Baroque - Influences

Artist : influences

Bernini (specified sculptor)

• Michelangelo/Renaissance - interest in human form (like David) (Schama says “Bernini worshipped Michelangelo”)

• Mannerism - Giambologna’s “Abduction of a Sabine Woman” - Movement, entrapment, daring projections

• Hellenistic Sculptures - Laocoon and his sons (Ex Uno Lapide - from one block)

Rubens (Specified painter)

• Taught by Tobias Verhaecht and Otto van Veen

• learned from works by Titian and Tintoretto on a visit to Venice

• Caravaggio

• carracci

• Peter Breugel (Dutch Landscapes)

• Hellenistic sculpture (Laocoön and his sons) - torsion and movement

• Michelangelo - frescoes and statues - anatomical accuracy and musculature)

Caravaggio

• “there can be nothing […] better than to follow nature” - Caravaggio

• Titian

• Giorgione

• Leonardo da Vinci

Zurbaran

• Caravaggio (?) (known as “spanish Caravaggio” yet Sutherland-Harris questions whether he would have ever seen a Caravaggio)

• Iconography from Pacheco (who published doctrine on painting - especially religious)

• Pacheco also similarities in the dignity afforded to the martyrs (see Christ of Clemency)

Carracci

• Pastoral poetry - inspired by Venetian artists such as Giorgione and Titian

• Mannerism - representing human figures, less animated than Baroque, more anatomical

• Northern Italian painters - Correggio, Veronese (breaking away from Mannerist style) - Balanced compositions, rich, blended colours, idealised forms

Puget

• Mannerist and Baroque masters such as Giambologna (abduction of a sabine woman - facial expressions and torsion) and Bernini (Apollo and Daphne - vivid expressions and mythological scenery)

• Hellenistic sculpture such as Laocoön and his sons - musculature and torsion - restraint

• Classical prototypes of antiquity

Flaminio Ponzio (Vasanzio)

• Villa Medici, Rome, Annibale Lippi, 1544 (u shape; rhythm; symmetry; colour'; detailed ornamentation)

• Michelangelo’s façade of palazzo senatorio (uniform, rhythm; giant orders)

• Villa Farnesina, 1506, Baltdussare Peruzzi (U shaped, rhythmic; white, ordered)

Louis Le Vaux

• François Mansart’s The chateau de maisons (steeply pitched roof (mansart); moat; duochrome)

Montañes and Pacheco

• long tradition of Spanish Polychromed wood sculpture

• virgin of Macarena (attributed Pedro Roldán)

François Mansart and Lemercier

• French Baroque - curving lines, elaborate ornamentation, harmony

• Bernini’s Baldacchino - st Peter’s - canopy/altar

• Carlo Maderno Santa Susanna Rome - “the front is reminiscent of Carlo Maderno’s ‘S.Sussana’” which has a freestanding portico with corinthian orders