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Baroque art includes: Drama, energy and movement, dynamic balance (diagonals,curves, countercurves, etc.), high contrast, interrupted contours, emotion, element of time, viewer involvement, naturalism of the renaissance.
Protestant reformation and catholic counter-reformation times
Tenebrism- strong contrasts of light and dark a form of chiaroscuro
Quadro riportato- painting taken elsewhere.
Quadratura- illusionistic architecture that appears to extend beyond the room
Di sotto in su- seen from below
Bel Composto- a stylistically and thematically unified interior space.

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Baroque painting in Italy
Caravaggio
1598-99
judith appears to be dainty

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Contarelli Chapel
Caravaggio
1599-1600
matt. pointing at himself
light divides and directs
merges real and divine
interrupted contour

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italy
Caravaggio
1600-04

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italy
caravaggio
1601
diagonal, moment in time
non-idealized

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italy
caravaggio
1601
life sized, there is an open space for the viewer, moment in time, directed sight,

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Cerasi Chapel
Caravaggio
1601

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Domine, quo Vadis (Christ Appearing to Saint Peter on the Appian Way)

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Domine, quo Vadis (Christ Appearing to Saint Peter on the Appian Way)

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italy
Annibale Carracci
1601-02

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italy Contarelli Chapel
Caravaggio
1602
does not appear divine
figures have room to "move" in the empty space

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italy
Guido Reni
1614

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italy
Guercino
1621

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italy
Gianlorenzo Bernini
1621-22

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Baroque Sculpture in Italy
Gianlorenzo Bernini
1622-5

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italy
Gianlorenzo Bernini
1623
interrupted contours, moment in time, diagonals

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italy
Artemisia Gentileschi
1625
tenebrism, shallow space
angles point to head, naturalism

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italy
Pietro da Cortona
1633-39

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Self-Portrait as the Allegory of Painting

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Self-Portrait as the Allegory of Painting

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italy
Gentileschi
1638-39

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italy
Gianlorenzo Bernini
1644-48

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italy
Gianlorenzo Bernini
1645-52

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Baroque ceiling painting in Italy
Pietro da Cortona
1647

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italy
Gianlorenzo Bernini
1647-53

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Saint Luke Displaying a Painting of the Virgin

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Saint Luke Displaying a Painting of the Virgin

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Art in italy
Guercino
1652-53
ink well and bull is luke's symbol
book is the gospel
patron of artists
counter-ref reaffirming images in the church.
protestants were against images-worship texts not images.

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Baroque Architecture in Italy
Francesco Borromini
1654-67

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Il Gesù
Giovanni Battista Gaulli
1661-79
painted stucco and extends to the architecture

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italy
Elisabetta Sirani
1664

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Allegory of the Missionary Work of the Society of Jesus

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Allegory of the Missionary Work of the Society of Jesus

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italy
Andrea Pozzo
1691-94
continued architecture, seen from below, 4 corners of world rep. asia, americas, europe, africa- expanding catholicism
reassert catholic beliefs.
two sides of counter ref, reaffirm church, punish those who dont follow

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-Intellectual, knew several languages, knew classical literature and art; studied in Italy and absorbed Italian traditions

Influence of Michelangelo on his figures
-Born in Antwerp, family Protestant; left because of war with Spain; at 10, family returned, converted to Catholicism; Rubens committed to Catholicism

At 23, went to Italy to study art for 8 years; returned and painted this (the Raising of the Cross), his first masterpiece
-Rubens the most important and influential artist in Flanders (southern Netherlands;  now Belgium and part of France); still ruled by Spain, church commissions

Helped make Baroque style international; intellectual, knew several languages, knew classical literature and art; studied in Italy and absorbed Italian traditions
-Rubens lived and studied in Italy between 1600 and 1609, absorbing the country's cultural riches and artistic heritage.
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Baroque art in Flanders
Peter Paul Rubens
1598-99

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Clara Peeters
1610
-One of earliest still-life painters (although the term “still-life” did not appear in the Netherlands until about 1650); called banquet pieces, breakfast pieces, etc.

Elaborate displays of food, flowers, dishes against austere backgrounds; notice reflections, surfaces, folds in cloth, details (faces, creatures on dishes)

Why did still-lifes become so popular in the 17th century?

