S P A N I S H B A R O Q U E
Spain was struggling after the 30 year war - its strength was waning.
They needed art to communicate that they were still powerful, that they were not failing.
Spain remained VERY Catholic
*images of Saints were common subjects
*Monarchs too - especially Phillip III & Phillip IV –very important patrons.
SLIDE - Fransisco de Zurbaran - Saint Serapion.
1628. Oil on canvas. 4’ x 3’ 5”.
Little is known of Zurbaran’s early years - from Seville (SW Spain).
Seems influenced by Caravaggio’s style
Had many commissions from Spanish monasteries
This piece shows the horrifying depiction of martyrdom.
Saint Serapion preached the gospel to Muslims during the Crusades
He was a member of a Spanish order that rescued Christian prisoners from the Moors.
Serapion sacrificed himself in exchange for Christian captives.
He was tied to a tree, then tortured, and beheaded.
Very dramatic -Caravaggiesque lighting & background.
The small note has his name - identifies him.
The dead man is pale, with rough hands, coarse ropes - NOT IDEALIZED
Helps increase sympathy.
The folds of cloth are arranged in a pattern of highlights & shadows.
The only colors are red & gold of his insignia.
It almost appears as a tragic still-life.
SLIDE - Diego Velasquez, Water Carrier of Seville.
1619. Oil on canvas. 3’ 6” x 2’ 8”.
THE greatest painter to emerge from the Caravaggesque group from Seville.
Influenced by Caravaggio’s tenebrism & naturalism.
In his early years, painted figures in taverns & markets, and still-lifes.
Studied & did sketches from life. Did many religious paintings too
Most famous for - portraits of the Spanish court- Phillip IV and his family.
In 1623 Velasquez moved to Madrid -
Became the court painter to a young King Phillip the 4th
A comfortable position that he held until his death in 1660.
The model for this painting was a well-known Sevillian water carrier
Velasquez was only 20 when he painted this.
Common faces - not idealized.
Uses light to show sculptural form.
Masterful skill in rendering different textures:
*Glaze on the pot, the
*Water droplets on the unglazed jug, the
*Rough wool & velvet of thecostumes, the
*Reflection & refraction of the water & clear glass.
Typical “genre” scene - a slice of everyday life.
SLIDE - Diego Velasquez, Surrender of Breda.
1634 - 1635. Oil on canvas. 10’ x 12’
His style evolved subtly over the years.
Rubens visited him, in Madrid, convinced him to visit Italy.
Influenced by their Italian art - narrative & figural compositions.
This painting commemorates the Spanish victory over the Dutch in 1625.
The winners,The Spanish (right) appear organized & alert, well-armed & dressed.
MANY of them, staffs are multiple, and straight up.
The losers, The Dutch (left) seem tired, disorganized, and messy.
Their staffs are few, and tilted.
Glorifies strength of the Spanish military.
Not the typical gloating propaganda -
The Spanish general accepts the key to the city from the Mayor of Breda.
He even reaches out to keep the loser from bowing to him. Very civilized.
The large & of figures are arranged into an effective narrative.
The faces are portrait-like, with meaningful gestures.
It shows a strong grasp of color & texture.
Distant landscape.
Inspired future artists.
Put his own self-portrait in the far right, looking back at us.
SLIDE - Velasquez - Las Meninas (The Maids of Honor).
1656. Oil on canvas. 10’ 5” x 9’.
Done while he was court painter to a King Phillip the 4th
His most striking & enigmatic work. Painted in 1656, near the end of his life.
No one is completely sure of the deeper meanings.
It is a multiple portrait, very large - all of these are identifiable portraits.
*5-year old, Princess Margarita
*Princess’sattendants - a couple of them are dwarves
*Dog on floor - very realistically painted
Look like they are in Velasquez’s studio in the palace.
Seem to be acknowledging someone’s presence. WHO are they looking at?
A portrait of the King & Queenis reflected in the mirror at back.
Are they actually there? Are they reflected in a mirror? Or is this a painting?
Is he painting them, and the attendants watch, or the other way around?
If reflected, it looks as if you were standing where King Phillip & his queen would be.
Mid-ground - an unknown woman wearing widow’s clothing & an unknown man.
A chamberlain stands in the lighted doorway at the back.
Copies of Rubens paintings on the wall- images of immortal gods.
Velasquez himself is in the painting, at his easel - dressed as a courtier.
Was Velazquez trying to elevate himself & his profession?
*“Order of Santiago” insignia on his chest
*Keys of the palace on his sash.
*It hung in Phillips personal office in another part of the palace
*Probably viewed daily by Phillip.
It has an unusual sense of space, creates layers of visual mystery.
