06 Baroque in Italy and Spain

ART 102 Gardners - Chapter 24
Jean Thobaben
Instructor
The Baroque in Italy and Spain
Seventeenth Century Art
Baroque Art of the Seventeenth Century
The Baroque Art of
SPANISH BAROQUE
Art of the Counter-Reformation

2
Baroque comes from the Portuguese for “grotesque”;
A judgment made by later neo-classical artists who found Baroque art
too elaborate for their taste.

3
• Today the term
refers to the art
of the 17th
century.
• It is highly
ornamental and
theatrical which
is a better
description than
grotesque.
Baroque
The King’s Bedchamber from the Palace of Versailles

4
• It is he art style or art movement of the Counter-Reformation in
the 17th century.
• Although some features appear in Dutch art, the Baroque style
was limited mainly to Catholic countries.
• It is a style in which painters, sculptors, and architects sought
emotion, movement, and variety in their works.

5
Advances in the Sciences
• The increased secularization of
government coincided with
developments in science that
challenged many fundamental
religious tenets.
• Copernicus's argument that the sun
was the center of the universe, was
developed further and accepted
throughout Europe.
• The atomic basis for chemistry was established.
• Other scientific discoveries introduced ideas that had widespread
ramifications.

6
A World-Wide Market
• Various changes promoted the growth of a worldwide
marketplace.
• Trade brought coffee and tea to Europe.
• The taste for sugar, tobacco, and rice, however, contributed to
the expansion of the slave trade to provide the labor force
needed to produce these crops.
• The establishment of a worldwide mercantile system
permanently altered the face of Europe.

7
The Baroque in Italy
• The Baroque was born in Italy under the patronage of the
Catholic church.
• A papal program to beautify Rome drew artists from all over Italy.
• Artists of this era were highly skilled in drawing and painting the
human figure from every angle.
• Discover the meaning of tenebroso.

8
Gianlorenzo Bernini (1598-1680)
• Bernini was the most important
Baroque sculptor and architect
of the 17th-century and one of
the key creators of the whole era.
But he worked initially as a painter.
• This no was a sideline which he
did mainly in his youth.
• Despite this his work reveals a sure
hand.
• He studied in Rome under his own
father, Pietro, and soon became one of
the most precocious prodigies in the
history of art.
Bernini, Self-Portrait as a Mature Man, 1630-35,
Oil on canvas, Galleria Borghese, Rome

9
• This self-portrait was painted
when the artist was about 25 years
old, when he sculpted the David,
and Apollo and Daphne.
• The nervous rapidity of the
brushstrokes and quick flash of his
eyes reveal his desire to capture
expression in an instant.
• He did this systematically in his
sculpted portraits.
Self-Portrait as a Young Man c. 1623
Oil on canvas
Galleria Borghese, Rome

10
• Next is one of the few paintings by Bernini.
• He despised painting, he regarded it as deception and lie in
contrast with sculpturing which is the truth.
• He painted only five self-portraits and a few pictures representing
saints.
Saint Andrew and Saint Thomas, c. 1627,
Oil on canvas, 59 x 76 cm, National Gallery, London

11
Aeneas, Anchises,
and Ascanius, 1618-
19
Marble, height: 220
cm, Galleria
Borghese, Rome
• Primarily a sculptor and
architect Bernini was a
versatile and influential
artist.
• In this, Aeneas,
Anchises, and Ascanius
Fleeing Troy, Bernini
carved his first important
life-size sculptural group.

12
• Apollo and Daphne
is one of Bernini’s
most popular
sculptures.
• The influence of
antique sculptures and
of contemporary
paintings is clearly
seen.
• This life-size marble sculpture,
begun by Bernini at the age of 24
has always been in the same room
in the Borghese villa.
• Anyone entering the room first sees
Apollo from behind, then the fleeing
nymph appears in the process of
metamorphosis.
• Bark covers most of her body, but
according to Ovid's lines, Apollo's
hand can still feel her heart beating
beneath it.
• The scene ends by Daphne being
transformed into a laurel tree to
escape her divine aggressor.

13
• Bernini’s 1623 sculpture of
David is quite different from
the earlier David sculptures by
Michelangelo and Donatello.
• In his David, Bernini depicts
the figure casting a stone at an
unseen adversary.
David, 1623, 67” h,
Villa Borghese, Florence

14
• In comparison to the earlier
celebrated David sculptures,
Bernini paid particular attention
to the biblical text and sought to
follow it as closely as possible.
• Unlike the earlier sculptures,
Bernini's hero has a shepherd's
pouch around his neck which
already contains pebbles ready
to use in the deadly sling which
he will use against Goliath.
• The upper part of David's body is
represented immediately after has taken
a stone from his pouch.
• This means that the torso twists and
strains not just physically but
psychologically.
• The Renaissance versions of this subject
show David in tranquillity with the head
of Goliath or the sling-shot as attribute.
• Bernini, on the other hand, represents
David in action, in the very moment of
shooting.