Small, affordable, sized for homes

Documented one’s possessions, life-style

Virtuosity in technique

Everyone can relate

Moral? God’s bounteous gifts, vanitas (fleeting nature of life); memento mori (remember you will die)

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Peter Paul Rubens
1610-11
Antwerp belgium current location
-cement catholic ideology
-iconoclasts- broke images
-just returned to italy with renaissance training and a treaty with the Dutch provinces in the north was just signed.
-triptych
-wanted to paint single image
figures muscular like sistine chapel.
-main concern of catholics was the ritual of the Eucharist (bread and wine turned into body and blood)
-rubens is a northern painter
mix of northern and italian renaissance technique.
-big diagonal line, great dramatic contrast like caravaggio.
-viewer involvement.
-outside wings depict 4 saints  Saint Walpurgis is connected to the original church and angels.

-Look for characteristics of Baroque art:

Drama

Large scale

Energy and movement

Dynamic balance (curves, countercurves, etc.)

High contrast (dark & light, etc.)

Emotion

Element of time

Naturalism of the Renaissance

Caravaggio: tenebrism; uses light symbolically (Christ lightest)

Like Bernini, uses naturalism to show supernatural forces, energy

Naturalism of plants, dog, armor more northern in tradition (love of detail); mix of north and south

Expressive

Influence of Titian, Tintoretto: rich, vibrant color

Stark diagonal, heroic and victorious Christ: wanted to portray strength of Catholic Church: Message: “Catholicism continues to be victorious”
-Italian: muscular figures, heroic,

Baroque: in the act of raising, strenuous, momentary, dynamic balance
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Still Life with Nuts, Candy, and Flowers

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Still Life with Nuts, Candy, and Flowers

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Clara Peeters
1611
-Part of a series of four Dutch meals

One of first still life artists—not even called still lifes until 1650; breakfast pieces or banquet pieces

Also one of first artists to combine food and flowers

Immediacy of the scene: most of the objects are close to the picture plane; also, we have to look down upon the table as if we are seated there

Peeters deceives us by combining flowers—daffodils, tulips, poppies, irises, roses, and peonies—that bloom at different times of the year

Flower paintings were the most popular kind of still life; sometimes sold for more than history paintings by artists as famous as Rembrandt

Born in Antwerp, few records of her life but back of some canvases have the stamp of the Antwerp guild; some works as a teenager so must have had access to training

the artist reflected several times in the metal pieces (see pewter pitcher and golden goblet)

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Clara Peeters
1612
-Still life paintings become popular in northern Europe; Why? Rising middle class, for homes, private collectors; art collecting became very popular; smaller scale

Detail of coins so accurate they used to date painting

Knife special kind given as wedding gifts: “fidelity” and “temperence” engraved on it; also her own name (celebration of her own marriage?)

Fruits and flowers represent hope for bounteous life

Also vehicle for showing skill as painter, reflection of light, naturalism

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Still Life with Dead Game, Fruits, and Vegetables in a Market

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Still Life with Dead Game, Fruits, and Vegetables in a Market

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Frans Snyders
1614
-Art Institute of Chicago

-Snyders worked with Rubens; became specialist at game

-suggestion of a struggle between virtue and vice

-Menace threatens the shopkeeper in the form of a boy picking his pocket. On the ground below, a sinister cat waits with glowing eyes to pounce on the weaker of two cocks fighting. Other game animals reinforce the contrast between good and evil. A peacock, traditionally a symbol of vanity and pride, and a wild boar, an emblem of lust and gluttony, lie alongside a deer, often associated with purity of heart.

In addition to its visual appeal, the canvas provides documentation of the open sale of game in Antwerp to middle-class citizens, a result of the liberalization of laws that had previously reserved game hunting and consumption for aristocrats.

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Peter Paul Rubens
1617-18
-Current location Isabella Stewart Gardner Museum
-baroque uses: Movement, Forms that push outward, breaking the picture plane, moment in time.
-Current location- Alte Pinakothek in Munich
-main interest in painting this was his interest in the human body
-ancient myth of Phoebe and Hilaeira- sisters known as the Leucippides and Castor and Pollux- twins known as the Dioscuri
-the men are the cousins of the men the women are to marry
-melodramatic for what is happening because Rubens is interested in showing the body in an expressive form.
-women rising and women falling contrast.
- repeating bends and curves
- negative space between women forces them apart

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The Presentation of the Portrait of Marie de' Medici

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The Presentation of the Portrait of Marie de' Medici

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Peter Paul Rubens
1622-25
-current location the Louvre in Paris
- Part of the Marie de Medici Cycle 24 Paintings
- commissioned by Marie de Medici who married Henry the IV king of France.
- originally placed in her mansion which is now known as the Luxembourg Palace in Paris
- Rubens included allegorical and Mythological figures to bring interest into her dull normal life.
- this also gave a sense that her position was divinely ordained.
- The presentation is of Henry the IV first gazing upon her with Cupid the one presenting her with Hymen the god of Marriage.
- behind Henry is the personification of France urging him to her saying marry her for France.
- important divinely as well as politically. putting away war for love.
- Rubens had a huge workshop with assistants and would have made the overall drawing and been responsible for the hands and feet as well as the depiction of the King and Marie de' Medici.