*Real space
*Reflected space in the mirror
*Paintings are pictures within pictures
What is taking place? Unsure.
This painting was cleaned in 1984 - revealed a lot about Velasquez’s paintingmethods.
*He didn’t do much underdrawing.
*Builds us his forms with loose paint layers
*Finished surfaces with highlights of lemon yellow, white, & pale orange.
He depicts the optical properties of light.
Close up, forms dissolve into a maze of individual brush strokes.
F L E M I S H B A R O Q U E - Catholic
Spainhad controlled the Netherlands, but King Philip II tried to repress the Protestants.
This led the Northern provinces to break away from Spain & set up the Dutch republic.
The Southern provinces remained Catholic under Spanish control.
(This split now roughly reflects Holland & Belgium).
Reflects not only religious differences, but artistic ones as well.
The Baroque art of Flanders (southern part) retained Catholic purposes similar to Italy’s.
The Northern Protestant Dutch developed their own art style
Made to suit their Protestant religion and growing middle class.
SLIDE - Peter Paul Rubens - Self Portrait
Rubens isFlemish Baroque (S. Catholic Netherlands.)
Born in Germany, father was Protestant, mother Catholic.
Grew up poor, but was very diplomatic, VERY fine manners.
Aristocracy loved him.
He decided in his late teens to become an artist.
He was accepted into the Antwerp painter’s guild at age 21.
In 1600 he went to Italy studied Classical Roman & Renaissance art
LikedCaravaggio & Caracci.
He returned to Antwerp and got work and got married.
Traveled & did paintings for the royalty in different countries
Italy, England, France - Rubens was very sought after. Polite. Mannerly.
Known for his nude, voluptuous women - (like his wife). “Rubens with the Boobens”.
After 1st wife died, married younger woman - kind of chubby. Ideal to him.
SLIDE - Rubens, Elevation of the Cross. AntwerpCathedral, Belgium.
1610. Oil on panel. 15’ 2” x 11’ 2” (center panel).
This Triptych was his 1st major commission in Antwerp.
Previous triptychs had side panels with different, yet related scenes.
Rubens extended the landscape & action in the two side wings -
All 3 wings are of the same scene.
Center - Herculean figures try to haul the cross upright with Jesus already on it.
STRONG diagonal line - emotion, drama. TENSE.
Left - followers of Jesus join in mourning. Dark/Light modeled figures.
Right - Soldiers supervise the execution, more captives.
Italian influence is visible -
Dramatic lighting& intense emotion - likeCaravaggio or Tintoretto
Heroic, nearly nude figures,twisted and moving - like Michelangelo
Skilled technique of Annibale Carracci.
Native Flemish tradition also visible -
Rich colors, surface realism, attention details & texture
Rubens combines Italian & Flemish styles very skillfully.
SLIDE - Rubens, Scenes from the Life of Marie de Medici,including:
Henri IV receiving Marie, Arrival of Marie de Medici at Marseilles, etc.
1622 - 1625. Oil on Canvas. Size varies with each of the 21 pieces.
His intelligence, courtly manners, & charm made him liked & trusted by royal patrons.
They knew that Rubens would give them what they wanted.
Rubens skilled at propaganda - showing the “right” to rule.
Queen Marie de Medici:
Widow of Henri the 4th (he was assassinated)
Serving as Regent for her son Louis the 13th . She was not very bright, growing obese.
Very silly woman, full of self-importance.
Wasted LOTS of money, known for arguing with her husband.
In 1621, she asked Rubens to paint the story of her life - to glorify her role in ruling France.
In 21 paintings he portrayed her life & public career
*Meant to decorate 2 galleries with these pictures.
*Shown as continuous triumph overseen by the gods.
*Finished them in just 3 YEARS - no assistants!!!
Scenes of Marie & her husband Henri appearing as companions of the Roman Gods
Apollo & other gods tutoring her for her education - Pure propaganda.
Henri receives Marie:
This one shows the story of their royal engagement.
Supposedly, Henri the 4th fell in love immediately with Marie’s portrait
Shown to him by Cupid & cherubs, while Jupiter & Juno look down.
Henri is encouraged by the personification of France to abandon war for love.
He is in military armor, the smoke of battle rises in the distance.
Putti play with his helmet & shield.
Arrival of Marie -
She has just arrived in France from sea voyage from Italy - has maids with her.
Rubens omitted her double chin - idealized a bit.
Personification of France welcomes her -
“France” is the man draped in Fleur de Lis flag (symbol of French royalty)
Neptunesea nymphs are also there to welcome her & celebrate her arrival.
Winged “Fame” trumpets above.