15
• The youth's tense facial
expression is modelled on
Bernini himself as he
struggled with his tools to
work the hard marble.
• According to contemporary
sources Cardinal Maffeo
Barberini (who visited
Bernini several times in his
studio) himself held the
mirror during its execution.

16
• With the pontificate of
Urban VIII (1623-44), Bernini
entered a period
of enormous productivity and
artistic development.
• Bernini was commissioned to
build a symbolic structure over
the tomb of St Peter in St Peter's
Basilica in Rome.
• The result is the famous
immense gilt-bronze baldachin
executed between 1624 and
1633.

17
• Under Urban VIII,
Bernini began to produce
new and different kinds of
monuments –
tombs and fountains.
• Bernini transposed
Michelangelo's composition
of the Medici tombs and
thus created the models for
the Baroque monumental
tombs for long time.
• The Tomb of Urban
VIII emphasized the
pictorial aspects by
employing a broad range of
materials.
Tomb of Pope Urban VIII, 1627-47
Golden bronze and marble, figures
larger than life-size
Basilica di San Pietro, Vatican

18
• The Fontana del Tritone
was commissioned by Pope
Urban VIII.
• It is Bernini's first work of this
genre but it already shows
the characteristics of his later
fountains.
• Bernini brought the fountain
sculpture from the villa to the
city, from the natural to the
social setting.
• With him, the sculpture is
conceived in relation to the
water, to its ceaseless flow, to
its shape and course, and thus
it becomes one of the
"symbolic forms" of the
Baroque.
Fontana del Tritone, 1624-43
Travertine, over life-size
Piazza Barberini, Rome

19
• Bernini's most spectacular public monuments date from the mid-
1640s to the 1660s. (Pope Innocent X)
• The Fountain of the Four Rivers in Rome's Piazza Navona
(1648-51) supports an ancient Egyptian obelisk over a hollowed-out
rock, surmounted by four marble figures symbolizing four major rivers
of the world.
• This fountain is one of his most spectacular works.
• This fountain was executed by a large group of coworkers under the
supervision of Bernini.
• The fountain represents the four continents and their rivers, the
obelisk in the center is the symbol of Christ and the triumphing
Roman Catholic Church over the whole world.

20
• The Fountain of Trevi may or may not be the most beautiful
fountain in Rome but it is without doubt the most famous.
• The imaginative concept, the theatrical composition, the sober and
imposing beauty of the sculptured marble figures make it a true
masterpiece both of sculpture and of architecture.
• Pietro da Cortona and above all Bernini, who began the undertaking,
both had a hand in the project.
• The death of Pope Urban VIII brought work to a standstill and it was
not until about a hundred years later that Clement XII entrusted the
work to Nicola Salvi, who finished the undertaking between 1732 and
1751.

21
• The greatest single example of Bernini's mature art is the
Cornaro Chapel in Santa Maria della Vittoria, in Rome, which
completes the evolution begun early in his career.
• The chapel, commissioned by Cardinal Federigo Cornaro, is in a
shallow transept in the small church.
• Its focal point is his sculpture of
The Ecstasy of St Teresa (1645-52), a depiction of a mystical
experience of the great Spanish Carmelite reformer Teresa of
Ávila.

22
• In the Cornaro Chapel,
Bernini employed a
combination of
architecture, sculpture, and
painting to create an
appropriate dramatic
tension for the mystical
drama of the Ecstasy of
Saint Theresa.
• Bernini combines a painted
ceiling, a marble sculpture,
bronze rays of light and a
carefully placed window to
create this highly dramatic
interpretation of The Ecstasy
of St. Theresa.
Bernini, Ecstasy of St. Theresa, 1645-53.
Marble, 11 1/2 ‘ h.,
Coronaro Chapel,
Santa Maria della
Vittoria, Rome.

23
• The white marble group
of swooning saint and
smiling angel appears to
float as a vision might in
the cleverly illuminated
central niche.