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Marie De' Medici Landing in Marseilles (the Disembarkation at Marseilles)

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Marie De' Medici Landing in Marseilles (the Disembarkation at Marseilles)

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Peter Paul Rubens
1622-25
-Part of the cycle in the louvre
-she was regent til her son Louis XIII came of age but wouldn't give it to him. He then banished her from France for years when he was old enough to say no.
- this is the 9th painting of the 24
- tries to make her coming off the boat seen as a triumph.
-victory is seen above her with two trumpets, the personification of France welcoming her almost about to kneel. 3 narayns (sea nymphs) and the gods of the sea Writhe and Turn below the plank.
- all the mythological beings are their to service Marie in her destiny to become queen.

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-studied and worked in Italy from late 1621 until 1627

In Genoa, he encountered the majestic portraits Peter Paul Rubens had painted there in 1606
-Throughout his career Van Dyck competed with his immensely famous peer (and teacher) Rubens, whom he outlived by only a year. Van Dyck's style and approach were, nevertheless, distinctive
-Flemish like Rubens; most valued assistant before age 20; left so as not to be under  Rubens’ shadow

Became court painter to Charles I in England
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Portrait of Charles I Hunting (Charles I at the Hunt)

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Portrait of Charles I Hunting (Charles I at the Hunt)

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Anthony van Dyck
1635
-Current location the Louvre
-Charles was the king of england and was self conscious about being short.
-elegant nonchalance.
-known for issues with authority.
-problems with parliament and feeling too high and mighty
-supported the church of england.
- had problems with the expenditure of money due to wars on the continent. after two civil wars he was arrested, tried, found guilty, and beheaded.
-this painting was done before the beheading.
-van dyck was a child prodigy and assistant for Rubens.
-influenced by titian and later baroque painters
-used art for propaganda (charles did)

-Style of Titian; colorist

Famous for portraits emphasized costume, pose, detail, virtuosity

King Charles favored a studied nonchalance and casualness called sprezzatura

Hat is at an informal angle, casually bends left knee

None of the traditional symbols of royalty, such as crown or heraldic device

Stresses gentlemanly demeanor and the doctrine of divinely guided kingship

More informal for court portraits because outside; still grand (king of all I see?); off-center but still focal point: Why? He stands ramrod straight, looks right at us (and down at us)

(civil war; Charles I beheaded)

Although historians are now demonstrating that Charles was well aware of the dangers that faced him, none of them are apparent here

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Dutch and Flemish Proverbs

“In good times, beware.”

“Never believe someone who blows hot and cold with the same breath.”

“As the old sang, so the young pipe.”

“Opportunity makes the thief.”

“Beware of the seven deadly sins (gluttony, greed, sloth, lust, vanity, envy and wrath).”

"Nothing seems more like a madman than a drunkard.”

“Don’t cast roses before swine.”

“To find the dog in the pot.”-To come home late for dinner and find that all the dinner has been eaten

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Jacob Jordaens
1638
-genre scene

Flanders, workshop of Rubens;

Who would this appeal to?

Liked mythological and drinking scenes; Epiphany, or Three Kings day, Jan 6; king chose, also queen, musician, jester

Jordaens uses this painting to express his distaste for drunkenness with the motto inscribed at the top that translates "Nothing seems more like a madman than a drunkard

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Peter Paul Rubens
1638-39
-Current location the Pitti palace in Florence
- contains Mars heading off to war being egged on by fury Alekto; and Venus trying to stop him.
- an allegorical figure of Europe has her arms up in despair with allegorical figures of the the arts below about to be trampled by war.
-commissioned by a Flemish member of the Medici court during the 30 Years' war.
-venus is pulling Mars away while yanking Alekto away from mars as well; Alekto looks made in a way the Goya would depict madness.
- tears of europe, madness of Alekto, the looks of venus and mars create the over the top emotion, feeling europe's pain.
- we get the overall sense of the horror and inevitability of war.

