The Catholic Reformation and the Baroque Style
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THE LATE RENAISSANCE and MANNERISM in SIXTEENTH-CENTURY ITALY 591 17 CH17 P590-623.Qxp 4/12/09 15:24 Page 592
17_CH17_P590-623.qxp 12/10/09 09:24 Page 590 17_CH17_P590-623.qxp 12/10/09 09:25 Page 591 CHAPTER 17 CHAPTER The Late Renaissance and Mannerism in Sixteenth- Century Italy ROMTHEMOMENTTHATMARTINLUTHERPOSTEDHISCHALLENGE to the Roman Catholic Church in Wittenberg in 1517, the political and cultural landscape of Europe began to change. Europe s ostensible religious F unity was fractured as entire regions left the Catholic fold. The great powers of France, Spain, and Germany warred with each other on the Italian peninsula, even as the Turkish expansion into Europe threatened Habsburgs; three years later, Charles V was crowned Holy all. The spiritual challenge of the Reformation and the rise of Roman emperor in Bologna. His presence in Italy had important powerful courts affected Italian artists in this period by changing repercussions: In 1530, he overthrew the reestablished Republic the climate in which they worked and the nature of their patron- of Florence and restored the Medici to power. Cosimo I de age. No single style dominated the sixteenth century in Italy, Medici became duke of Florence in 1537 and grand duke of though all the artists working in what is conventionally called the Tuscany in 1569. Charles also promoted the rule of the Gonzaga Late Renaissance were profoundly affected by the achievements of Mantua and awarded a knighthood to Titian. He and his suc- of the High Renaissance. cessors became avid patrons of Titian, spreading the influence and The authority of the generation of the High Renaissance prestige of Italian Renaissance style throughout Europe. would both challenge and nourish later generations of artists. -
The Italian High Renaissance (Florence and Rome, 1495-1520)
The Italian High Renaissance (Florence and Rome, 1495-1520) The Artist as Universal Man and Individual Genius By Susan Behrends Frank, Ph.D. Associate Curator for Research The Phillips Collection What are the new ideas behind the Italian High Renaissance? • Commitment to monumental interpretation of form with the human figure at center stage • Integration of form and space; figures actually occupy space • New medium of oil allows for new concept of luminosity as light and shadow (chiaroscuro) in a manner that allows form to be constructed in space in a new way • Physiological aspect of man developed • Psychological aspect of man explored • Forms in action • Dynamic interrelationship of the parts to the whole • New conception of the artist as the universal man and individual genius who is creative in multiple disciplines Michelangelo The Artists of the Italian High Renaissance Considered Universal Men and Individual Geniuses Raphael- Self-Portrait Leonardo da Vinci- Self-Portrait Michelangelo- Pietà- 1498-1500 St. Peter’s, Rome Leonardo da Vinci- Mona Lisa (Lisa Gherardinidi Franceso del Giacondo) Raphael- Sistine Madonna- 1513 begun c. 1503 Gemäldegalerie, Dresden Louvre, Paris Leonardo’s Notebooks Sketches of Plants Sketches of Cats Leonardo’s Notebooks Bird’s Eye View of Chiana Valley, showing Arezzo, Cortona, Perugia, and Siena- c. 1502-1503 Storm Breaking Over a Valley- c. 1500 Sketch over the Arno Valley (Landscape with River/Paesaggio con fiume)- 1473 Leonardo’s Notebooks Studies of Water Drawing of a Man’s Head Deluge- c. 1511-12 Leonardo’s Notebooks Detail of Tank Sketches of Tanks and Chariots Leonardo’s Notebooks Flying Machine/Helicopter Miscellaneous studies of different gears and mechanisms Bat wing with proportions Leonardo’s Notebooks Vitruvian Man- c. -
Renaissance and Baroque Art
