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1600 – the Modern World The old way – a network of loyalties SUMMARY – BAROQUE ART POLITICS:POLITICS: emergence emergence of of The The State State CITY CITY ART:ART:light,light, motion, motion, drama, drama,complex,complex, ornamented, ornamented, convoluted,convoluted,diagonaldiagonal CHURCHCHURCH still still an an active active patron patron with with the the energy energy of of the the CounterCounter--ReformationReformation CITY ROYALROYAL patronage patronage & & PRIVATE PRIVATE patronage patronage shape shape tastes tastes tootoo CITY IDEAS:IDEAS: scientific scientific method method Note: this summary IS different from the textbook’s The new way – THE STATE CITY CITY BaroqueBaroque 16001600--17501750 CITY CITY The new way – INTERNATIONAL 1600 – RELATIONS – 1648 the CITY CITY modern US CITY CITY world THEM This idea in art – Versailles p. 278-79 Baroque Artists •• ChangeChange from from church church to to absolute absolute monarchymonarchy - El Greco - Spain •• ExemplifiedExemplified by by Louis Louis 14th 14th and and Versailles Versailles - Caravaggio - Italy •• anan insult insult --““grotesquegrotesque””-- appliedapplied to to - Bernini – Italy designdesign & & architecture architecture - Rubens - France •• comescomes to to mean: mean: light, light, energy, energy, motion, motion, - Rembrant – Holland dramadrama in in painting painting & & sculpture sculpture - Vermeer - Holland El Greco, The Burial of Count Orgaz, 1586 p. 254 (Ch 9) Baroque Detail, The Burial •• comescomes to to mean: mean: light, light, energy, energy, motion, motion, … dramadrama •• also:also: complex,complex, ornamented, ornamented, convolutedconvoluted Detail, The El Greco Burial… View of Toledo c. 1597 Oil on canvas 47 3/4 x 42 3/4 in. 2-faced woman El Greco Detail, Laocoon 1608-1614 The Burial… Oil on canvas 142 x 193 cm El Greco The Adoration of Detail, the The Burial… Shepherds The Resurrection The Opening of FromFrom the the Renaissance Renaissance stability stability the Fifth Seal (The ofof the the triangle triangle Vision of St John) oror pyramid pyramid 1608-14 (the(the balance balance valued valued in in Classicism)Classicism) to to the the DRAMATICDRAMATIC DIAGONAL DIAGONAL ofof the the Baroque Baroque Caravaggio The Calling of St. Matthew, c. 1600 KEY IMAGE p. 264 CaravaggioCaravaggio ••Murderous,Murderous, difficult difficult personality personality ••perhapsperhaps as as notorious notorious as as famous famous ••workedworked from from life life directly directly in in oil, oil, no no intervening intervening sketching sketching The diffuse ••controversialcontroversial style style––consideredconsidered sacrilegious sacrilegious by by some some soft, even light ••usedused contemporary contemporary peasants peasants & & common common settings settings for for of the BiblicalBiblical stories stories Renaissance ••followersfollowers called called““CaravaggistiCaravaggisti”” ••reputationreputation languished; languished; rehabilitated rehabilitated in in 20 20thth--CenturyCentury ••onlyonly about about 50 50 surviving surviving works works CARAVAGGIO Bacchus c. 1597 Oil on canvas 37 3/8 x 33 1/2 in Supper at Emmaus, c.1601 Caravaggio Amor Vincit Omnia c. 1601-02 Oil on canvas 75 1/4 x 58 1/4 in CARAVAGGIO The Crucifixion of Saint Peter 1600-1601 Oil on canvas 90 1/2 x 70 in Gentileschi, Judith Slaying Holofernes, 1620 FAMOUS FEMALE ARTIST; A CARAVAGGISTI p. 265; on final! Michelangelo, Sistine Chapel detail Caravaggio, The Bernini, Conversion of Ecstasy of St. St. Paul, Teresa, 1600-1601 1647-52 KEY IMAGE pp. 260-261 Bernini, Bernini, Ecstasy of St. Baldacchino of St. Teresa, Peters 1647-52 1624-33 Gilt bronze, Height approx. 100 ft. p. 258 Bernini, David, 1623-24 p. 257 Vatican p. 262 Bernini, Baldacchino of St. Peters 1624-33 Gilt bronze, Height approx. 100 ft. p. 258 Velazquez, Las Meninas, 1656 p. 270 SUMMARY – BAROQUE ART POLITICS:POLITICS: emergence emergence of of The The State State ART:ART:light,light, motion, motion, drama, drama,complex,complex, ornamented, ornamented, convoluted,convoluted,diagonaldiagonal CHURCHCHURCH still still an an active active patron patron with with the the energy energy of of the the CounterCounter--ReformationReformation ROYALROYAL patronage patronage & & PRIVATE PRIVATE patronage patronage shape shape tastes tastes tootoo IDEAS:IDEAS: scientific scientific method method.
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  • Reading 1.2 Caravaggio: the Construction of an Artistic Personality
    READING 1.2 CARAVAGGIO: THE CONSTRUCTION OF AN ARTISTIC PERSONALITY David Carrier Source: Carrier, D., 1991. Principles of Art History Writing, University Park, Pennsylvania: Pennsylvania State University Press, pp.49–79. Copyright ª 1991 by The Pennsylvania State University. Reproduced by permission of the publisher. Compare two accounts of Caravaggio’s personality: Giovanni Bellori’s brief 1672 text and Howard Hibbard’s Caravaggio, published in 1983. Bellori says that Caravaggio, like the ancient sculptor Demetrius, cared more for naturalism than for beauty. Choosing models, not from antique sculpture, but from the passing crowds, he aspired ‘only to the glory of colour.’1 Caravaggio abandoned his early Venetian manner in favor of ‘bold shadows and a great deal of black’ because of ‘his turbulent and contentious nature.’ The artist expressed himself in his work: ‘Caravaggio’s way of working corresponded to his physiognomy and appearance. He had a dark complexion and dark eyes, black hair and eyebrows and this, of course, was reflected in his painting ‘The curse of his too naturalistic style was that ‘soon the value of the beautiful was discounted.’ Some of these claims are hard to take at face value. Surely when Caravaggio composed an altarpiece he did not just look until ‘it happened that he came upon someone in the town who pleased him,’ making ‘no effort to exercise his brain further.’ While we might think that swarthy people look brooding more easily than blonds, we are unlikely to link an artist’s complexion to his style. But if portions of Bellori’s text are alien to us, its structure is understandable.
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