Magdalene (detail)

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Spanish Baroque

Francisco de Zurbarán

Francisco de Zurbarán: Saint Serapion

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Diego Velázquez

Diego Velazquez: Water Carrier of Seville

Diego Velazquez: King Philip IV of Spain (aka Fraga Philip)

Diego Velazquez: Las Meninas (aka Maids of Honor)

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Italian Baroque

Caravaggio

Caravaggio: Entombment

Caravaggio: Conversion of Saint Paul

Caravaggio: The Calling of Saint Matthew

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Gian Lorenzo Bernini

-We have a die-hard biography on Bernini - written by a friend after Bernini died.

-He was an extremely religious artist.

-He lived his religion
a) attended mass every single day
b) held learning sessions on theology (felt artists should be learned)

-Extremely humble; looked upon himself as being nothing more than a vessel through which God worked. Therefore, his art is a tool for God.

-In 1625, a dramatic change occurs in his art. Works prior to this were secular in nature (sometimes erotic), whereas after this date, almost all of his works were of religious theme.

-He was literally raised by the Catholic church (not an orphan). His father was a sculptor.

-At age 8 or 9, he began creating masterpieces. So, he was taken in by the papacy so he could create beautiful works for the church - for the glory of God.

-Unlike Michelangelo, Bernini was treated very well. Bernini demanded respect and received it.

-He deported himself in a manner that made people respect him.
When asked to critique fellow artists’ work that otherwise lacked skill, he would say, “Truly, the work speaks for itself.” This ambiguous statement represents Bernini’s diplomacy when dealing with others.

-Great work ethic! He would work for seven straight hours carving marble. He would work himself up, into a frenzy. He would have two assistants - one on each side of him - who would ensure Bernini would not fall over.

Q: But, why would the church snatch him at such a young age and provide him with these amenities?
A: To mold him into another Michelangelo… who would work for the church alone.

Bernini was not a man, but a “human dynamo”!

-Over 150 paintings to his hand (he considered painting to be a mere “diversion”)

-He was also a brilliant architect (see the welcoming “arms” in St. Peter’s Piazza)

-The popes really admired him (unlike Julius II’s opinion of Michelangelo)

*The most multi-talented and well-rounded artist to this day (yes, more than Michelangelo)!
*Personal opinion? Yes; biased? Maybe; Would others agree? Most certainly!
*He could do ANYTHING!

Map of Vatican City

The Rome that we see today in Vatican City is essentially the Rome that Bernini left it. He literally defined the area in his time so well that there has been little, if any reason to change it in the past 400 years!

BALDACCHINO, Saint Peter’s (interior)

Bernini’s first commission, calling for a great bronze baldacchino to be placed under the great dome of St. Peter’s

Completed between 1624-1633

Height: 100 feet tall (approximately 8 stories)

Derived from “baldacco” - Italian word meaning “silk from Baghdad” (such as for a cloth canopy)

Marks the high altar of St. Peter.

The 4 columns create visual frame for elaborate sculpture representing the throne of St. Peter (the Cathedra Petri).

Each column was made from 5 cast-bronze segments (taken from wooden models). Bernini did much of the casting, chasing, etc. himself, but wisely contracted the remainder of such industrial tasks associated with the lost-wax casting process.

Four angels grace the upper corners of the canopy.

Four serpentine brackets converge at the apex, supporting and elevating the orb and the cross (both the orb and cross are symbols of Christianity’s triumph, from time of Constantine).

The image of the bees found on this structure refer to Urban VIII’s family name, Barbarini.

Bridging the past with present: the Old St. Peter’s also contained an ancient baldacchino that was placed in the same location.

A synthesis of materials and textures. Materials of brass and wood are present, but bronze is the predominant medium for this work. So much bronze was required to construct this work that Pope Urban VIII ordered workers to secure and dismantle the portico of the Pantheon -- using the bronze from a pagan structure to serve the needs of the Roman Catholic Church.

Themes of triumph and grandeur - present here, as they are in most every aspect of the rebuilding of Saint Peter’s complex.