Brooks Education (901)544.6215 Explore. Engage. Experience. Renaissance and Baroque Art Memphis Brooks Museum of Art Permanent Collection Tours German, Saint Michael, ca. 1450-1480, limewood, polychromed and gilded , Memphis Brooks Museum of Art Purchase with funds provided by Mr. and Mrs. Ben B. Carrick, Dr. and Mrs. Marcus W. Orr, Fr. And Mrs. William F. Outlan, Mr. and Mrs. Downing Pryor, Mr. and Mrs. Richard O. Wilson, Brooks League in memory of Margaret A. Tate 84.3 1 Brooks Education (901)544.6215 Explore. Engage. Experience. Dear Teachers, On this tour we will examine and explore the world of Renaissance and Baroque art. The French word renaissance is translated as “rebirth” and is described by many as one of the most significant intellectual movements of our history. Whereas the Baroque period is described by many as a time of intense drama, tension, exuberance, and grandeur in art. By comparing and contrasting the works made in this period students gain a greater sense of the history of European art and the great minds behind it. Many notable artists, musicians, scientists, and writers emerged from this period that are still relished and discussed today. Artists and great thinkers such as Leonardo Da Vinci, Michaelangelo Meisi da Caravaggio, Gian Lorenzo Bernini, Michelangelo di Lodovico Buonarroti Simoni, Dante Alighieri, Johann Sebastian Bach, and Galileo Galilei were working in their respective fields creating beautiful and innovative works. Many of these permanent collection works were created in the traditional fashion of egg tempera and oil painting which the students will get an opportunity to try in our studio. -
Jubilee Pilgrimage to Rome and Assisi
Jubilee Pilgrimage to Rome and Assisi 2016 Extraordinary Holy Year of Mercy February 20-28, 2016 Accompanied by Fr. Richard Wise $1750 per person (ground only) ($750 per person: optional add-on February 28-March 4) Papal Audience with Pope Francis Vatican Museums Sistine Chapel Major papal Basili- cas of St. Peter’s, St. Paul’s, St. John Lateran, St. Mary Major Church of Holy Cross (Santa Croce) Coliseum Roman Forum Assisi *Included in Price: 7 nights in Rome in first-class, newly restored hotel near St. Peter’s (2 pilgrims per room) (Note that single-occupancy rooms are limited and may be available at an additional cost) Continental breakfast, plus dinner daily Private, chartered motor coach (as per itinerary) Day trip to Assisi Accompanying guide for duration of trip Entrances to churches, museums, etc. as per itinerary Daily Mass NOT Included: airfare one meal per day, tips/gratuity (estimate $10/day), or optional travel insurance. **Contact us about airfare. Itinerary on next page For more information, contact Bret Thoman, OFS St. Francis Pilgrimages: 770-402-4335 [email protected] www.stfrancispilgrimages.com Itinerary*: Wednesday, February 24 In the morning, we will walk down to Vatican City Saturday, February 20 where we will listen to Pope Francis give his week- Our pilgrimage will begin with overnight flight ly Papal Audience in various languages. We will from your departure city to Rome Fiumicino air- have the afternoon free to explore Rome as you port. Dinner and breakfast will be served on wish. We will conclude with dinner and overnight board. (Note that you will be sent instructions in our hotel. -
Newsletter 2020 I
NEWSLETTER EMBASSY OF MALAYSIA TO THE HOLY SEE JAN - JUN 2020 | 1ST ISSUE 2020 INSIDE THIS ISSUE • Message from His Excellency Westmoreland Palon • Traditional Exchange of New Year Greetings between the Holy Father and the Diplomatic Corp • Malaysia's contribution towards Albania's recovery efforts following the devastating earthquake in November 2019 • Meeting with Archbishop Ian Ernest, the Archbishop of Canterbury's new Personal Representative to the Holy See & Director of the Anglican Centre in Rome • Visit by Secretary General of the Ministry of Water, Land and Natural Resources • A Very Warm Welcome to Father George Harrison • Responding to COVID-19 • Pope Called for Joint Prayer to End the Coronavirus • Malaysia’s Diplomatic Equipment Stockpile (MDES) • Repatriation of Malaysian Citizens and their dependents from the Holy See and Italy to Malaysia • A Fond Farewell to Mr Mohd Shaifuddin bin Daud and family • Selamat Hari Raya Aidilfitri & Selamat Hari Gawai • Post-Lockdown Gathering with Malaysians at the Holy See Malawakil Holy See 1 Message From His Excellency St. Peter’s Square, once deserted, is slowly coming back to life now that Italy is Westmoreland Palon welcoming visitors from neighbouring countries. t gives me great pleasure to present you the latest edition of the Embassy’s Nonetheless, we still need to be cautious. If Inewsletter for the first half of 2020. It has we all continue to do our part to help flatten certainly been a very challenging year so far the curve and stop the spread of the virus, for everyone. The coronavirus pandemic has we can look forward to a safer and brighter put a halt to many activities with second half of the year. -