24
• Bernini's most spectacular
religious decoration is the
Throne of St Peter, or the
Cathedra Petri (1657-66), a
gilt-bronze cover for the
medieval wooden throne
(cathedra) of the pope.
• Bernini's task was not only to
make a decorative cover for
the chair but also to create a
meaningful goal in the apse of
St Peter's for the pilgrim's
journey through the great
church.
• The throne symbolizes the power of
the Pope.
• Bernini created an optical and
artistic unity of the throne and the
baldachin erected above the tomb of
Saint Peter.
• The light coming from a natural
source (the window of the apse) is
part of the composition, similar to
the Saint Theresa group.
The Throne of Saint Peter, 1657-66
Marble, bronze, white and
golden stucco, San Pietro, Rome

25
• Next we see one of the last sculptures made by Bernini which,
can be considered exceptional since in this late period his sculptures
were executed by his coworkers after his design.
• The sculpture of the dying saint is placed above the altar
of the chapel where she was buried in the 16th century.
• The scene is theatrical with the lighting coming from a hidden window
above her head. The effect of light is multiplied by the decorative carpet
dividing the dying from the believers.
• On her face, the pain of the suffering and heavenly happiness
are simultaneously present resulting in an extraordinary effect.
Beata Ludovica Albertoni, 1671-74, Marble, Cappella Altieri, San Francesco a Ripa, Rome

26
Caravaggio (1571-1610)
• Caravaggio, byname of Michelangelo Merisi, was a painter whose
revolutionary technique of tenebrism, or dramatic, selective
illumination of form out of deep shadow, became a hallmark of
Baroque painting.
• Scorning the traditional idealized interpretation of religious subjects,
he took his models from the streets and painted them
naturalistically.
• His three paintings of St Matthew (c. 1597-1602) caused a
sensation and were followed by such masterpieces as The Supper
at Emmaus (1601-02) and Death of the Virgin (1605-06).

27
• Caravaggio shocked his patrons by placing religious figure
in common, earthy settings.
• This ability to make us seem as if we were in the painting is
called naturalism.
• The subjects in The Supper at Emmaus are brilliantly lit
by a single source of light.
Caravaggio, The Supper at Emmaus, 1597, Oil on canvas, 54 x 76”

28
• These exaggerated contrasts of
darks against lights are called
tenebroso.
• In his Deposition of Christ,
Caravaggio includes plebian
figure types.
• The action takes place in the
foreground, and the impression
is that the men are laying the
dead body of Christ onto the real
altar in front of the painting.
Caravaggio, Deposition of Christ,
1602-04.Oil on canvas, 117 x 79”
Vatican Museum, Rome

29
In The Conversion of St.
Paul - Caravaggio uses
both tenebroso and dramatic
placement of the figures to
engage the viewer.
According to the bible, on the
way to Damascus Saul (Paul
the Apostle) fell to the ground
when he heard the voice of
Christ saying to him, 'Saul,
Saul, why do you persecute
me?' and temporarily lost his
sight.
It was reasonable to assume
that Saul had fallen from a
horse.
The Conversion on the Way to Damascus,
1600, Oil on canvas, 230 x 175 cm, Cerasi
Chapel,, Rome

30
• In his naturalistic treatment of the Conversion of Saint
Paul, Caravaggio employs dramatic chiaroscuro effects,
called tenebrism, with sharply lit figures seen emerging
from a dark background.
• The dramatic spotlight-like light illuminates the figure of
Saint Paul and at the same time serves as the divine
source of his conversion.
• Light also carries this double meaning in the dramatically
lit commonplace setting of Caravaggio's Calling of
Saint Matthew.
Caravaggio
Calling of Saint
Matthew, ca.
1597-1601.
Oil on canvas,
11' 1" x
11' 5". Contarelli
Chapel,
San Luigi dei
Francesi,
Rome.

31
• The Calling of St Matthew shows the moment at which two men
and two worlds confront each other:
• Christ, in a burst of light, entering the room of the toll collector,
and
• Matthew, intent on counting coins in the midst of a group of gaily
dressed men with swords at their sides.
• In the glance between the two men, Matthew's world is
dissolved.
The Calling of Saint Matthew (detail), 1599-1600, Oil on canvas,
Contarelli Chapel, San Luigi dei Francesi, Rome

32
• The tax-gatherer Levi (Saint Matthew's name before he
became the apostle) was seated at a table with his four
assistants, counting the day's proceeds.
• Surprised by the intrusion and perhaps dazzled by the sudden
light from the just-opened door, Levi draws back and gestures
toward himself with his left hand as if to say, "Who, me?", his
right hand remaining on the coin he had been counting before
Christ's entrance.

33
• A papal legal adviser, Laerzio
Cherubini, commissioned a
Death of the Virgin for a
Carmelite church; it was to be
finished by 1603.
• When they saw it, the friars
found it alarming, because the
Madonna was modeled on a
prostitute with whom
Caravaggio was in love,
because her legs were exposed
or because her swollen body
was too realistic - for whichever
reason, they felt prompted to
reject it.
• The disciples are grouped
round the corpse (fixed on a
bed in rigor mortis), most
standing to the left.
• Light coming from a window
high on the left picks out their
foreheads and bald pates,
before falling on the upper part
of the Virgin's body.
• Mary's companions, her Son's
followers, are struck dumb by
their grief, like relief sculptures
on antique tombs.

