ALBRECHT ALTDORFER, BATTLE OF ISSUS, 1529, OIL, GERMANY

ALBRECHT
A LT D O R F E R ,
BA T T L E O F
ISSUS, 1529,
OIL, GERMANY
One last
Northern
Renaissance…
POPULAR ARTISTIC
SUBJECT
Roman Mosaic from Pompeii
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BAROQUE
Late 16th- 17th centuries
KEY CONCEPTS
 Began in Italy but spread throughout Europe
 Artistic result of the Catholic Counter Reformation (began in
1530)
 Aimed at reenergizing the faithful and inspire religious behavior
 Catholic church used art to instruct, delight and move the viewer
 Art is usually highly dramatic and meant to evoke an emotional
response from the viewer
TINTORETTO, LAST
SUPPER, 1592, OIL, VENICE
TINTORETTO, LAST
SUPPER, 1592, OIL, VENICE
 Mannerist or Baroque?
 Radically asymmetrical
 Complex scene
• Many things going on
 Christ is central figure
 Extremely dramatic
• Use of light
• Table at an angle
BAROQUE
CHARACTERISTICS
 Some artists turned to powerful and dramatic realism
 Dramatic Lighting
 Tightly-cropped compositions
• enhance emotional immediacy of the narrative
 Idealized forms, balanced compositions
BERNINI BACKGROUND
 Was a child prodigy
 11 when Pope Paul V demanded to meet him
 Spent 50 + years on projects for the Vatican
 Deeply religious
 Built stages for plays- theatrical background is represented in his
art
 David is swinging at Goliath
who is standing behind the viewer
• Expands David’s space and
brings the viewer in as a
participant
• Very theatrical
• Many people ducked at it’s
unveiling
BERNINI,
DAVID
BERNINI ECSTASY OF ST.
TERESA
BERNINI ECSTASY OF ST.
TERESA
BERNINI ECSTASY OF ST.
TERESA
BERNINI APOLLO AND
DAPHNE
ST. PETER’S BASILICA
 More space was necessary for the Catholic visitors
• The faithful had been reengergized and making pilgrimages to St.
Peter’s
 Bramante’s original Greek cross plan from 1506 (with
Michelangelo’s dome) was no longer accommodating
 The nave was elongated
ST. PETER’S BASILICA
 Carlo Maderno was commissioned to decorate the façade of St Peter’s and
Bernini was one of his assistants
B E R N I N I , B A L D A C C H I N O, 1 6 2 3 , B R O N Z E , S T.
PETER’S BASILICA
 Bernini commissioned to create the interior focal point of
the nave
 Marks Rome’s most sacred site- St. Peter’s body
 4 spiral columns
•
Characteristic movement of the Baroque
 95 feet tall
 90 tons of bronze
 Covered in bees- the symbol of the Pope that commissioned
it (a Barberini Pope)
 Dark bronze stands out amongst the white marble- typical
contrast of light and shadows popular during Renaissance
BERNINI, BALDACHINO
BERNINI, COLONNADE OF ST.
PETER’S, 1686, MARBLE, VATICAN
 284 free standing columns
 Bernini called them the “arms” of God beckoning in the believers
BORROMINI, SAN CARLO ALLE
QUATTRO FONTANE, 1634, ROME
 Bernini’s rival
 Abandoned flat,
symmetrical façade
 Façade is undulating- series
of convex and concave
BORROMINI, SAN CARLO ALLE
QUATTRO FONTANE, 1634, ROME
 Interior dome- oval dome
with mix of coffers hexagons,
octagons and crosses
SANT ANDREA AL
QUIRINALE
SANT ANDREA AL
QUIRINALE
SANT ANDREA AL
QUIRINALE
BAROQUE CEILING
TRADITION
 Begun by Annibale Caracci- 1st
Great Baroque ceiling in 1597
 Simulated easels on the
ceiling= quadro riporato
DA C O R T O N A , T R I U M P H
OF URBAN VII,
B A R B E R I N I PA L A C E ,
1633
 Glorifying Urban’s triumphan reign
 Allegorical female “divine Providence”
directs Immortality to bestow eternal life on
the Barberini family
 Allegorical Rome carries papal tiara and
keys of St. Peter
 Trompe-l'œil is an art technique that
uses realistic imagery to create an optical
allusion that the depicted objects exist in
three dimensions.
GAULLI, TRIUMPH OF THE NAME
OF JESUS, IL GESU, ROME,
 Light from Jesus’ monogram
illuminates the space- IHS-Iesus
Hominum Salvator,
 http://panoramy.zbooy.pl/3
60/show.html?max=1&p=rzym
-kosciol-il-gesulustro&lang=e&t=32
CARRAVAGIO, CALLING OF
ST. MATTHEW, 1600, OIL
 Inside San Luigi Dei Francesi in Rome
 Tax gatherer Levi and four assistants
form a horizontal block on left side of
the painting
 Around the table Levi and agents are
counting the day’s proceeds.
 Five men are not High Renaissance
idealized
CARRAVAGIO, CALLING OF
ST. MATTHEW, 1600, OIL
 Contemporary men lack perfect features
and where contemporary clothing
 Figures of Christ and St. Peter interrupt
Levi
 Beam of light enters the room highlighting
Levi’s face while creating deep pockets
 Sharp contrast between light and dark=
tenebrism
 Vigorous realism and revolutionary
tenebrism