AP Art History Chapter 24 Questions: the Baroque in Italy and Spain
AP Art History Chapter 24 Questions: The Baroque in Italy and Spain 1. Gianlorenzo Bernini was _____, _____, ______, _______, and stage designer. It was one of the most important and ______ artists of the _____ era in Italy. He had been the favorite sculpture of ____ who spent so much on art that he nearly bankrupted the Vatican treasury. (659) 2. Who were the patron and sculptor for the Fountain of Four Rivers? How did he win this commission?) (669) 3. What is typical of Baroque art? (670) 4. Describe how Santa Susanna stands as one of the earliest manifestation of Baroque artistic spirit? (670‐671) 5. Describe Bernini’s new design for Saint Peter’s (672) 6. How does Bernini’s baldacchino serve as function and symbolic purpose? It was created in the lost‐wax process. Define the lost wax process. (page 130) Define chasing. (673) 7. Compare Bernini’s David to Donatello’s, Michelangelo’s, and Verrocchio’s David. Discuss the similarities and differences. How is this typical of the Baroque style? (674) 8. How does Bernini incorporate architecture, sculpture, and painting in his Ecstasy of Saint Teresa in the Cornaro chapel? (675) 9. Describe Borromini innovative Baroque style in the façade of San Carol alle Quattro Fontane, Rome, Italy. (676) 10. Describe Borromini’s plan for the Chapel of Saint Ivo? (678) 11. What was the Bolognese academy and who established it? (679) 12. Describe how Carracci’s, Flight into Egypt, was an idealize landscape and idealize life? (679) 13. How were the patron and artist of the Loves of the Gods ceiling frescos? How does this compare to the ceiling of the Sistine Chapel by Michelangelo? (680) 14. -
The Crusade of Andrew II, King of Hungary, 1217-1218
IACOBVS REVIST A DE ESTUDIOS JACOBEOS Y MEDIEVALES C@/llOj. ~1)OI I 1 ' I'0 ' cerrcrzo I~n esrrrotos r~i corrnrro n I santiago I ' s a t'1 Cl fJ r1 n 13-14 SAHACiVN (LEON) - 2002 CENTRO DE ESTVDIOS DEL CAMINO DE SANTIACiO The Crusade of Andrew II, King of Hungary, 1217-1218 Laszlo VESZPREMY Instituto Historico Militar de Hungria Resumen: Las relaciones entre los cruzados y el Reino de Hungria en el siglo XIII son tratadas en la presente investigacion desde la perspectiva de los hungaros, Igualmente se analiza la politica del rey cruzado magiar Andres Il en et contexto de los Balcanes y del Imperio de Oriente. Este parece haber pretendido al propio trono bizantino, debido a su matrimonio con la hija del Emperador latino de Constantinopla. Ello fue uno de los moviles de la Quinta Cruzada que dirigio rey Andres con el beneplacito del Papado. El trabajo ofre- ce una vision de conjunto de esta Cruzada y del itinerario del rey Andres, quien volvio desengafiado a su Reino. Summary: The main subject matter of this research is an appro- ach to Hungary, during the reign of Andrew Il, and its participation in the Fifth Crusade. To achieve such a goal a well supported study of king Andrew's ambitions in the Balkan region as in the Bizantine Empire is depicted. His marriage with a daughter of the Latin Emperor of Constantinople seems to indicate the origin of his pre- tensions. It also explains the support of the Roman Catholic Church to this Crusade, as well as it offers a detailed description of king Andrew's itinerary in Holy Land. -
Exploring the Eucharist with Sacred Art
