This Theme Greatly Influenced the Rich Diverse Effects of Baroque Art and Architecture

Italian Painting in the Bizarre Period

Baroque painting emerged in the 16th century and became extremely pop in the 17th century; the Roman High Bizarre lasted from 1623 to 1667.

Learning Objectives

Proper name the most important Italian painters of the 17th century

Key Takeaways

Fundamental Points

• Baroque painting is the painting associated with the Baroque cultural movement, which began in Italy in the 17th century.
• In its most typical manifestations, Baroque painting is characterized by corking drama, rich, deep color, and intense light and night shadows.
• Caravaggio was an important effigy in early Bizarre painting during the 16th and 17th centuries and inspired many mimics, known as Caravaggisti .
• Pietro da Cortona was the about influential painter of the High Baroque Menstruum.
• In the after 17th century, artists such every bit Giordano increasingly produced awe-inspiring ceiling frescoes .

Key Terms

• tenebrism: A style of painting using very pronounced light contrast (chiaroscuro), with darkness a dominating feature of the prototype
• fresco: In painting, the technique of applying h2o-based pigment to moisture or fresh lime mortar or plaster.

Overview: Bizarre Painting

Baroque painting is associated with the Baroque cultural motility, which began in Italy in the 17th century. Information technology encompasses a corking range of styles , as most of import and major painting during the menstruum beginning around 1600 and continuing into the early 18th century is identified today equally Bizarre painting. In its nigh typical manifestations, Bizarre art is characterized past nifty drama, rich, deep colour, and intense light and nighttime shadows.

Relevant Italian Painters of the Fourth dimension

Caravaggio

Caravaggio (1571–1610), born and trained in Milan, stands every bit ane of the nigh original and influential contributors to tardily 16th century and early 17th century European painting. He was known for painting figures, even those of classical or religious themes, in contemporary clothing, or as ordinary men and women. His inclusion of the seedier side of life was in marked contrast to the trends of the time. He used tenebrism and stark contrasts between partially lit figures and dark backgrounds to dramatize the effect.

Some of Caravaggio's well-nigh famous paintings include The Calling of St. Mathew, St. Thomas, The Conversion of St. Paul, The Entombment, and The Crowning of the Christ. His use of low-cal and shadow was emulated by the Caravaggisti, the followers of Caravaggio, such as Orazio Gentileschi (1563–1639), Artemisia Gentileschi (1592–1652/3), Mattia Preti, Carlo Saraceni, and Bartolomeo Manfredi.

The Calling of Saint Matthew by Caravaggio: The Calling of Saint Matthew shows Caravaggio's use of tenebrism and stark contrasts between partially lit figures and dark backgrounds to dramatize the effect.

Ecce Homoc by Caravaggio, 1605: Example of a Baroque painting by Caravaggio

Other Artists

Other influential Italian painters during this early menses who influenced the development of Bizarre painting include Peter Paul Rubens, Giovanni Lanfranco, and Guercino. Other artists, such as Guido Reni and Domenico Zampieri, pursued a more than classical approach. Baroque painters such as Cortona, Giovan Battista Gaulli, and Ciro Ferri connected to flourish alongside the classical trend represented by painters such equally Sacchi and Nicholas Poussin. Even a classicist painter similar Sacchi's pupil Carlo Maratta was influenced in his use of colour past the Baroque.

The principal painter of the Roman High Baroque, a menses that spanned several papal reigns from 1623 to 1667, was Pietro da Cortona. His baroque manner is conspicuously evident in paintings that he executed for the Sacchetti family in the 1620s and the vault fresco in the Palazzo Barberini (finished in 1639) in Rome .

Monumental ceiling frescoes mainly date to the latter part of the 17th century. Some were dramatically illusionistic , such as Gaulli's nave fresco (1674–9) in the church of the Gesu and Andrea Pozzo'south nave vault (1691–four) in Sant'Ignazio, both in Rome. Luca Giordano (1634–1705) was born in Naples and was so biggy in his output of paintings that he was known equally 'Luca fa presto' ("Luke fast work").

