Lecture 9: Baroque Art in Europe and the Americas

The Martyrdom of St. Lawrence

• Titian

• Oil on canvas

• c. 1564-1567 (Late Renaissance)

• History: After the Council of Trent, the church wanted the art to be centered around because they believed it was the universal things. It shows what St. Lawrence (3rd century Saint) being toutured as he’s a martyr (died bcause of Christianity). Lawrence is surrounded by pagans (a person holding religious beliefs other than the main and recognized beliefs). Bodies are twisted (St. Lawerence looks like he’s falling off) indicating dramatic action, scene is dark & terrifying. Uses chiaroscuro, tenebrism, diagonal lines (up & down lines like from the angel on top to the man on the floor with red hat).

• Scene is happening at night because you can see the moon peaking, it’s overcast & cloudy (clouds are used in a lot in Baroque and Ming Dynasty)

• This art was created to show what the church was going through when everything wasn’t surrounded by them. Wanted this piece to envoke strong emotions and make Catholics feel gulity for becoming Protestant (art as a vehicle to promote the church, should be “real” and “readable”)

The Conversion of St. Mathew

• Caravaggio

• Contarelli Chapel, in church of San Luigi dei Francesi, Rome

• Oil on canvas

• c. 1600

• Shows a biblical scene of people in embroidered fancy silk clothing and showing leg (contemporary clothing). Clothing doesn’t fall in Jesus era but baroque, same era as viewers from back there making it feel like they are in the artwork with them. Also, wants people who commissioned it to feel like they are in the same dark space as they are wearing the same contemporary clothing.

• Figures are sitting around a table gambling in a tavern, as Jesus walks in and points at Mathew, tax collector to follow him out of the tax collector's office. Eventually asks him to become his 1st disciple because Jesus knew he had a good heart and wanted Mathew to pass down his teachings. 

• Jesus is shown to have a gold halo but it’s light and thin (barely visible) showing humanisim and artist wants to show realism. Direct light source which lights faces and hands. Dark compostion/space and spotlight on face (tenebrism). Diagonal lines.

St. Theresa In Ecstasy

• Gian Lorenzo Bernini

• Cornaro Chapel, in church of Santa Maria della Vittoria, Rome

• Marble with bronze additions

• c. 1650

• Multi-media installation (background is part of art) placed in a chapel in a church, dedicated to St. Theresa where it seems like Heaven is behind her. Installation elements include illusionistic fluffy clouds, gilded rays or light, hidden light sources.

  • Corner of installation shows a window created by artist as he wanted the viewer look at installation through window.

• St. Theresa is a medieval Spanish nun who had a vision where an angel pierced her heart with an arrow of divine love, leading her to become a visionary saint and gain followers. 

• Shows drama and movement in her dress. Lots of folds and creases in her dress, seems like a breeze is blowing on dress . She seems like she is sleeping, dreaming, floating/levitating in sky. Deep carving creates a dramatic contrast between light and shadow. The arrows are highlighted by metal rays and light from above. Shows nudity, diagonal lines, light source, twisting bodies of both figures. 

Louis XIV

• Hyacinthe Rigaud

• Oil on canvas

• 1701

• Louis XIV, King of France (aka Sun King). Shows he’s king because background is in palace and crown in the back, not visible though because it’s not needed as other parts make it obvious he’s king. He’s standing on a slightly raised platform on an expensive designed rug. His leg/pose  was his choice, showing off his leg as he was a ballet dancer, fit for his old ages. Hair is a wilk that’s tall, long, frilly like a flower.

• Shows realism and richness. Interior is baroque because it’s gold. Shows symmetry and romanesque. Shows Louis XIV as a powerful and rich king.

  • Expensive fabric: silk, velvet, fur, tassels, embroidery (high fashion).

  • Royal attributes: crown, sword, scepter, fleur-de-lis (stylized iris/lily showing royalty), jewels, throne. Shows illusion of height. References to antiquity.

Elevation of the Cross

• Peter Paul Rubens

• Church of Saint Walburga (Antwerp, Belgium)

• Oil on wood

• 1610

• Painted on a wood panel that could be opened and closed up, opened up for special ocassions (tryptic altarpiece). A lot is going on/chaos, Jesus’s pose is diagonal and is very tense. Jesus is super pale compared to others and he’s bleeding because people are torturing are mad and lifting him up to be on cross. Shows the contrast between his pale skin and red blood. The lifting of Christ mirrors the lifting of the eucharist (bread) by the priest. Everyone is large, bulky, muscular human form, bodies twisting and straining showing tenison.

• Artwork is supposed to make us feel like we’re suppossed to be there, standing next to those guys lifting Jesus up leading to inspire emotional connection. Narrative drama, diagonals, foreshortening.