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Jacob Jordaens
1640
-Companion piece: meant as a moral; children will copy what parents do

Features his father-in-law and artist

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-Spain at height of political and economic power (Golden Age of Spain); colonies as well as power in Europe; bond with Italy and Catholicism; even stricter than Italy (Spanish Inquisition)

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Juan Sanchez Cotan
1602
-Spain at height of political and economic power (Golden Age of Spain); colonies as well as power in Europe; bond with Italy and Catholicism; even stricter than Italy

Learned still life from Dutch painters; borrow super naturalism but make their own style

Stark; clear order; Caravaggio light; effective shadow, makes it almost mystical; space: cucumber juts out, enters our space

Discuss balance, composition, principles of design

San Diego Museum of Art

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Juan Martinez Montanes
1603-6
-Lifelike sculpture of Christ; sculptor of wood

Artist uses realism as a means of bringing the viewer into a state of mystical communion with the divine

Addresses itself to the individual worshipper kneeling before it: only from a position directly beneath can it be seen that Christ’s eyes are open

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Diego Velazquez
1618-22

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Francisco de Zurbaran
1628
-Does he have anything in common with Bernini? Differences? How does it fit in Baroque tradition?

Influence of Caravaggio? Like still life: black background gives starkness, simplicity, purity pictorially and spiritually

Dramatic light and dark; beautiful folds in drapery

Mood? Quiet intensity, piety; invokes wonder, reverence (spiritual experience through looking at art); hung in funerary chapel of monastery

St. Serapion murdered by pirates in 1240

Christ figure; we identify with his strength more than his suffering

Naturalism

Balance; composition

Signature and label of St. Serapion on paper

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Diego Velazquez
1628-29
-Current location in Prado in Madrid
-naturalistic except for the glow of Bacchus.
-viewer involvement.
-contrast of clean god and seedy drucken men
-contrast of the three mythological and the modern people.

-Painting truth: refuses to idealize even the realm of the gods

Bacchus puts a wreath on the head of a soldier; he is surrounded by poor and ragged peasants who look to him to bring deliverance from misery and hardship

Look for CONTRAST:

light/dark

idealism of the god, realism of the humans

youth vs. age

direct eye contact vs. looking away

lack of detail in background to vivid detail in foreground (textures of jugs)

low-life, high life

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Jusepe de Ribera
1628-30
-Brought Caravaggio’s influence to Spain (lived in  Naples, where Caravaggio spent some time—was a colony of Spain)

tenebrism

unflinching focus on suffering; unidealized skin textures, strained, awkward musculature

mocking jeers

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Diego Velazquez
1634-35
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Jusepe de Ribera
1639
-Current location is the Prado in Madrid
-full of motion and a moment in time.
-influenced by caravaggio in the face; not idealized; naturalistic.
-half circle in composition and mirrored in his arms coming up
-intentional foreshortening.
-contrast between terror below and open space in sky above

-Shows strain and vulnerability; lots of half circles; body distorted even before raised up

Philip is at the mercy of his torturers

Action is close to us, comes into our space (foreshortened head)

Viewer involvement—woman looks at us and implicates us

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Bartolome Esteban Murillo
1645-50
-What tells us that this is the holy family?

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Bartolome Esteban Murillo
1645-50
-Cult of the Immaculate Conception (idea that Mary was born without the stain of original sin) popular in Spain and her colonies, esp. in Seville

Spread to colonies in America

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Bartolome Esteban Murillo
1646
-Misery and pleasure

Two diagonals: along heads and along fruits

Torn clothings, dirty feet

We feel compassion (even though they are probably beggars and thieves)

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Diego Velazquez
1650
-Metropolitan Museum of Art, NY

-Court painter to Philip IV of Spain, favorite  of the king

Famed as a portrait painter; his enslaved assistant and servant (tear in sleeve); shows dignity

Months after he painted the portrait, Velazquez signed a contract that would liberate him from bondage in 1654;

From that point forward, Pareja worked as an independent painter in Madrid

How does Pareja feel about himself?

Writing topic: Without being humble, tell what you value deeply about yourself

Colors:

Loose brushwork. This technique not only compensates for the subdued autumnal palette, but also imbues the subject with a vitality that is almost palpable. A contemporary noted that the portrait was so striking in its similitude that when it was sent to some friends for their criticism, “they stood looking at it and Pareja in awe . . . not knowing to whom they should speak or who would answer them.”

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Antonio de Pereda
1652
Chocolate parties.