The Creation of Human being, fresco by Giordano in the Palazzo Medici-Riccardi in Florence, 1684–1686.: Giordano was an extremely prolific Italian Baroque painter.

Castilian Painting in the Baroque Flow

The Spanish Aureate Age is a period of flourishing in arts, coinciding with the political rise and refuse of the Spanish Habsburg dynasty.

Learning Objectives

Define the Castilian Golden Age of painting

Key Takeaways

Cardinal Points

• The Spanish Gold Age began in 1492, with the end of the Reconquista and the sea voyages of Christopher Columbus to the New Globe . Politically, it concluded no later on than 1659, with the Treaty of the Pyrenees ratified between France and Habsburg , Espana.
• The Italian holdings and relationships made past Queen Isabella'southward husband and later Spain's sole monarch, Ferdinand of Aragon, launched a steady traffic of intellectuals across the Mediterranean between Valencia, Seville, and Florence.
• Spanish fine art independent a strong mark of mysticism and faith that was encouraged by the Counter-Reformation and the patronage of Espana's strongly Catholic monarchs and aristocracy. The Habsburgs, both in Spain and Austria, were bang-up patrons of art in their countries.
• Diego Velázquez and Francisco de Zurbarán are oft considered by scholars as the influential founders of a uniquely Castilian style of painting during the Bizarre era.

Key Terms

• Counter-Reformation: The period of Catholic revival commencement with the Council of Trent (1545–1563) and ending at the shut of the Thirty Years' War (1648); sometimes considered a response to the Protestant Reformation.
• Habsburg: A Swabian noble family named after it, which became the ruling (hereditary) dynasty of Republic of austria, at times other countries (mainly in Iberia and the former Burgundian territories), and supplied successive (elected) emperors of the Holy Roman Empire.

Overview: The Spanish Gold Age

The Spanish Golden Age is a flow of flourishing in arts and literature in Spain, coinciding with the Baroque era and the political rising and decline of the Castilian Habsburg dynasty . It began no before than 1492 with the end of the Reconquista (Reconquest), the ocean voyages of Christopher Columbus to the New World, and the publication of Antonio de Nebrija's Gramática de la lengua castellana (Grammar of the Castilian Language). Politically, it ended no afterwards than 1659 with the Treaty of the Pyrenees, ratified between France and Habsburg, Spain.

Spain, in the fourth dimension of the Italian Renaissance , had seen few not bad artists come up to its shores. The Italian holdings and relationships made past Ferdinand of Aragon, Queen Isabella's husband and later Spain's sole monarch, launched a steady traffic of intellectuals beyond the Mediterranean between Valencia, Seville, and Florence. Luis de Morales, one of the leading exponents of Spanish Mannerist painting, retained a distinctly Castilian manner in his work reminiscent of medieval art . Spanish fine art, specially that of Morales, independent a strong mark of mysticism and religion that was encouraged by the Counter-Reformation and the patronage of Spain's strongly Cosmic monarchs and aristocracy.

Artists of the Golden Age of Spain

The Habsburgs, both in Spain and Austria, were great patrons of art in their countries. Diego Velázquez and Francisco de Zurbarán are often considered by scholars as the influential founders of a uniquely Spanish fashion of painting during the Bizarre era.

Diego Velázquez

Diego Velázquez is widely regarded every bit one of Spain's nearly important and influential artists. He was an individualistic artist of the contemporary Baroque menses and most well-known every bit a portrait artist. In add-on to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish majestic family, other notable European figures, and commoners, culminating in the production of his masterpiece Las Meninas (1656). Velázquez was a court painter for King Philip 4 and plant increasingly loftier demand for his portraits from statesmen, aristocrats, and clergymen across Europe. His portraits of the King, his chief minister, the Count-knuckles of Olivares, and the Pope himself demonstrated a belief in artistic realism and a style comparable to many of the Dutch masters.

Philip Iv in Brown and Silver, 1632: Velázquez is mayhap nearly well-known for his many famous portraits, including this 1 of King Philip 4.