34
• Mary lies as though
suspended on the coffin. In
the foreground Mary
Magdalene is lamenting,
drained of emotion and
without any hope of
redemption.
• It was pointed out that the
artist has not made a
representation of death, but
has shown a real death.
• Thus, in Christian
terms, the painting
offends the sensibility
not only of its own time,
but of all times,
because of what it
suggest about the
obscure, fearful
meaning of the end
of life.
The Death of the Virgin (detail)
1605-06, Oil on canvas,
Musée du Louvre, Paris

35
Caravaggio introduced to Italians, around 1594, genre scenes of
everyday life, but with a hidden or underlying meaning intended for the
edification of the observant spectator.
The Fortune
Teller
1596-97
Oil on canvas,
99 x 131 cm
Musée du
Louvre, Paris.

36
The Cardsharps (I Bari). c.1594-1595. Oil on canvas. Kimbell Art Museum, Fort Worth, TX,

37
Orazio Gentileschi (1563- 1639)
• After working in a Mannerist style Gentileschi became one of
the closest and most gifted of Caravaggio's followers.
• Gentileschi's work does not have the power and
uncompromising naturalism of Caravaggio, tending rather
towards the lyrical and refined.
• His graceful figures are stately and clearly disposed, with
sharp-edged drapery-qualities
• Coming from a family of artists, whose tradition was continued
by his brilliant daughter Artemesia.
Finding of
Moses,
1630-33,
Oil on
canvas,
242 x 281
cm, Museo
del Prado,
Madrid

38
• In 1621 a nobleman called Sauli
invited him Gentileschi to
Genoa.
• This was the start of the
extraordinary international
success he enjoyed with
several aristocratic patrons.
• While in Genoa he painted an
Annunciation that is often
considered his masterpiece.
• The huge red drape hanging
behind the Madonna's pure
white bed is an overt homage
to Caravaggio.
• Indeed it is to him that the
canvas owes its overall sense
of vibrant reality, its light and its
feeling.
• Gentileschi’s impeccable
draughtsmanship, derived from
his Tuscan background,
emphasized the refined and
noble qualities of the picture.
Annunciation c. 1623
Oil on canvas, 286 x 196 cm
Galleria Sabauda, Turin

39
Artemesia Gentileschi
(1593-1653)
• Artemesia, the daughter of
Orazio Gentileschi was one of
the greatest of Caravaggesque
painters and a formidable
personality.
• She was precociously gifted,
built up a European reputation,
and lived a life of
independence rare for a
woman of the time.
• Taking advantage of the fact
that 'Painting' was
personified by a female
figure, Artemisia has
combined in her self-portrait
the theoretical and practical
concepts of painting while at
the same time drawing
attention to her paradoxical
status as a female artist in
17th century society.
Self-Portrait as the Allegory of Painting
1630s,Oil on canvas,
96,5 x 73,7 cm
Royal Collection, Windsor

40
• In 1610 Artemesia painted her
first signed and dated work,
Susanna and the Elders.
• Rubens invented a new type of
scene which he defined as
neither sacred nor profane,
although taken from the Holy
Scriptures.
• Typical examples are the story
of Hagar or the Susanna and
the Elders.
• In this version of the
subject by Artemisia, the
gesture of one of the
Elders, who silences
Susanna by raising his
finger to his lips, comes
from the painting of the
same subject by Rubens.
Susanna and the Elders, 1610
Schloss Weissenstein, Pommersfelden
P.P.Rubens version , 1607

41
• Susanna a chaste wife of a wealthy man, Joachim, was taking a
bath in her garden, when two lusty elders, judges by proffesion,
saw her and demanded her favors.
• She cried for help, but the elders raised the alarm themselves
and accused her of infidelity: they said they saw her with a
young man under a tree.
• She was sentenced to death, but St. Daniel, then a young boy,
stopped the executors and asked the elders to be interrogated
separately; they were asked to show the tree under which they
had spied Susanna with her lover.
• The elders showed different trees, Susanna was justified, and
her accusers were stoned.

42
Judith Beheading Holofernes, 1611-
12, Oil on canvas,
158,8 x 125,5 cm,
Museo Nazionale di Capodimonte,
Naples
In these next two scenes from the story
of Judith, we see Artemesia’s most
famous works.
The Slaying of
Holnefernes
Depicts Judith,
with her maid,
slicing off his head.
Later version, 1612-21, Oil on canvas, 199 x 162 cm
Galleria degli Uffizi, Florence

43
Artemesia Gentileschi
C. 1625, 72 x 56 cm
Oil on Canvas, The Detroit
Institute of Art
• In Judith and her
Maidservant With
the Head of
Holofernes, we see
the women hiding
the head in a basket
to sneak out of the
enemy’s camp.

