The Baroque in Italy and Spain Ch 19 Beginning of early modern period Early 1600s movement towards unifying France 30 Years War France and the Habsburgs Political units show off power through the arts style of absolutism Reinvigoration of the Catholic Church success of counterreformation celebrated through art New Church secures cultural architectural dominance for Rome over Christian Europe however goal of placing Rome as capital of Christian Europe not reached Papacy desperately trying to increase its political power through diplomacy small weak army Papal States shrink in influence The Farnesini are a powerful family with ties to the papacy originally from N Italy Clerical members show off both their own status and status of the church Heroes of counterreformation become saints Religious faith remains strong Science becomes part of society Women begin to enter art world professionally during Renaissance encouraged to paint but not professionally Baroque style of persuasion and style of absolutism has global influence Baroque exuberant and expressive style of 17th century origin in Rome c 1600 from barroco irregular pearl irregular as in contorted or grotesque negative term given to the contemporary art expressive nature parallels expanded European influence geographically politically and socially throughout 17th c genre scenes rise in popularity also landscape and still life exotic subjects portrayed in this age of exploration and discovery wider range of humanity shown in art Purpose of to evoke emotional states by appealing to the senses and to persuade in dramatic ways Characteristics of sensual richness grandeur emotional expression tension illusion of movement instability Themes new gender class sexuality movement and unification of various arts Caravaggio Contarelli Chapel Rome c 1599 1600 three paintings commissioned The Inspiration of St Matthew Matthew as tax collector turning to angel for guidance The Calling of St Matthew Matthew being chosen by Christ summons using rhetorical gesture Christ only identifiable by insignificant halo represented symbolically by piercing light ex of tenebrism Matthew points at himself questioningly other figures blind to appearance of Christ accessible to laypeople b c of familiar figures and setting lay Christianity stresses that revelation is personal The Martyrdom of St Matthew Caravaggio The Musicians 1595 commissioned by Cardinal del Monte an influential art patron homoerotic theme sexuality was commonly explored in baroque art four androgynous semi nude youths depicted sensually with blushed cheeks and full lips bacchanal themes music grapes partial nudity Artemisia Gentileschi Self Portrait as the Allegory of Painting c 1638 1639 allegorical female figure of Painting Painting in popular text described as the woman featured here beautiful with messy black hair golden chain and holding a brush and palette artist elevates both herself and the perception of an artist in general shows that a woman can be intellectual appears lost in thought woman can be painting master use of contrast light skin against deep red background to highlight chest face feminine features revealed Annibale Carracci The Loves of the Gods 1597 1601 gallery of Palazzo Farnese in Rome commissioned to celebrate wedding imagery reflects art collection of the Farnese family ceiling frescoes most characteristic type of painting to the baroque paintings surrounded by architecture simulated sculpture and nude youths like Michelangelo s Sistine Chapel given frames to look like paintings from an easel device called quadri riportati from Raphael illusionistic scheme of Correggio Guido Reni Aurora 1613 for palazzo in Rome ceiling fresco quadri riportati glowing colors dramatic light classicism within baroque emotional power Guercino Aurora 1621 1623 for villa in Rome ceiling fresco Apollo the sun in his chariot led by Aurora dawn quadratura architectural illusionistic framework pictorial illusionism of Correggio intense light and color of Titian illusion of limitless space starts High Baroque tradition undersides of horses shown figures depicted as being above the viewer in contrast to profile view of Guido Reni s Pietro da Cortona Allegory of Divine Providence 1633 1639 for palazzo Barberini Rome meant to glorify reign of pope ceiling fresco allegorical figure of Divine Providence confirms religious authority papal crown held by figure of Religion who also holds keys of St Peter barberini bees from the Barberini coat of arms said to have swarmed into Vatican upon pope s election are featured here affirm political power of the family 3 illusionistic devices quadratura quadri riportati and di sotto in su illusion of space reaching into the heavens emphasizes the grandeur of High Baroque Giovanni Battista Gauli Triumph of the Name of Jesus 1672 1679 commissioned for Jesuit church ceiling fresco in Il Ges Rome combines painting sculpture and architecture light and dark contrast foreshortened figures IHS in center of light first 3 letters of Jesus Greek name conceit Jesus is the light of the world Carlo Maderno St Peter s extended Rome 1606 1612 under rulership of pope who was great architect history Constantine built St Peter s when Christianity established as official religion added nave and narthex converting it to basilica Michelangelo s Greek cross converted into longitudinal plan Michelangelo s proportions preserved fa ade in depth colossal order supports attic emphasis on portals pilasters are columns step by step projection of the wall towards center from either side colonnade of pilasters and engaged front partially attached columns gilded interior gold is malleable worked into sheets marble interior piazza in front exedra large curved outdoor wall surrounding colonnade carriages of noblemen parked along row of saints on one side looks down on viewers in piazza Bernini Baldacchino 1624 1633 for basilica of St Peter s in Rome baldacchino canopy for main altar just above St Peter s crypt unites transept and nave fuses sculpture actual plants and animals cast in bronze with architecture piece from ancient Pantheon papal insignia bees crown and keys cross at top symbolizes triumph of Christianity in the world Pier Tommaso Campani Nocturnal Clock c 1680 1690 made for pope architectural sculpture orologio della notte nocturnal clock useable even at night innovative for this time painting of Flight into Egypt is a pun on saying that time flies Francesco Borromini San Carlo