Exploring the Eucharist with Sacred Art UNIT 5, LESSON 1 Learning Goals Connection to the ӹ The narrative of the Last Supper and Catechism of the the Institution of the Eucharist help us Catholic Church to understand the source and summit ӹ CCC 1337-1344 of our Catholic Faith, the Blessed Sacrament. ӹ The Eucharist is the true Body and Vocabulary Blood of Jesus Christ, who is truly ӹ The Last Supper and substantially present under the ӹ The Eucharist appearances of bread and wine. ӹ The Paschal Mystery ӹ We receive the Eucharist in Holy ӹ Mannerism Communion as spiritual food at each and every Mass. BIBLICAL TOUCHSTONES When the hour came, he took his place at table “You call me ‘teacher’ and ‘master,’ and rightly so, with the apostles. He said to them, “I have eagerly for indeed I am. If I, therefore, the master and desired to eat this Passover with you before I teacher, have washed your feet, you ought to suffer, for, I tell you, I shall not eat it [again] until wash one another’s feet. I have given you a model there is fulfillment in the kingdom of God.” Then to follow, so that as I have done for you, you he took a cup, gave thanks, and said, “Take this should also do.” and share it among yourselves; for I tell you [that] JOHN 13:13-15 from this time on I shall not drink of the fruit of the vine until the kingdom of God comes.” Then he took the bread, said the blessing, broke it, and gave it to them, saying, “This is my body, which will be given for you; do this in memory of me.” And likewise the cup after they had eaten, saying, “This cup is the new covenant in my blood, which will be shed for you.” LUKE 22:14-20 237 Lesson Plan Materials ӹ The Last Supper ӹ Christ’s Claims and Commandments ӹ The Scriptural Rosary DAY ONE Warm-Up A. -
What Was 'The Enlightenment'? We Hear About It All the Time. It Was A
What Was ‘The Enlightenment’? We hear about it all the time. It was a pivotal point in European history, paving the way for centuries of history afterward, but what was ‘The Enlightenment’? Why is it called ‘The Enlightenment’? Why did the period end? The Enlightenment Period is also referred to as the Age of Reason and the “long 18th century”. It stretched from 1685 to 1815. The period is characterized by thinkers and philosophers throughout Europe and the United States that believed that humanity could be changed and improved through science and reason. Thinkers looked back to the Classical period, and forward to the future, to try and create a trajectory for Europe and America during the 18th century. It was a volatile time marked by art, scientific discoveries, reformation, essays, and poetry. It begun with the American War for Independence and ended with a bang when the French Revolution shook the world, causing many to question whether ideas of egalitarianism and pure reason were at all safe or beneficial for society. Opposing schools of thought, new doctrines and scientific theories, and a belief in the good of humankind would eventually give way the Romantic Period in the 19th century. What is Enlightenment? Philosopher Immanuel Kant asked the self-same question in his essay of the same name. In the end, he came to the conclusion: “Dare to know! Have courage to use your own reason!” This was an immensely radical statement for this time period. Previously, ideas like philosophy, reason, and science – these belonged to the higher social classes, to kings and princes and clergymen. -
Bernini Breaking Barriers – Sensuality Sculpted in Stone
Bernini Breaking Barriers – Sensuality Sculpted in Stone Sandra Mifsud Bonnici [email protected] Abstract This paper will attempt to demonstrate that with his virtuosity, the Baroque sculptor, Gian Lorenzo Bernini managed to challenge the barriers which the medium he worked with, namely stone (marble) offered, to produce dynamic, lifelike and realistic works that also managed to express a previously unknown element in sculpture, that of sensuality. It will try to highlight how the spiritual and physical could come together in his works. The first masterpiece that will be focused upon will be the portrait bust of Bernini’s lover Costanza Piccolomini, a private work Bernini sculpted when he was thirty-nine years of age, chosen to represent the passion and worldly love that he felt for this woman. By way of contrast, the second masterpiece studied in this paper is the figure of the Blessed Ludovica Albertoni, one of his last works, chosen to represent Bernini’s concept of the culmination of spiritual love that also incorporated a sensual element. The third and final masterpiece is the ecstasy of St. Teresa of Avila found in the Cornaro Chapel in the Church of Santa Maria della Vittoria, considered by many as his greatest work, as an example of how mysticism also has a sensual element to it. Keywords: Baroque sculpture, Gian Lorenzo Bernini, sensuality, Costanza Piccolomini, Ludovica Albertoni, St Teresa d’Avila. No one can deny that Gian Lorenzo Bernini had the extraordinary technical skill and expertise to sculpt anything that he visualised or saw. The numerous works of art that he continued to create into his maturity and almost up to his death are evidence of this. -