44
• The Carracci was a family of Bolognese painters, the brothers
Agostino and Annibale and their cousin Lodovico who were
prominent figures at the end of the 16th century in the movement
against the prevailing Mannerist artificiality of Italian painting.
• In the early 1580s they opened a private teaching academy, which
soon became a center for progressive art.
• In their teaching they laid special emphasis on drawing from the life
and clear draughtsmanship became a quality particularly associated
with artists of the Bolognese School, notably Domenichino and
Guido Reni, two of the leading members of the following generation
who trained with the Carracci.

45
• They continued working in
close relationship until 1595,
when Annibale, who was by
far the greatest artist of the
family, was called to Rome by
Cardinal Odoardo Farnese to
carry out his masterpiece, the
decoration of the Farnese
Gallery in the cardinal's family
palace.
• He first decorated a small
room called the Camerino
with stories of Hercules,
and in 1597 undertook
the ceiling of the larger
gallery, where the theme
was
The Loves of the Gods.

46
• The grand mythological program representing the power of love
by way of example of the Olympian gods went hand in hand with
an aesthetic concept that was to be of fundamental importance
for all subsequent Baroque fresco painting.
• In the bridal procession of Bacchus and Ariadne, which
fills the central area of the ceiling, these qualities merge to the
most highly condensed composition of the Farnese Gallery.

47
• Carracci transformed the
reception room into a shining
collection of classical pictures.
• The decoration was not intended
to be a single scene, but imitated
a collection of framed paintings
surrounding the main scene.
• The individual pictures are
painted with a smiling, serene
sense of classical antiquity
revisited and reinterpreted
through the art of Raphael,
Michelangelo, Titian and
Correggio.

48
• In contrast to the naturalism of Caravaggio,
Annibale Carracci studied and emulated the masters of
the Renaissance period and developed a classically
ordered style.
In the Flight into Egypt, Carracci created an "ideal" or "classical"
landscape in which nature is shown ordered by divine law and human reason.

49
Guido Reni
(1575 1642)
• Reni was an Italian painter
of popular religious works
and critically acclaimed
mythological scenes.
• Antique and recent Roman
art became his ideals.
• Like Domenichino, he
admired Raphael
unconditionally.
The Death of Cleopatra, 1635-40
(Palazzo Pitti), Florence

50
• The suave figures in Reni's ceiling fresco of Aurora in the Casino
Rospigliosi in Rome show the influence of Raphael
and classical art.
Guido Reni, Aurora, ceiling fresco in the Casino Rospigliosi, Rome, 1613-1614

51
• Though the significance of
Caravaggio and his influence on
painting cannot be overlooked, we
should not ignore the fact that
there was considerable resistance
against the more extreme
tendencies in his art, such as the
loss of the heroic sphere, or the
presentation of the everyday and
the ordinary.
• His greatest rival, whose influence
was to extend far beyond that of
Caravaggio well into the 18th and
19th centuries, was Guido Reni.
• An early work such as The
Massacre of the Innocents
bears clear traces of his initial
links with Caravaggio and, at the
same time, already reveals the
most important arguments
against him.
• Reni was particularly interested
in a specific problem of
composition: that of achieving a
balance between centripetal and
centrifugal movement while
combining them in a static
pictorial structure.

52
• Guido Reni's success was
underlined by the important
commissions he received.
• They included the cycle of
The Labors of Hercules
that he painted for the Duke
of Mantua and which are
now in the Louvre.
• This painting belongs to the
cycle of Hercules,
intended for the Duke of
Mantua.
• The artist applies
successfully the study of
the human body, blending a
naturalistic touch with his
passion for Greek statues.
• The joyful ardor expressed
on the face of the young
centaur carrying off
Dejanira should be noted.
The Rape of Dejanira,
Oil on canvas,
259 x 193 cm
Musée du Louvre, Paris

53
• Domenichino 1581-1641
(Domenico Zampieri), was
Annibale Carracci's favorite pupil
and one of the most important
upholders of the tradition of
Bolognese classicism.
• He was completely bowled over
by the simple, classical, and
elegant beauty of Raphael's art,
having a deep admiration for all
the great masters of the early 16th
century.
• His career was mainly
spent trying to revive that
wonderful era of the High
Renaissance, but he did
this with a completely up-
to-date critical and
intellectual approach.
Adam and Eve, 1623-25
Oil on canvas
Musée des Beaux-Arts, Grenoble

54
• Pietro da Cortona's
ceiling fresco for the Gran
Salone of the Palazzo
Barberini in Rome is a
grandiose spectacle
intended to glorify the
Barberini family.
• Cortona uses symbols and
personifications to
represent the
accomplishments and
qualities of the Barberini
and of Pope Urban VIII in
particular.