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Diego Velazquez
1655
-Traditionally, it was believed that the painting depicted women workers in the tapestry workshop of Santa Isabel. In 1948, however, Diego Angula observed that the iconography suggested Ovid's Fable of Arachne, the story of the mortal Arachne who dared to challenge the goddess Athena to a weaving competition and, on winning the contest, was turned into a spider by the jealous goddess. This is now generally accepted as the correct interpretation of the painting.

n Las Hilanderas, Velázquez developed a layered composition, an approach he had often used in his earlier bodegones, such as the Kitchen Scene with Christ in the House of Martha and Mary. In the foreground is the contest. The goddess Athena, disguised as an old woman, is on the left and Arachne, in a white top facing away from the viewer, is on the right. Three helpers assist them. In the background, a raised platform (perhaps a stage) displays the finished tapestries. The one visible to us is Arachne's, showing The Rape of Europa — another Greek myth. This is in fact a copy of Titian's painting of the subject, which was in the Spanish royal collection.

The painting has been interpreted as an allegory of the arts and even as a commentary on the range of creative endeavor, with the fine arts represented by the goddess and the crafts represented by Arachne. Others think that Velázquez' message was simply that to create great works of art, both great creativity and hard technical work are required.

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Bartolome Esteban Murillo
1655-60
-National Gallery, Washington, D.C.

-Viewer involvement

-Same composition as still-life with fruit

-Difference in age; might represent a chaperone

-Covering a smile or laugh was considered good etiquette among the aristocracy

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Diego Velazquez
1656
-Current location in the Prado in Madrid
-princess and her maid and dwarf together
-Velazquez was the personal painter for the king of spain
-this painting is seen as informal like a genre painting.
-paint strokes are clearly seen in the sleeves of La Infanta and in her attendants and in the artists own sleeve.
- he plays with the loosity of the brush strokes and clarity of the picture. dissolve and clear.

-group portrait, genre scene (Prado Museum, Madrid)

Colorist like Titian: brushstoke streaks

Moment in time: natural human gestures and expressions (ordinary moment in the artist’s studio)

Who is center of interest? Princess Marguerita: lightest, center, attended to

King and queen (Philip IV and Maria Anna) image in mirror (could be us); different levels of illusion, portraiture

Claim to nobility of artist; used to be looked down on, used their hands; elevates both himself and the profession of painting

Emphasis on light; brushwork (had seen Titians in kings collection)

“To tell the truth, I do not like Raphael at all. It is in Venice that the finest things are to be found... It is Titian who carries the day". (Velazquez)

The painting is likely to have been influenced by Jan van Eyck's Arnolfini Portrait, of 1434. At the time, van Eyck's painting hung in Philip's palace, and would have been familiar to Velázquez.

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Bartolome Esteban Murillo
1665
-Economic crises reduced patronage of the church; Murillo had to seek commissions from the growing population of foreign merchants in Seville who wanted ”pretty pictures.”

Softer modeling than Caravaggio

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Juan de Valdes
1670-72
-Still life becomes important in religious works as well; objects laid out close to picture plane

“Stilleven” Dutch; literally “dead life” (paradoxical); often about the imminence of death

Valdes Leal was the main rival of Murillo in Seville

Tomb littered with earthly vanities: satin gown, books, papal tiara and crown, globe, swords, armour, crozier (a hooked staff carried by a bishop as a symbol of pastoral office.)

Above: skeleton with a scythe, coffin, and shroud; extinguishes the candle of life

Objects all relate to the papacy, esp. Spain’s Habsburg dynasty

Message: mortals should prepare to meet their Maker; even the great and powerful cannot escape death and will be judged

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Baroque art in France
Nicolas Poussin
1622

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Nicolas Poussin
1627-28

First French painter to gain international recognition, but built career in Rome

brought “classicism” to forefront; spent entire career in Rome except for the two years he was summoned by Louis XIII; artists at French Royal Academy chose his style to be model for French artists.

One of first “heroic deathbed” scenes

In Rome: studied ancient sculpture, paintings of Raphael

Story: (19 A.D.): Germanicus was a Roman general fighting against Germanic tribes; his adoptive father, the ruler in Syria, poisoned him

Left: loyal soldiers swear revenge; right: mourning family

Architecture is stage; figures horizontal (classical frieze) deep space but curtain backdrop makes shallow space

Poussin’s Grand Manner: subject should be heroic, dignity in execution (not too much minute detail—wouldn’t have liked early northern Renaissance art)