Velazquez'southward most famous painting, all the same, is the celebrated Las Meninas (1656), in which the artist includes himself every bit one of the subjects. Las Meninas (Castilian for "The Ladies in Waiting") is a painting with circuitous and enigmatic composition that raises questions nearly reality and illusion, creating an uncertain relationship between the viewer and the figures depicted. Because of these complexities, Las Meninas has been i of the most widely analyzed works in Western painting.

The painting shows a big room in the Imperial Alcazar of Madrid during the reign of King Philip IV and presents several figures, nigh identifiable from the Spanish courtroom, captured in a particular moment as if in a snapshot. Some look out of the canvas towards the viewer, while others interact among themselves. The young Infanta Margaret Theresa is surrounded by her entourage of maids of honour, chaperone, bodyguard, two other figures, and a domestic dog. Only backside them, Velázquez portrays himself working at a large canvas. Velázquez looks outwards, beyond the pictorial space to where a viewer of the painting would stand. In the background at that place is a mirror that reflects the upper bodies of the king and queen. They appear to be placed outside the picture infinite in a position similar to that of the viewer, although some scholars have speculated that their image is a reflection from the painting Velázquez is shown working on.

Las Meninas, 1656 (English: The Ladies in Waiting): In his most celebrated painting, Valzquez's self-portrait is included on the left.

Religion in the Fine art of the Spanish Golden Historic period: Francisco de Zurbarán

The religious chemical element in Spanish art, in many circles, grew in importance with the Counter-Reformation. The austere, ascetic, and severe work of Francisco de Zurbarán exemplified this thread in Castilian art, along with the work of composer Tomás Luis de Victoria. Philip IV actively patronized artists who agreed with his views on the Counter-Reformation and religion. The mysticism of Zurbarán's piece of work—influenced by Saint Theresa of Avila—became a authentication of Spanish fine art in later generations.

The Birth of the Virgin: The Birth of the Virgin, by Francisco de Zurbarán, demonstrates the religious themes, particular the devotion to the Virgin Mary, that pervaded Counter-Reformation Castilian artwork.

Influenced by Caravaggio and the Italian masters, Zurbarán devoted himself to an artistic expression of religion and faith. He is known primarily for his religious paintings depicting monks, nuns, and martyrs, as well every bit for his still-lifes. Zurbarán gained the nickname Castilian Caravaggio, attributable to the forceful, realistic utilise of chiaroscuro in which he excelled.

Saint Francis in Meditation, c. 1631–1640, National Gallery: Zurbarán's painting of Saint Francis of Assisi is notable for its use of chiaroscuro, or high contrast betwixt calorie-free and dark.

His paintings of St. Francis of Assisi, the immaculate formulation, and the crucifixion of Christ reflected a third facet of Spanish culture in the 17th century, against the backdrop of religious war across Europe. Zurbarán broke from Velázquez's sharp realist estimation of art and looked, to some extent, to the emotive content of the painter El Greco and the earlier Mannerist painters for inspiration and technique, though Zurbarán respected and maintained the lighting and physical nuance of Velázquez.

French Painting in the Baroque Period

17th century painting in France was influenced by Italian Baroque sensibilities every bit well as the Classical tastes of the powerful monarchy.

Learning Objectives

Describe the irresolute nature of 17th century French painting and its most important practitioners

Key Takeaways

Key Points

• King Louis XIV established the Academy of Painting and Sculpture, which propagated a mode of art with distinctly Classical arrayal. Important painters of 17th century France include Simon Vouet, Charles Le Brun, Nicolas Poussin, Claude Lorrain, and Georges de la Tour.
• Simon Vouet is known for introducing Baroque mode painting to France. Charles Le Brun was a student of Vouet and the well-nigh important painter in the court of Male monarch Louis XIV. He was responsible for the interior decoration at the Palace of Versailles.
• Nicolas Poussin is known for his Classical style paintings that favor clarity, logic, order, and make clean lines over color. Claude Lorrain is known particularly for his work in landscape paintings.
• Georges de la Tour was a French Baroque painter known for painting religious chiaroscuro scenes.

