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Chapter 20: The Baroque in Italy and Spain

Preview: The term Baroque is used to describe art and architecture of the 17th century, much of which is characterized by complex theatricality and emotionalism. Italian Baroque architecture features dynamic, engaging compositions, exemplified by Gianlorenzo Bernini’s sweeping colonnades surrounding the piazza of St. Peter’s in Rome. Bernini is also the leading sculptor in Baroque Italy, rendering figures that exhibit energy and intense emotion. Ceiling painting in the Baroque era reached new heights in drama and illusionism, while Caravaggio set new standards for painting on canvas, employing dynamic compositions and engaging naturalism. Artemisia Gentileschi, a follower of Caravaggio, achieved international renown and was the leading woman artist of the century. In Spain, Diego Velazquez served at the court of Philip IV where he painted Las Meninas, a masterwork so visually and thematically complex that it continues to inspire artists and occupy scholars to this day.

Key Figures: Pope Urban VIII, Pope Innocent X, Ignatius Loyola, Cesare Ripa (La Pittura)

Key Art Terms: Baroque, barroco quadro riportato, tenebrism, still life

Key Architectural Terms: atrium, piazza, baldacchino, lost-wax process, chasing, obelisk, proscenium, Greek cross

Lecture Notes:

Introductory Notes:

BAROQUE ART AND ARCHITECTURE

Italy:

Architecture and Sculpture:

• Carlo Maderno, façade of Santa Susanna, Rome, Italy, 1597-1603

o Description:

o Stylistic features:

o Significance:

• Carlo Maderno, east façade of Saint Peter’s, Vatican City, Rome, Italy, 1606-1612

o Description:

o Stylistic features:

o Significance:

• Aerial view of Saint Peter’s, Vatican City, Rome, Italy. Piazza designed by Gianlorenzo Bernini, 1656-1667

o Description:

o Stylistic features:

o Significance:

• Bernini, Scala Regia, Vatican, 1663-1666

o Description & significance:

• Bernini, baldacchino, Saint Peter’s, Vatican City, Rome, Italy, 1624-1633

o Materials/medium:

o Size/scale:

o Stylistic features & iconography:

o Function & significance:

• Map, Vatican City

o Notes:

• Bernini, Fountain of the Four Rivers (looking southwest with Sant’Agnese in Agone in the background), Piazza Navona, Rome, Italy, 1648-1651

o Description:

o Function & significance:

• Details, Bernini, Fountain of the Four Rivers: personifications of major rivers; The Ganges; The Plata; Pope Innocent X’s coat of arms

o Description & notes:

• Bernini, David, 1623

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Bernini, Apollo and Daphne, 1623-1624

o Description & subject:

o Stylistic features & significance:

• Bernini, Ecstasy of Saint Teresa, Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 1645-1652

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Bernini, Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 1645-1652

o Description:

o Architectural features:

o Sculptural features:

o Function & significance:

• Francesco Borromini, façade of San Carlo alle Quattro Fontane, Rome, Italy, 1638-1641

o Description & architectural features:

o Sculptural & ornamental features:

o Function & significance:

• Guarini, Palazzo Carignano, Turin, 1679-1692

o Description & significance:

• Borromini, plan of San Carlo alle Quattro Fontane, Rome, Italy, 1638-1641

o Description & significance:

• Borromini, San Carlo alle Quattro Fontane (view into dome), Rome, Italy, 1638-1641

o Description:

o Architectural features:

o Significance:

• Borromini, Chapel of Saint Ivo (looking east), College of the Sapienza, Rome, Italy, begun 1642

o Description & architectural features:

o Significance:

• Borromini, plan of the Chapel of Saint Ivo, College of the Sapienza, Rome, Italy, begun 1642

o Description & architectural features:

• Borromini, plan of the Chapel of Saint Ivo, College of the Sapienza, Rome, Italy, begun 1642

o Description & architectural features:

• Guarini, Chapel of the Holy Shroud, Turin, 1667-1694

o Description & significance:

Painting:

• Annibale Carraci, Flight into Egypt, 1603-1604

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Annibale Carracci, Loves of the Gods, ceiling frescoes in the gallery, Palazzo Farnese, Rome, Italy, 1597-1601

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Caravaggio, Calling of Saint Matthew, ca. 1597-1601

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Caravaggio, Musicians, ca. 1595

o Description, subject & stylistic features:

• Caravaggio, Entombment, ca. 1603

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Caravaggio, Conversion of Saint Paul, ca. 1601

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Artemisia Gentileschi, Judith Slaying Holofernes, ca. 1614-1620

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, ca. 1638-1639

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Guido Reni, Aurora, ceiling fresco in the Casino Rospigliosi, Rome, Italy, 1613-1614

o Description & subject:

o Stylistic features:

o Function & significance:

• Pietro da Cortona, Triumph of the Barberini, ceiling fresco in the Gran Salone, Palazzo Barberini, Rome, Italy, 1633-1639

o Description & subject:

o Stylistic features:

o Function & significance:

• Giovanni Battista Gaulli, Triumph of the Name of Jesus, ceiling fresco with stucco figures on the nave vault of Il Gesú, Rome, Italy, 1676-1679

o Description & subject:

o Stylistic features:

o Function & significance:

• Fra Andrea Pozzo, Glorification of Saiint Ignatius, ceiling fresco in the nave of Sant’Ignazio, Rome, Italy, 1691-1694

o Description & subject:

o Stylistic features:

o Function & significance:

Spain:

Painting:

• Juan Sánchez Cotán, Still Life with Game Fowl, ca. 1600-1603

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Bartolomé Esteban Murillo, Immaculate Conception, ca. 1661-1670

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• José de Ribera, Martyrdom of Saint Philip, ca. 1639

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Francisco de Zurbarán, Saint Serapion, 1628

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Diego Velázquez, Water Carrier of Seville, ca. 1619

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Velázquez, Christ on the Cross, ca. 1631-1632

o Description & significance:

• Velázquez, Philip IV, 1644

o Description & significance:

• Velázquez, Surrender of Breda, 1634-1635

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

• Velázquez, Las Meninas (The Maids of Honor), 1656

o Materials/medium:

o Size/scale:

o Subject:

o Stylistic features:

o Function & significance:

Concluding notes:

Exercises for Study:

1. What are the primary defining elements of Italian Baroque sculpture and architecture? Select one Baroque sculpture and one Baroque building in Italy and discuss how they exemplify the style.

2. In what ways was Artemisia Gentileschi’s career affected by her gender?

3. Describe the levels of reality represented in Diego Velazquez’s Las Meninas. In what way does the painting serve to elevate the artist and his profession?

4. Compare and contrast the following pairs of artworks, using the points of comparison as a guide.

A. Bernini, Ecstasy of Saint Teresa (Fig. 24-7); Caravaggio, Conversion of Saint Paul (Fig. 24-18)

• Medium & materials:

• Subject & theme:

• Location & audience:

• Function of the works:

B. Carlo Maderno, façade of Santa Susanna (Fig. 24-2); Francesco Borromini, façade of San Carlo alle Quattro Fontane (Fig. 24-9)

• Baroque stylistic elements

• Use of sculpture & ornamentation

C. Guido Reni, Aurora (Fig. 24-21); Pietro da Cortona, Triumph of the Barberini (Fig. 24-22)

• Medium & location:

• Subjects:

• Illusionistic techniques:

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