Bernini: Baldacchino (St. Peter's)
1624-1633

SAINT PETER'S - Facade, Piazza, Arms

The facade of St. Peter's was designed by Moderno. However, the large piazza that exists before it was the work of Bernini. He received a commission to design such a space in the papacy's extensive efforts to rebuild the "new" Saint Peter's church complex. The old St. Peters contained a large atrium to its fore, but this piazza was a project that extended far beyond a mere replacement of such a structure.

There were 2 preexisting structures that Bernini had to factor into his design:
1) ancient Egyptian obelisk (moved by Pope Sixtus V in 1585; symbol of Christianity's triumph in Rome)
2) a fountain designed by Maderno

These structures were used as key points in the oval "arms", their placement counteracting the strong vertical thrust from the obelisk to the facade of St. Peter's.

The 2 arms designed by Bernini are essentially colonnades, each consisting of 4 rows of large Tuscan columns. Each colonnade connects to Moderno's facade and extends from the building along a slight inward angle. An abrupt corner interrupts this straight line, as each arm swells outward, eventually coursing inward. The arms do not meet; rather, each of them terminate in a form that appears like a classical temple facade.

The open space that exists between the caps of these 2 arms serve as the entrance into the piazza. The center of the oval shape that is created between the arching arms is punctuated by the obelisk. The openness of this space allows for one to physically enter the site, but there is great symbolic significance implied by the design as well. The arms serve to welcome and embrace the passersby, creating a sense of hospitality and security. Also, the shape of the colonnade is that of a key-hole. The keyhole implied passage and refers to St. Peter's role of possessor of the keys to the Kingdom.

Bernini: Colonnade or "Arms"
(Saint Peter's Square, Rome)

Bernini's DAVID

-Took seven months to complete this.
-Done for Barbarini family
-Quote form a contemporary - “he devoured the marble”

1) Movement - he paid special attention to the movement of hair.
Bernini’s models would be constantly moving in his studio. His figures actually look alive!

Bernini chose to represent David in combat, in motion - the act of hurling a stone at the giant Goliath. This is the split-second in David’s action that represents the greatest amount of energy (the apex).

Analysis of motion: Discus Thrower (Myron) vs. David (Bernini)
Recall Myron’s Discus Thrower, whose action was frozen at the apex of motion. Myron’s figure possessed the highest degree of potential / stored energy for such an action. The human form was captured at the moment it reached the fullest extension, twist in the “wind-up”, the very moment prior to the springing action that would ensue as the body untwisted and sent the discus hurling into the air beyond the figure.

Here, Bernini’s David is dynamic… He has already begun the action of untwisting, uncoiling, and there is no stopping the momentum that is being generated. David is intent on the task he has set before him - both physically and emotionally.

2) Emotion: Expression on face (fearsome set of lips; intensity of eyes)

3) Self-portrait (Bernini likes to include his likeness, similar to Michelangelo)

4) Finished work (unlike many of Michelangelo’s sculptures); he would never think of not finishing something.

5) Figures placed in niche (against wall) - one point of view (as were Michelangelo’s)

6) Pieced together; Bernini pieces his figures together (Michelangelo - monolithic)

7) Incredible sense of texture

8) Viewer participation: We are Goliath; we are part of this work, the participants. When we enter the room containing David, our gazes meet and therefore complete the work of art. A similar concept found in Hellenistic sculpture.

In this respect, the work is not self-sufficient (in the sense of Renaissance art). The pose and attitude direct attention beyond it to the unseen Goliath.

Side note: Bernini helped restore Hellenistic sculpture for the popes - the influence is therefore quite easily understood.

Bernini: David
1623

ECSTASY OF SAINT TERESA

Bernini: Interior of the Cornaro Chapel
Santa Maria della Vittoria (Rome, Italy)

-This work quintessentially embodies the spirit of the Baroque style!

-A sculptural interpretation of St. Theresa's diary in which she tells of her visions of God, many involving an angel descending with an angel descending with an arrow and repeatedly plunging it into her.

-Stage-like setting; patrons (members of the Cornaro family) sitting in theater boxes looking on and commenting.

-Natural light redirected onto the sculpture from a window hidden above the work.

-Marble handled in a tactile way: skin = high gloss, feathers of angel rougher, animated / fluid drapery, rougher-handled clouds.