This period is considered an age of genius in many areas: Sir Isaac Newton, laws of motion and gravity; Galileo and Kepler in astronomy; Pilgrims landing in Massachusetts.
This period in Europe presents several unrelated post Renaissance styles. There are however 2 main style categories. The first is a tendency toward a continuation of classicism and naturalism. The other is a more colorful, ornate, painterly and dynamic style. Major concerns are: motion, space, time, dramatic lighting, the theatrical.
The two arcades of the Piazza end in 2 double rows of columns (pathways) which end in classical pediments (temple fronts)
Bernini’s David implies motion, a different approach ot space and sense of time. The viewer is forced to comlet et act. We no longer see the classical contraposto stance, we notice solids and voids (negative and positive), which draws us around the work.
The Ecstacy of St. Theresa commemorates a mystical event. St. Theresa believed that a pain in her side was caused by an angel stabbing her with a fire-tipped arrow. There is a duality of pain and pleasure. The rays of bronze and lighting enhance the theatrical event.
Caravaggio chooses to show us the exact moment when Paul is thrown off of his horse . We see Paul in the shock of the moment. The dramatic use of light, picks up certain forms and hides others. This is an exaggerated chiaroscuro known as tenebrism or darkmanner which usually involves one very small light and evokes a harsh realism in figures.
Judith rescues her people by decapitating the Assyrian general Holofernes. She pretends to be interested in his seductions and when he is drunk she makes her move. Again we see a dramatic scene, twisting contorted neck, extreme lighting. Looking at Judith, she seems timid, more ideally feminine.
Artemesia Gentileschi was the daughter of a successful artist who studied with Agostino Tassi. We see the violence of the old testament story. The figures are all in the foreground under dramatic lighting. Compositionally we have the arms, head and sword all forming a central intersection of activity. Judith’s arms seem very strong and capable, not delicate as in Caravaggio’s portrayal.
Baroque Ceiling Decoration
The Baroque interest in combining the arts of painting, sculpture, and architecture found its home in the naves and domes of churches and cathedrals, as artists used the three media to create an unsurpassed illusionist effect.
Baroque artists created the illusion of a ceiling vault open to the heavens with figures flying freely in and out of the room.
In the Triumph of the Sacred Name of Jesus we see an illusionist opening a Trompe l ‘oeil effect achieved by combining painted figures with stucco modeled sculptures and gilded fresco ceiling. The saints and angels fly upward toward the light while sinners are banished to the floor of the church. Baciccio creates a total mystical atmosphere through illusionist device.
The façade of San Carlo alle Quatro Fontane incoproates the Baroque elements of motion, space and light. We see a change from he Renaissance static arch to Baroque organic, concave entablatures and niches. This allows for light and shadow to play across the surface. We appreciate the structure first as sculpture, second as architecture.
Diego Velasquez was the court painter of King Philip 4th. Here we see his Venetian use of color, highly contrasting lights and darks in a deep illusionist space. There is a mysteriousness to the painting because of the mirror images. We see that the way the characters are posed that this is not a typical royal portrait.
Flanders
After the Reformation, the region of Flanders was divided.
The northern section (Holland or the Dutch Republic) accepted Protestantism.
The southern sections, still called Flanders (present-day Belgium), remained Catholic.
The separation strongly influenced the subjects that artists rendered in their works.
Flemish artists continued painting the religious and mythological scenes.
Very sculptural looking figures but painterly at the same time. Also we see chiaroscuro used and theatrical presentation. This comes from Greek mythology. Two mortal women attached by twin sons of Zeus. Strong diagonals and verticals create a “stop action” appearance that captures a single moment of action. Notice the diamond formation that valances on the two figures toes. Also there is an interesting contrast between the manly men and the soft pearly women.
Not only did artist turn to scenes of everyday life, but the collectors of art were themselves everyday folk. In the Dutch quest for the establishment of a middle class, aristocratic patronage was lost and artists were forced to “peddle” their wares in the free market.
Rembrandt left behind many self portraits. Here we see him at 46, self confident and well respected. He seems content, yet frank. The dark character of the painting leaves space undefined with the exception of the face and shoulders. He relies on the mysterious revealing light. He has the amazing ability to capture the personality and psychology of a situation.
Each character, distinctly different. Faces appear out of the dark canvas.
Vermeer shows us what seems to be a scene from everyday life. It is really a beautiful study of light and color and what happens to color in shadow. Notice the balance of the repeated rectangles: stained glass, wall, tapestry, table, small box on table.
Louis XIV guaranteed adherence to Classical by forming academies of art that perpetuated this style.
These academies were art schools of sorts, run by the state, whose faculties were populated by leading proponents of the Classical style.
Poissin was the principal exponent of the classical style in France. The massive quantity of activity in this work almost has the feeling of taking place on a stage. Groups of complex figures appear in triangular formations which seems to balance the structure.
Divisions of threes
Represents “love games” of the leisure class.
Lebrun was very successful in her lifetime. She was the daughter of a portrait painter, studied at the Louvre and was the official portrait painter of Marie Antoinette- married to Louis 16th who did not survive the French revolution. This painting of Marie Antoinette and her children was done in hopes of portraying the monarch as a loving mother to counter antimonarchist sentiments. Notice the triangular formation. Her children seem to be her jewels and give her a feeling of accessibility and sympathy.