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Claude Lorrain
1629

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Nicolas Poussin
1633-34

Roman leader Romulus raises his cloak to signal to the Romans to take away the Sabine women

felt Baroque was too excessive (so why do we call this Baroque? Does it share any characteristics?) not Renaissance; too much movement; not Mannerist; too classical, rational, severe: we call it Baroque classicism

frozen in action like statues (not moment in time) see Giovanni Bologna, Rape of the Sabine Woman (next slide)

intellectual style; logic and order; form and composition (mind) over color, senses (feeling)

Poussin said the highest aim of painting is to represent noble and serious human actions (abducting women???—assured the future of Rome; women later acted as peacemakers between both sides);

theatrical, but not spontaneous; felt pictures should be read like a book

The man at the right wears a yellow lorica made of leather

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Georges de la Tour
1635

One of his paintings was accepted as a gift by the king of France (Louis XIII), who liked it so much that he had all the works by other painters removed from his chambers.

Which one is the cheat?

They all have shifting eyes—none of them is trustworthy

Bright light highlights warm colors of clothes; dark background in contrast

Geometric simplicity looks back to Early Renaissance—ex. Piero della Francesca

La Tour spent whole life in the french province of Lorraine

One of his paintings was accepted as a gift by the king of France (Louis XIII), who liked it so much that he had all the works by other painters removed from his chambers.

In 1648 La Tour was listed among the founding members of the Royal Academy of Painting and Sculpture.

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Nicolas Poussin
1637-38

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Le Nain Brothers
1640

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George de La Tour
1640

Mary Magdalene popular during Baroque because she had sinned, making her more approachable as a role model for ordinary Catholics than saints who lived lives of perfection

Penitent Magdalene became one of the most popular subjects in Baroque painting

Simple country woman, sitting before a rustic table in a darkened room with two old books, a lit candle, a penitential whip and a cross

Rope around Mary’s waist is a symbol of her spiritual vocation

Skull on her lap is a memento mori

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Nicolas Poussin
1640

invented “ideal landscape:” same idea with Sabine women: not a particular place but composed in his mind; trees balance composition,architecture parallel to picture plan

somber calm; stoic; rational, physical world showing spiritual, eternal ideals

Restraint, order imposed even on nature

John identified by eagle

Shows fall of different civilizations; Christianity will not fall (John is writing book of Revelation about apocalypse)

Places to rest in foreground, middle ground, background

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Georges de La Tour
1642

Looks like a genre scene; intimacy between father and son

Like Caravaggio; night scene, shows spirituality through dramatic light

Classical: dignity, order, restraint (not outwardly dramatic), simplified forms; rational composition

Louvre

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Claude Lorrain
1648

Difference from Poussin landscape? Still classical, but revels in beauty of nature; not moralizing; more luscious, atmospheric

Idyllic: glowing color, light; soft transition between foreground, middle ground, and background; poetic (did sketches outdoors)

Also spent most of life in Rome, liked the countryside; made lots of drawings on site; also first artist known to have made oil studies outside

Still composed landscapes like Poussin; not interested in accuracy but in poetic quality; often based on ancient writings

Hazy atmosphere, How does he show space? gradual receding into space (but can identify foreground, middle ground, and background)

Elevated the status of landscape painting by adding historical, biblical, and mythological subjects

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Seaport with the Embarkation of the Queen of Sheba

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Seaport with the Embarkation of the Queen of Sheba

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Lorrain
1648

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Boats and boating--Equipment and supplies

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Pierre-paul Puget
1671-82

Milo of Crotona was legendary Greek wrestler from Crotona, a Greek settlement in southern Italy, who won 5 successive Olympic games

Influenced by Bernini, who made a trip to Paris to visit the royal court in 1665—fierceness and drama

A man of huge stature, he boasted that no one had ever brought him to his knees. It is said that he carried a live ox upon his shoulders through the stadium at Olympia, then ate it all in a single day. Tradition has it that in his old age, on seeing an oak tree partly split open with a wedge he tried to wrench it apart, but only succeeded in causing the wedge to fall out, thereby trapping his hands. He was left a helpless prey to the wild beast who soon finished him off

Compare with Bernini’s David

Hero attacked by a lion while his hand is trapped in a tree stump

Lion attacks from behind; Claws deep in thigh

Twists painfully, cries out in agony

Violent action recalls intensity of Laocoon; reference to antiquity might have gained the favor of Louis XIV

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Garden Front of the center block of the Palace of Versailles

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Garden Front of the center block of the Palace of Versailles

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Louis Le Vau and Jules Hardouin-Mansart
1667-85