Key Terms

• chiaroscuro: An creative technique popularized during the Renaissance, referring to the employ of exaggerated light contrasts in order to create the illusion of volume.
• altarpiece: A work of art suspended above and behind a tabular array used for religious purposes; (altar) in a church building.

Overview: The Baroque Era in France

17th century painting in France was influenced by Italian Bizarre sensibilities every bit well as the Classical tastes of the powerful monarchy. These two potent influences resulted in a mode that was unique to France and culminated in the art produced for King Louis XIV. The reign of Louis 14 saw a shift from Mannerist and Baroque styles popular in the early part of the century, during the reign of Louis XIII, toward a more prescribed Classical style. Louis Xiv established royal command over artisanal production in France, prohibiting the buy of luxury appurtenances from away. He also established the Academy of Painting and Sculpture, which maintained a hierarchy of genres in painting and a distinctly Classical flavour.

Influential French Painters

Important painters of 17th century France include Simon Vouet, Charles Le Brun, Nicolas Poussin, Claude Lorrain, and Georges de la Tour. 17th century painting in France was divided: on 1 paw at that place was influence from the Italian Bizarre way as seen in the work of de la Tour; on the other was a distinctive plow towards a rigid, Classical style that was favored by the monarchy, and exemplified by the works of Le Brun, Poussin, and Lorrain. The convergence of these two styles gave 17th century painting an aesthetic tone that was wholly unique to French republic.

Simon Vouet and Charles Le Brun

Simon Vouet is known for introducing Baroque style painting to French republic. He studied in Italy and learned the techniques of the Italian masters, which he imbued with his own sensibilities. He was made "premier peintre du Roi" by Louis 13, who commissioned numerous works from him. Charles Le Brun was Vouet's most influential pupil and was to become an of import painter in the court of King Louis Fourteen. Le Brun worked primarily for Louis Fourteen, and his most important works reside at the Palace of Versailles. Mostly producing battle pieces and altarpieces , Le Brun's paintings exemplify a synthesis of Baroque and Classical styles.

Charles Le Brun, The Conquest of Franche-Comté : Charles Le Brun worked primarily for King Louis Xiv, and his most important works reside at the Palace of Versailles. Generally producing boxing pieces and altarpieces, Le Brun'southward paintings exemplify a synthesis of Baroque and Classical styles.

Nicolas Poussin and Claude Lorrain

Nicolas Poussin is known for his Classical manner paintings created in 17th century France. His work features clarity, logic, order, and clean lines over color, serving every bit a counterpoint to Baroque style painting. He spent virtually of his life working in Rome and became a favorite painter of Male monarch Louis Xiv. Claude Lorrain is known especially for his piece of work in landscape paintings. He earned the patronage of Pope Urban VIII, after which his fame grew speedily. Lorrain and Poussin were friends and were known to take traveled the Italian countryside together.

Nicolas Poussin, Echo and Narcissus : Nicolas Poussin is known for his Classical style paintings created in 17th century French republic. His work features clarity, logic, social club, and clean lines over color.

Georges de la Tour

Georges de la Bout was a French Baroque painter known for painting religious chiaroscuro scenes lit by candlelight. His work shows a great bargain of influence from Caravaggio, characterized by the painted furnishings of low-cal and dark, only is unique in that he applies this technique to genre subjects.

Georges De La Tour, Büende Maria Magdalena (Magdalena Terf) :

Flemish Painting in the Baroque Period

The style of painting produced in Flanders during the 17th century is known as Flemish Baroque.

Learning Objectives

Proper noun dissimilar genres within the Flemish Baroque and its representative painters

Key Takeaways

Key Points

• Flemish Baroque painting is notable for the fact that information technology was separated into the different thematic categories of history, portraiture, genre , landscape, and even so life .
• Peter Paul Rubens was the preeminent painter of the Flemish Baroque way ; he was the dominant creative person of history painting  and drew influence from Italian painting.
• The paintings of Adriaen Brouwer exemplified the genre painting of 17th century Flanders . They depicted scenes of the everyday life of peasants and were notable for their expressive facial studies.
• The vanitas , a type of however life painting that is meant to illustrate the meaninglessness of earthly life and the transience of all earthly pursuits, became very popular in 17th century Flemish painting.

