Transcript Slide 1
Italy • Rome • Papal program • Counter Reformation – Ornate + didactic • Renaissance + emotional intensity • Chiaroscuro, multimedia • tenebroso • Caravaggio, Bernini, Borromini • St Peter’s Caravaggio Captures an instant Spain • • • • • • Committed to Catholic orthodoxy Encourage devotion Saints & martyrs Sp painters come into own Solemn, intense Impasto • Velazquez – Las Mininas Flanders • • • • Southern Netherlands Church, state commissions Retained Catholic ties Heroic, royal • Rubens, van Dyck Rubens Queen of France Landing, Marseilles 1623 Oil panel 25x20” portraiture Dutch Republic - Holland • • • • • • • • • • Independence from Spain New subjects & styles Amsterdam= financial center Prosperity Protestant Merchant patrons Genre scenes, portraits, Still life, landscapes Painting dominates Rembrandt, Hals, Vermeer Characteristics Dutch Painting: -continued understanding of human nature -wealthy patrons -more excepting and tolerant to female artists -other Baroque elements >tenebrism, shallow space, motion, emotion, etc. -naturalism -less intrigued with mathematics(than H. Ren) -interested in light and motion with a loose style that involved a collection of brush strokes >showing movement -more iconography, much more popular in the North than in the South -genre paintings -more secular than the South 1629 1669 Vermeer The Letter 1666 Oil canvas 17x15” France • • • • • • • • Monarchy, Louis XIV Paris= art center Most powerful country Appeal of Roman classicism Trade, wealth= patronage Shimmering glowing color Moral message Balanced, classicism • Poussin, Lorrain • Versailles 24.1 French Baroque Art • In France, monarchical authority and power was consolidated, and embodied, in King Louis XIV. • The foundation of the Royal Academy of Painting and Sculpture in 1648 established French classicism as the official style. • The practice of art and architecture were regularized and organized and placed in the service of the state. • King Louis XIV and his principal adviser, JeanBaptiste Colbert, used the power of art for propaganda •Georges de La Tour, Adoration of the Shepherds, 1645-1650. o/c •Influence of Caravaggio's style on Georges de La Tour = use of light and unidealized figures. Like the Dutch Caravaggesque painters, the group of humbly dressed figures gathered reverentially around the sleeping baby Jesus is illuminated by a single light source (a candle) included in the painting. England • • • • Limited monarchy Religious diversity Does not have focus Of other Baroque trends • ARCHITECTURE – St Paul’s Cathedral – Sir Christoper Wren Women artists – Renaissance to Baroque Renaissance= 1st period, international fame Humanism Individual opportunities education, growth, achievement Cultural shift craftsmen artists perspective, anatomy, mathematics • • • • • • • • Some transcended gender role expectations Fathers’ workshops - aristocratic connections Apprenticeship Women depicted as humans, not just muses Portraits, still lifes, religious Dutch – Flemish successful changing art market= opportunities Shift to Academy system – Membership limited • Women artist of the Baroque changed the way women were depicted in art. Female artists during the Baroque era were not permitted to train form nude models because all nude models were male, but they were very familiar with the female body. Therefore, they created images of women as conscious beings rather than detached muses. Sofonisba Anguissola 1527-1625 Italian Spanish Court Portraits The Artist’s Sisters Playing Chess Artemisia Gentileschi Italian 1593-1651 Penitent Magdalene Esther before Ahasuerus, ca. 1628–35 Oil on canvas; 82 x 107” Judith Leyster (1609–1660) Dutch Golden Age Young Flute Player The Concert Clara Peeters Flemish Painter 1594-ca.1657 Still Life of Vase, Vase, Jug and Platter of Dried Fruit, c. 1619 Fish, Oysters, and Shrimps, c. 1650 Still Life with Cheeses, Artichoke and Cherries, 1625 Academicians of the Royal Academy, 1772