1. Compare and Contrast the High Renaissance Period with the Baroque Period
Preliminary Handout: David and Goliath Summarize the story of David and Goliath: How is David significant in Medici Florence? High Renaissance Period The Baroque Period Dates of the period: Dates of the period: Locations: Locations: Influences on the period: Influences on the period: Stylistic Characteristics: Stylistic Characteristics: Compare Donatello's David, Michelangelo's David, and Bernini’s David Donatello's David Michelangelo's David Bernini’s David Date Period Material Height Nude? Contrapposto? Moment in story: David represents... Original location: Stylistic Characteristics: Short Answer Essays: Please write a concise paragraph essay answering each of the questions below. You will work in groups and do a short two-minute presentation to the class on one question. 1. Compare and contrast the High Renaissance period with the Baroque period. What are the important influences and stylistic differences? 2. 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. 3. Compare and contrast Donatello, Michelangelo, and Bernini's David. How does each work embody the stylistic principles of its age? 4. Describe Bernini's Apollo and Daphne. What moment does it depict in Ovid's myth? Why would the Church approve of such a work? 5. How has Bernini drawn from his knowledge of theater, writing plays, and producing stage designs to create an emotionally dramatic experience for worshipers that involve architecture, sculpture, and painting at the Cornaro chapel? 6. How is Gianlorenzo Bernini’s work typical of the Baroque period? Give several examples of his work that support your answer. -
The Distinctiveness of Bohemian Baroque: a Study in the Architecture of Central Europe, C.1680-C.1720
artificialhorizon.org The distinctiveness of Bohemian baroque: a study in the architecture of Central Europe, c.1680-c.1720 RALPH HARRINGTON Between the late seventeenth century and the first years of the eighteenth the architecture of Bohemia underwent a marked transformation as the Italian influences that had been dominant until around 1690 gave way before Southern German and Austrian influences. In 1680 there were 28 architects of Italian origin working in Prague, compared with seven recorded as coming from northern Europe.1 The rapidity with which German influence displaced Italian can be gauged from the fact that by the later 1690s the proportions were reversed, largely as a result of the great immigration of architects, particularly from southern Germany, which took place from 1690 to 1700. This influx of talent ensured that, despite long-established Italian architectural dominance, the great flowering of the Austrian baroque which took place in the 1680s had rapid repercussions in Bohemia, where its influence interacted with local influences to produce a style of architecture altogether distinct from that prevalent in Austria itself. The first phase of the Austrian baroque had itself been dependent on Italian artists, and a large number of architects, sculptors and decorators originating in Italy made vital contributions to the development of the style known as ‘Imperial Baroque’. This Austrian imperial architectural style, dynamic in its manipulation of volumes and planes, grandiloquent in detail but massively authoritarian in overall character, had reached its fullest expression around 1700, finding its greatest exponents in two Italian-trained native architects, Johann Fischer von Erlach (1656- 1723) and Lucas von Hildebrandt (1688-1745).