• This was also created in response to the rise of protestantism. The catholic church felt threanted and thought they were losing power (money mainly) so this was created to make people come back or new followers to come to catholic church; make them feel gulity.

Las Meninas

• Diego Velázquez

• Oil on canvas

• 1656

• “Las Meninas”: “The Ladies in Waiting”, not religious painting

• Shows the artist, Velázquez (official painter/curator to the King of Spain, Philip IV) painting a painting in this artwork as he’s standing in front of a huge canvas, looks up as the King and Queen of Spain has entered the room. The door opener is getting to open the door and greet them. Royal portrait of 5 year old princess as the central figure wants to run up to her parents, bathed in light. Is being held back ladies in waiting.

• Dramatic use of shadow and light, Diaogonal lines like huge canvas, diagonal/twisted bodies of lady in waiting. Room is filled with paintings. Human narrative: 2 ladies in waiting, 2 little people, a chaperone, a bodyguard, a dog.

• This style of painting influenced a whole generation of paintings as the artist is not painting every detail of an object/person but is giving an idea of feeling/space of what it is using strokes of colored paint (ex: flowers & sheen on silk dress, dog’s fur is fluffly, princess’s hair is soft). It’s not suppossed be so obvious what it is forcing the viewer to look longer at the artwork. 

Virgin of Guadalupe

• Basilica of Guadalupe, Mexico City

• Oil and possibly tempera on cloth

• Mid-16th century (c. 1550)

• Happens during Mexico under Spanish rule (New Spain). Created to spread Catholicism/conversion. Vision by a converted indigenous (Nahua) man, Juan Diego (image of Mary imprinted on his cloak). In the vision, Virgin Mary has dark skin like an indigenous person, wearing traditional blue (typical during Medival and Renassiance times), in a mandorla (almond shape halo) of light. 

  • Virgin Mary is popular theme in art. It’s an artwork not made by human hands (miraculous image). 

• Attributes of the Virgin of Guadalupe include Pious (religious): praying, shows humility: downward gaze, decorated with gold stars, imagery from Revelations: clothed with the sun & moon at her feet

Biombo with the Conquest of Mexico City & View of Mexico City

• Colonial Mexico (New Spain)

• Painted lacquer (glossy finish) folding screen

• Late 17th century 

• Folding screen (biombo) made in Mexico. Mexican biombos feature local themes like festivals.

• Shows a dramatoc & chaotic battle between the Spanish & the Indigenous people of Mexico (Mexica). Scenes are told from a Spanish perspective, including a false version of the assassination of Moctezuma II.

• Shows view of Mexico City: Bird’s eye view, 3D view of the city, idealized housing of the elite, city grid & plaza designed by the Aztecs (Mexica), stucco buildings with red slate roofs, focuses on public buildings & spaces (churches, monasteries, schools, town squares)

Reformation/Counter-Reformation

A period of Catholic revival that began in response to the Protestant Reformation in the 16th century. It aimed to address the issues raised by Protestant reformers and reaffirm the authority of the Catholic Church. This movement significantly influenced religious art, particularly in Spain, where artists produced works that conveyed spiritual fervor and devotion to counter the Protestant emphasis on individual interpretation of scripture.

Council of Trent

• A major council of the Roman Catholic Church in response to the Protestant Reformation. It aimed to address issues of church doctrine and reform practices, reaffirming Catholic teachings while also implementing changes to improve clerical education, the moral conduct of clergy, and the overall administration of the Church. This council had a profound influence on the development of Baroque art in Italy, as it encouraged art that conveyed religious themes more powerfully and emotionally.

• Dictated artists to depict religious subjects as clearly “readable” emotive, appropriate to the subject, with an emphasis on naturalism, drama, and visual and spiritual engagement. Art that is meant to persuade and motivate viewers to stay with (or return to) the Catholic Church.

Baroque

• Irregularly shaped, used to describe large misshapen pearls, later used to describe an extravagant style of art characterized by curving lines, gilt (covered thinly with gold), ornate details.

• Baroque art: introduces drama to the realism of the Renaissance

Tenebrism

Contrast between lights and darks (deep dark shadows & bright highlights). Darkness is the dominant element used to contrast with the light creating a sense of volume and depth. This approach emphasizes the stark differences in illumination, often spotlighting subjects against a dark background, which heightens emotional intensity and draws the viewer’s eye. This usually creates a dramatic effect on the artwork overall (an specific example of chiaroscuro)

Biombo

A folding screen originating from the Japanese word "byobu” that was popular in elite colonial Spanish American homes. These screens were used as both a functional room divider and a luxury display item, often decorated with elaborate scenes blending European, Asian, and Latin American influences.