Fundamental Terms

• monumental: Big, thou, and imposing.

Overview: Flemish Bizarre

The style of painting produced in Flanders during the 17th century is known as Flemish Baroque. This style was produced between nearly 1585, when the Dutch Commonwealth split from the Habsburg Spain regions of the south, until about 1700, when the Habsburg rule ended after the death of King Charles II. Antwerp—the habitation of Peter Paul Rubens, Anthony Van Dyck, and Jacob Jordaens—figured prominently as a point of artistic production during this fourth dimension, equally did Brussels and Ghent to a lesser extent. Peter Paul Rubens, the preeminent painter of the Flemish Bizarre fashion, had a stiff influence on the creative aesthetic of the 17th century.

Categories of Flemish Painting

Flemish Baroque painting is notable for the fact that it was separated into different thematic categories, and artists of the time tended to specialize in one of these areas. These genres included history, portraiture, genre, mural, and still life paintings.

History Painting

History painting, considered the nearly noble genre during the 17th century, was comprised of depictions of historical, biblical, mythological, and emblematic scenes. Peter Paul Rubens was the dominant painter in this category, though his pupil Anthony Van Dyck also became prominent. More than in any other category, Flemish history painters connected to draw influence from Italian painting. Rubens spent ix years in Italy studying the work of the masters, and he introduced the monumental hunting scene to painting. This is exemplified in his work Wolf and Play tricks Hunt, which depicts a noble battle on a large scale and was inspired by his report of classical antiquity .

Wolf and Fob Hunt by Peter Paul Rubens: Wolf and Fox Hunt is an instance of the monumental hunting scene Rubens introduced to painting.

Portrait Paintings

Portrait paintings were, for the most part, monumental or life sized, though the grouping and family portrait came into prominence during the 17th century. Although he was not a portrait painter, Rubens completed some early on works in this category. He also exerted influence through his educatee, Anthony Van Dyck, who became the courtroom painter for Charles I of England and an influence on subsequent portraiture in England.

Genre Painting

Genre paintings depict scenes from everyday life and were very mutual in 17th century Flanders. These paintings feature figures with no specific identity, commonly engaged in activities associated with "the peasant life." Many genre artists follow the tradition of Peter Brueghel the Elder in their depiction of the lower classes. The paintings of Adriaen Brouwer, which often evidence peasants fighting and drinking, serve as an example of Flemish genre painting. Brouwer is known for painting his subjects in interior, rather than exterior, scenes. He was too known for his expressive facial studies, characteristic of a genre called "tronies" (faces) and exemplified in works such as The Biting Drink.

Village Lawyer by Peter Brueghel: A genre painting by Peter Brueghel.

Landscapes

Landscape painting was some other major category in the 17th century. The mode developed from before 16th century Flemish mural paintings, which were non particularly realistic and employed the semi-aeriform view typical of Peter Brueghel the Elder. Architectural interior painting likewise became pop around this time, developing out of the works of Hans Vredman de Vries and depicting the realistic interiors of existing churches and cathedrals .

Still Lifes

Floral still life painting was widespread in 17th century Flanders, popularized by Brueghel the Elderberry effectually 1600. His sons, Jan Brueghel the Younger and Ambrosius Brueghel, were also known flower specialists of the time. Other subjects or subcategories of still life painting included the banquet even so life, the brute nevertheless life, and garland scenes. However life paintings ofttimes had an underlying moralistic bulletin concerning the brevity of life, a trait exemplified by the "vanitas." A vanitas is a symbolic still life painting that is meant to illustrate the meaninglessness of earthly life and the transience of all earthly pursuits. Vanitas paintings were very popular in 17th century Flemish and Dutch work, and they often depict symbols such as skulls, flowers, rotting fruit, clocks, watches, fume, and hourglasses, all of which are meant to convey the ephemeral nature of life on earth.

Vanitas Painting: An case of a vanitas from the 17th century by Franciscus Gysbrechts.

norrisyounnevernew68.blogspot.com

Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/painting-of-the-baroque-period/

Share this post