55
• Giovanni Battista
Gaulli's stunningly
grand and dazzlingly
illusionistic fresco of the
Triumph in the Name of
Jesus in the Church of Il
Gesù in Rome served to
impress and awe viewers
with the glory and power of
the Catholic Church.

56
Italian Baroque Architecture
• Carlo Maderno (1556-1629)
• Maderno began his architectural career in Rome assisting his
uncle Domenico Fontana.
• His first major Roman commission, the facade of Santa
Susanna (1597–1603), led to his appointment in 1603 as the
chief architect for Saint Peter's.

57
• Maderno's design for Santa Susanna in Rome unites the
lower and upper portions of the façade with an emphasis
on the vertical.
• The sculptural treatment of recessed niches and projecting
cornices creates dynamic patterns of light and shadow
over the whole design.
Carlo Maderno, Santa Susanna, Rome, 1597–1603

58
Maderno is best known for his work between 1606-1612 on
facade and nave of St. Peter's basilica.
The building event of the great cathedral allowed Maderno to
illustrate his talents of Renaissance application of classical
elements and proportions.

59
Bernini as Architect
• Although Bernini grafted completely new sculptural forms onto
Renaissance buildings, he maintained a continuity with the
original serenity of the Renaissance ideal.
View of the piazza and colonnades from St. Peters

60
View facing the Piazza and Colonnade
of St. Peter’s Rome,
designed 1657.
The monumental piazza in
front of Saint Peter's,
designed by Gianlorenzo
Bernini, is in the form of a
vast oval embraced by two
colonnades of huge Tuscan
columns and joined to the
façade of the church by two
diverging wings.

61
• The monumental Scala
Regia built by Bernini
connects the papal
apartments to the portico
and narthex of Saint Peter's.
• The design illusionistically
conceals the increasing
narrowness of the
passageway as the stairway
ascends.

62
Francesco Borromini (1599-1667)
• When Maderno died in 1629, Borromini joined the workshop of
Bernini.
• Under Bernini he gained more experience as a draftsman and
designer.
• In 1634 he began work as an independent architect with his
reconstruction of the monastery and church of St. Carlo
Borromeo.

63
• Borromini influenced several succeeding generations of
architects.
• His buildings are noted for their facades.
• Borrimini’s design for St. Agnase combines classic,
Renaissance and Baroque styles into a unified design.
Behind Bernini's Fountain of
Rivers (seen here, you'll find
the Church of St. Agnes in
Agony.
Sant' Agnese in Agone

64
• The church was completed in 1653-1657 by Borromini, who
designed the concave facade constructed with a single file of
pillars and columns, surmounted by a dome and with twin bell
towers.

65
• Borromini created a
dynamic counterpoint of
concave and convex
elements in the façade
of San Carlo alle
Quattro Fontane in
Rome.
Francesco Borromini,
façade of San Carlo alle Quattro Fontane
Rome, 1665–1676.

66
• The church is small, and
the plan and proportions
are said to be based on
one of the piers supporting
the dome of St Peter's.
• Because of its size, it is
also known as San Carlino
alle Quattro Fontane, Little
St Charles' at the Four
Fountains.
• This refers to the four
fountains at the corners of
the intersection where the
church stands.

67
• The centrally
planned
interior space
molds a Greek
cross design
into an oval
shape.
Plan of San Carlo
alle Quattro
Fontane,
1638–1641.

68
• He designed the walls to weave in and out as if they were formed
not of stone but of pliant substance set in motion by an energetic
space, carrying with them the deep entablatures, the cornices,
moldings and pediments.
Interior view of the dome of San Carlo alle Quattro Fontane

70
• Borromini employed concave
and convex forms in the
design of the façade
of the Chapel of Saint Ivo.
Sant’ Ivo, 1660, Rome
embraced by the wings of the Palazzo alla
Sapienza

71
• The star shape of the centralized plan rises through
the interior elevation from the floor into the dome to
create a single, dynamic, unified, and cohesive space.
Plan of the Chapel of Saint Ivo, College of the Sapienza, Rome, begun 1642.

72
• The dome, which is supported by a convex, drum-like structure,
is topped by an ornate, spiralling lantern.
Dome, Chapel of Saint Ivo, College of the Sapienza, Rome, begun 1642

73
Guarino Guarini (1624-1683)
• Guarini was ordained a Theatine priest in 1648 and consequently
generated most of his designs for the Theatine order.
• One of Europe's leading mathematicians, as evidenced in the
geometric elaboration of his buildings, Guarini was deeply
influenced by the radical designs of Borromini.
• Developing a similar design approach, he combined "complexity
and inventiveness with a profound feeling for color and light" that
was highly unusual, but successful.