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Antoine Coysevox
1676

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Galerie des Glaces (Hall of Mirrors), Palace of Versailles

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Galerie des Glaces (Hall of Mirrors), Palace of Versailles

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Jules Hardouin-Mansart, Louis Le Vau, and Charles Le Brun
1678

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Hyacinthe Rigaud
1701

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Originated in France

Continues light, movement, color from Baroque, applied to non-religious subjects

Comes from word “Rocaille”—decorative shell work used in gardens

Decorative, superficial

Luxury, opulence

Aristocratic tastes

Pastel colors

Subjects of love, flirtation, licentiousness

Fantasy

Private, intimate scenes

Lush landscapes

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Jean-Antoine Watteau
1717
Which side won the day? Colorists

Loved Rubens; made many drawings after his style; sensual use of color; adds golden haze

Started career painting sets for theater; most of his works have quality of being on stage (like a dance)

Idyllic images of aristocratic life; elegant figures luxuriously dressed in outdoor settings (back to the Limbourg brothers book of hours)

Subject: not historical or mythological; didn’t fit categories at French Academy, so they created a new category of painting: fetes galantes—scenes of love, sentimentality, melancholy

Cythera=island of love in classical mythology, one of the settings for the birth of Aphrodite/Venus

Are they arriving or leaving? About to board boat? Looking back, melancholy, nostalgia

Sculpture of Venus on right; they pay homage to her; delicate colors suggest gentle nature of lovers’ relationships; subtle gradations of tone

Figures smaller in scale than most Baroque

After Watteau’s death, his art fell out of fashion. During the French Revolution, some eighty years after the work was painted, his depictions of lavishly set pastoral escapades were associated with the old days of the monarchy and a frivolous aristocracy. This particular piece, which had entered the collection of the Louvre in 1795, was used by art students for target practice; an account by Pierre Bergeret (1782–1863) describes the drawing students throwing bread pellets at it.[3] In the early 19th century the curator at the Louvre was forced to place it in storage until 1816 in order to protect the painting from angry protesters. It was not until the 1830s that Watteau and the Rococo returned into fashion.

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Watteau
1718

Mezzetin, a stock comic character of the Italian commedia dell'arte, became an established performer on the Paris stage. Deceived lover; lovelorn

Commedia dell’arte=an improvised kind of popular comedy in Italian theaters in the 16th–18th centuries, based on stock characters. Actors adapted their comic dialogue and action according to a few basic plots (commonly love intrigues) and to topical issues.

Costume by about 1680 comprised a striped jacket and knee-britches, a floppy hat, a ruff, and a short cape. Mezzetin was by turns interfering, devious, and lovelorn, but not languorous. His head and his large, angular hands are extraordinarily expressive.

Watteau introduces wistful elements of longing and loss

His lament falls on deaf ears; his only companion is a stone statue of a woman, who has her back turned in disdain

Ivy on left=enduring love

Garden is intimate stage for emotional expression

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Jean-Antoine Watteau
1721
Jean-Antoine Watteau, Gersaint’s Signboard, 1721

Posted outside of his friend’s art gallery

Watteau’s last work (died soon afterwards of tuberculosis at 36)

People admired natural, elegant poses of figures, satin and fabrics

Portrait of Louis XIV being put in crate (he just passed away; out with the old)

Appealed to sophistication: art collectors, artists, mirrors, clocks

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Canaletto
1730

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Charles Sackville, Second Duke of Dorset

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Charles Sackville, Second Duke of Dorset

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Rosalba Carriera
1730

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Jean-Simeon Chardin
1733
also member of French academy but different background: rising middle class in France, influenced by Dutch still lifes and genre scenes; patrons were also members of middle class

Virtues of hard work, frugality, honesty, family life

Bubbles: vanitas symbol: brevity of life

Rococo: intimate, private moment; also play

National Gallery, Washington D.C./ Version in LACMA

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The Orgy, scene III of The Rake’s Progress

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The Orgy, scene III of The Rake’s Progress

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William Hogarth
1734
Different tone than French Rococo! About aristocracy but painted for lower classes; laughing at foibles of aristocracy; moral but also humorous

English painter; satire paintings of social evils popular among aristocracy and newly prosperous middle class in England; “modern moral subjects . . .similar to representations on the stage.” depicted moral decline, call for return to simpler times and values; very popular; master of storytelling details.

Series were engraved and sold in large editions; first copyright laws emerged because pirated;

Lower classes had access; Hogarth knew they were his audience

Set in Rose Tavern, a famous brothel in London; full of visual clues (woman on his lap stealing his watch; black spots on their faces cover sores from syphilis) “ancestor to the storyboard” for films

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Chardin
1736-37

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Chardin
1739

Compare Vermeer, Woman Holding a Balance, c. 1664 and Chardin, Back from the Market, 1739:

Similar: quiet, indoor, private scene

Baroque: dramatic light, symbolism, serious

Rococo: softer brush, flirtation in back, informal pose

Informal leaning (servant)

Quiet, everyday life with clarity and order like Vermeer; but softer brushwork, less formal feel

Surface details: floured loves, light on bottles, dishes

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Hogarth
1743-45

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Francois Boucher
1748
Getty Museum, LA

Studied with Watteau

Responding to the contemporary rage for pastorals depicting amorous countryside games, François Boucher here exhibited young, fashionable couples in the act of catching birds. In the 1700s, small birds played an important symbolic role in courtship ritual: the gift of a caged bird from a man to a woman signified her capture of his heart.

Posed in front of the ruins of a temple to Vesta, the virgin goddess of the hearth, home, and family in Roman religion.

young aristocratic women dressed in exquisite finery play with small birds; some still hold them on strings while others daintily hold them on their fingers.

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Francois Boucher
1750

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Boucher
1756
court painter to Madame de Pompadour—Louis XV’s mistress and political advisor and major patron of the arts; known for being educated, cultured, beautiful, elegant, sophisticated;

Influenced taste of her time; time of first fashion magazines

Luxurious room, opulent dress, surrounded by accomplishments as an educated woman (books, papers)

Rococo: pastel colors, opulence, leisurely pose, aristocratic taste; also seductive (references to Venus: cupid, roses)

Artfinder (Art of the Day): This sumptuous portrait embodies the joie de vivre of the French Rococo style in general and Boucher’s style in particular: the cool harmony of colors, luminous effect, and conspicuous leisure. Here the sumptuously attired mistress of Louis XV is depicted reclining gracefully on a pillow-strewn divan. The model of physical perfection, she is also the embodiment of style and cultivation. The drawings, books, maps, and writing instruments allude to her considerable intellectual gifts and interests. One of many portraits Boucher painted of Pompadour, this celebrates her official elevation as lady-in-waiting to her lover’s wife.

Miranda Voter: A portrait that has moved me and allowed me to think about it's area is the Portrait of Madame de Pompadour by Francois Boucher in 1756. It has really allowed me to see how God was being pushed away and how the life of man was changing into the modern society that we see today. Everyone now seems to only have one thing on their mind in all of the music and literature and try and make pieces of are always relate to the sexual mind of man. This portrait just makes me think about how our society is and what people find as pleasing. The Carob next to the clock looks angry to me as if the love that it once supported and encouraged is gone as it slouches back up against the motionless clock. Madame de Pompadour is almost mirroring the carobs pose but hers is more relaxed and impatient looking. She looks to the left as if she is waiting impatiently for her lover and the book is just their to sooth her wondering mind. The lavish colors flow around the painting symbolizing to me how the people on earth want all the best but forget that it is just an inanimate object. However beautiful the cloth may be it still lies out stiff and lifeless but the beauty is all most can see. The flowers on the ground are probably a gift but they are cast away in the ingratitude that this woman has for she wants action just as the modern world does today. These are only some of the things this woman makes me think of in the modern world but it is the one that has taught me to think about where I am and what I want to be doing and be grateful for.

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Jean-Honore Fragonard
1767

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Archduchess Marie Antoinette, Queen of France

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Archduchess Marie Antoinette, Queen of France

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Elisabeth Louise Vigee-LeBrun
1778

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Vigee-LeBrun
1787

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Lebrun
1789

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LeBrun
1789
Vigee-Lebrun, Self-Portrait with Daughter, 1789 (Louvre)

Shows impact of David’s Neoclassicism

Self taught because she was denied access to the Royal Academy; began painting portraits in her teens, but illegal because she didn’t have a license from the academy;

Married a painter and art dealer who gave her powerful contacts; became a favorite portraitist of Queen Marie-Antoinette; because of the queen’s influence, she was accepted into the Royal Academy in 1783

Reflects taste for classical (togas, Roman-style hairdo and headband; austere wall); life has begun to imitate art!

Also showed ideal of Rousseau—greater parental involvement in child-rearing (young children started showing up more in portraiture with their parents); still Rococo influence; soft contours, curvilinear patterns

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Baroque Architecture in England
Christopher Wren, Nicholas Hawksmoor
1675