74
• Guarino Guarini designed an undulating, richly textured, three-
part façade for the Palazzo Carignano in Turin.
Palazzo Carignano, Turin, Italy

75
Details from the front façade of
Palazzo Carignano, Turin, Italy, 1679–1692.

76
• For the dome of the Chapel of the Santissima
Sindone in Turin, Guarini devised a series of
segmented intersecting arches.

77
The Baroque in Spain
• The Spanish Baroque is based on developments in Italy and
the Netherlands.
• Spain is a monarchy, and Catholic ~ significant in terms of
themes and subjects.
• The 17th century is considered the “Golden Age” of
Spanish painting.

78
José de Ribera(1588-1652)
• Influenced by Caravaggio, Jusede de Ribera
imbued his work with both a naturalism and
compelling drama.
• The brutal theme of martyrdom satisfied Counter-
Reformation and Spanish taste for the
representation of courageous resistance to pain.
• Ribera's Martyrdom of Saint Bartholomew
shows unidealized, plebeian figures.
Ribera,
Martyrdom of Saint
Bartholomew, ca.
1639. Oil on canvas,
approx. 7' 8" X 7' 8".
Museo del Prado,
Madrid.

79
• In the next slide we see Ribera breach the traditional Spanish
dislike for mythological themes in his
Apollo and Marsyas, painted in 1637, when his style had reached
maturity.
• The figure of the god is marked by the classicism which was then in
fashion in Naples.
• His anatomical perfection, his youth and his idealized beauty are
surrounded by flowing, airy draperies which accentuate the diagonal
thrust of the composition.
• In the spirit of the baroque, the roughness of Marsyas' body and the
shape of the tree contrast with this classicism.
Apollo Flaying Marsyas, 1637, Oil on canvas,, Musées Royaux des Beaux-Arts, Brussels

80
• Ribera broadened the
Baroque repertory by his
series of philosophers
depicted as beggars or
vagabonds.
• The image we have today of
the ancient scholar owes
much to the classicistic
ideals of the 19th century.
• This concept of cool distance
and noble gravity is
contradicted sharply by such
a painting as Ribera's
Archimedes: the great
physicist, mathematician and
natural scientist is shown
here as a toothless old
Spaniard.
Archimedes, 1630, Oil on canvas,
125 x 81 cm
Museo del Prado, Madrid

81
Francisco de Zurbaran (1598-1664)
• His use of sharply defined, often brilliant, colors, minute detail in
simple compositions, strongly three-dimensional modeling of
figures, and the shadowed light that brightly illuminates his
subjects all give his paintings a solidity and dignity evocative of
the solitude and solemnity of monastic life.
• Zurbaran’s work at its best fuses two dominant tendencies in
Spanish art, realism and mysticism.

82
• Zurbarán was also
influenced by
Caravaggio's
naturalism and
dramatic lighting.
• In his painting of
St.Serapion,
he shows the
coarse-featured
saint emerging in
bright
light from a dark
background.

83
• Zurbaran devoted himself
almost entirely to religious
works.
• He worked for churches and
monasteries over a wide
area of southern Spain and
his works were exported to
South America.
Zurbarán, St. Francis Kneeling,
1635-39. Oil on canvas. National Gallery,
London

84
Francisco de Zurbarán. Still Life with Lemons, Oranges
and Rose. 1633. Norton Simon Museum of Art, Pasadena
Zurbaran also applied dramatic
effect to the occasional still life.

85
Diego Rodriguez de Silva y Velasquez(1599-1660)
• Velázquez is considered to have
been Spain’s greatest baroque
artist.
• He, with Francisco de Goya and
El Greco, forms the great
triumvirate of Spanish painting.

86
The influence of
Caravaggio is also
seen in the dramatic
contrast of darks and
lights in Diego
Velázquez's Water
Carrier of Seville,
which also includes
plebeian figures and
finely painted,
naturalistic detail.
Velázquez, Water Carrier of Seville,
ca. 1619. Oil on canvas, 41 1/2" x
31 1/2". Wellington

87
• Velázquez's religious
paintings, images of simple
piety, portray models drawn
from the streets of Seville, as
Pacheco states in his
biography of Velázquez.
• In Adoration of the Magi the
artist painted his own family in
the guise of biblical figures,
including a self-portrait as well.
• He painted The Adoration of
the Magi in heavy, dark colors
and his lack of experience is
evident in the representation of
the faces.
• The composition is somewhat
uncertain and the spatial
relations are by no means
perfect: yet the picture reveals
Velázquez's genius as a
portraitist
The Adoration of the Magi, 1619
Museo del Prado, Madrid

88
After painting this portrait of the
king, Velasquez was
appointed court painter to
Philip IV..
He was to paint many images of
the members of the royal
family.
Philip IV , c. 1624-27 , Oil on canvas, 82
3/4 x 40 1/8 in); Museo del Prado, Madrid.

89
• The court appointment of Velázquez gave him few opportunities for
religious painting, and only occassionally did he execute subject
pictures, except during his Italian journeys.
• He was little influenced by other artists, though he profited from the
visit of Rubens in 1628, which was his first contact with a great living
painter, who was also a court painter.
• Whether or not it was Rubens who inspired him to visit Italy, it was due
to Rubens's influence that he obtained permission to go. He left in
August 1629, visited Genoa, Venice, Rome and Naples and returned
to Madrid in 1631.
• The Joseph's Bloody Coat Brought to Jacob, painted in Italy,
shows his preoccupation with the male nude.

90
In the psychological painting The Forge of
Vulcan, Velasquez depicts the moment that
Vulcan becomes aware he is a cuckold?
The Forge of Vulcan, 1630 , Oil /canvas, 88 x 115”, Museo del Prado

91
• On his return to Madrid,
Velázquez resumed his
duties as court
portraitist with the
sensitive rendition of
Prince Balthasar
Carlos an image made
poignant by the young
prince's death before
reaching adulthood.
• The realistic portrait was
executed in the first years of
the mature period of the
artist.
Prince Baltasar Carlos as Hunter,
1635-36, Oil on canvas,
191 x 103 cm, Museo del Prado, Madrid

92
• This Portrait of
Philip IV in military
dress shows the king
as a military leader.
Velázquez,
“Portrait of Philip IV
1644. Oil on canvas, 51 1/8" x 39
1/8". The
Frick Collection,
New York.

93
• Velázquez's contribution to the cycle of battle pictures included
the Surrender of Breda portraying a magnanimous Spanish
general receiving the leader of defeated Flemish troops after the
siege of that northern town in 1624.
• The delicacy of handling and astonishing range of emotions
captured in a single painting make this the most celebrated
historical composition of the Spanish baroque.

94
During his year's stay in
Rome (1649-50) he
painted the magnificent
portraits
Juan de Pareja and
Pope Innocent X
Juan de Pareja, 1650
Oil on canvas, 81.3 x 69.9 cm
Metropolitan Museum of Art, New
York

95
Portrait of Innocent X
c. 1650
Oil on canvas,
141 x 119 cm
Galleria Doria-
Pamphili, Rome

96
The most famous of
Velasquez’s works is
Las Meninas or The
Maids of Honor.
This is a complex work
visually.
Where are the eyes of
the figures focused?
The paintings also gives
the viewer a glimpse of
life at Philip’s court.
Diego Velasquez, Las Meninas,
1656, oils, 125” x 108”, Prado

98
• An artist whose religious paintings
emphasized the peaceful, joyous
aspects of spiritual life, Murillo
was the first Spanish painter to
achieve renown in Europe.
• Murillo was much admired in
England where his influence can
be seen in the paintings of Sir
Joshua Reynolds and John
Constable.
Bartolome Estoban
Murillo (1617-1682)
Immaculate Conception, 1666-
1670

99
• Among the pictures
painted when Murillo
was a youth are
several affectionate
studies of the ragged
boys and the flower
girls of Seville.
The Young Beggar
Oil on canvas ,53 x 39 1/4 “, Musee du
Louvre,
Paris

100
• The term Baroque, originally used in a pejorative sense, is employed
today generally as a period designation. But no commonalities can be
ascribed to all of the art and cultures of this period.
• The coordination of long-distance trade and the expansion of markets
contributed to the intense economic competition between European
countries.
• Stimulated by the energy and demands of the Catholic Counter-
Reformation, Italian Baroque art developed a new dynamic and
spectacular style that is characterized by dramatic theatricality,
grandiose scale, and elaborate ornateness.

101
• The monumental piazza in front of Saint Peter's, designed by
Gianlorenzo Bernini, is in the form of a vast oval. Bernini's marble
statue of David catches the figure in a dramatic moment of split-second
action.
• The Italian Baroque architect Francesco Borromini created a dynamic
counterpoint of concave and convex elements in his façades.
• The manipulation of space and the creation of theatrical effects are also
evident in Baroque painting, notably in the work of Caravaggio. His
unidealized figures and naturalistic treatment of subject matter
influenced many later artists.

102
• In contrast to Caravaggio, Annibale Carracci and his followers studied
and emulated the masters of the Renaissance period and developed a
classically ordered style.
• As a predominantly Catholic country, Counter-Reformation imperatives
encouraged Spanish Baroque artists to produce art that moved
viewers towards greater devotion and piety.
• After he became official court painter to Philip IV, Velázquez painted in
a style that relies less on Caravaggio and more on Titian and Rubens.

06 Baroque in Italy and Spain

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