The ship’s commander stands in back, wears his black & silver knight’s uniform.
Rubens, Bacchus. 1638-40.
Oil on canvas, transferred from panel, 191 x 161,3 cm
SLIDE - Anthony Van Dyck - Charles I Dismounted.
1635. Oil on canvas. 9’ x 7’.
Van Dyck also Flemish. Was trained by Rubens.
Talented portraitist.
Enteredartist’s guild at age 10.
By 16, he had his own studio & students.
Worked as a portrait painter to Charles I (ruled 1625 - 49).
He was knighted, and given a summer home & a large salary.
He was kind in his portrayals of the royal family - especially King Charles
Charles was a VERY short man.
In this work he was ableto show Charles truthfully, yet still portray him as quietly imposing.
Uses the setting to Charles’ advantage
Charles stands on a bluff with ThamesRiver in the background.
He appears taller than his pages, who are in the background
because the viewer is looking slightly up at the scene.
He even looks taller than the horse, since is bends down and is partially hidden.
You hardly notice the King’s short delicate frame.
The viewer’s gaze is drawn up to his face - the King actually looks down at you.
Jaunty hat. Casual - yet finely dressed.
SLIDE - Clara Peeters, Still Life with Flowers, Goblet, Dried Fruit & Pretzels.
1611. Oil on panel. 1’ 8” x 2’ 1”.
She was a contemporary of Van Dyck, and an early still-life specialist.
A child prodigy - painting professionally before age 14.
Member of the Art Guild Antwerp.
Was married.
She completed more than 50 paintings, more than 30 of them signed.
Many are of a type called“Breakfast Pieces” -
They show a table set for a meal of bread, pretzels, fruit, nuts, etc.
One of the first artists to use flowers & food together in still life.
She arranges expensive tableware & food against neutral dark backgrounds
Helps to emphasize the fall of light over the contrasting surface textures:
Luxurious goblet & bowl, simple pewterware.
Flowers & pretzels, with complex multiple curves.
*Pretzels piled on pewter trays are a common Baroque element.
Dark background, no deep space.
Only sense of space is from the overlapping of the objects
F R E N C H B A R O Q U E
France mostly Catholic, with a vocal minority of Protestants.
Constant skirmishes between two religious groups.
Near constant civil & foreign wars.
King Henry 4thassassinated in 1610
Left his wife (Marie de Medici) to serve as regent for her 9 year old son, Louis 13th.
Yet France still earned status as THE major European world power.
French Landscape tradition: Poussin & Lorrain
SLIDE - Nicolas Poussin, Burial of Phocion.
1648. Oil on canvas. 3’ 11” x 5’ 10”.
Poussin & Lorrain significantly influenced other French artists.
Both pursued their careers in Italy.
Both Classicists - neither recorded nature as he actually saw it
Instead organized natural elements & figures into idealized compositions.
Not a specific landscape, but a carefully organized one - a type - “noble” landscape.
Organized nature - not real & messy, like nature really is.
Phocion - from Greek literature about an Athenian general tried for treason –
He was not guilty, but they thought he was & killed him.
His body being transported - since was traitor, couldn’t be buried in Athens.
Kind of isolating.
SLIDE - Claude Lorrain, Landscape with Cattle and Peasants.
1629. Oil on canvas. 3’ 6” x 4’10”.
He dedicated himself to painting landscapes and with small figures.
He was fascinated with light, liked to explore sunset & sunrise-like light
Often worked outside from nature – but also idealized it. Organized it.
Softer style than Poussin, and NOT narratives, like Poussin’s –
All about the landscape.
Soft, golden, glowing light - like early morning or late afternoon.
Lots of atmospheric perspective.
Cared about how the light actually looked - used his nature studies for accuracy.
Did hundreds of sketches of the outdoors for reference.
Relaxed scene - men hanging out & chatting, cattle mill around & drink.
Classical in style like Renaissance Venetian landscape
SLIDE - Georges La Tour, Magdalen with the Smoking Flame.
1640. Oil on canvas. 46” x 36”.
La Tour was one of Caravaggio’s most important followers in France.
Visited Italy & the Netherlands- studied Caravaggio’s art.
Was court painter to King Louis 13th (Marie de Medici’s son)
Candle or oil lamp for the light source
The light unifies the picture - conveys the mood.
Mary Magdalene has put aside her rich clothing & jewels
Meditates on the frailty and vanity of human life.
She fills the space - sense of intimacy, so close.
Louis the 14th-
The monarchy continued to Louis XIV - the “Sun King” - was 5 years old when his father died. His mother also served as regent until he was old enough. Had a LONG reign.
SLIDE - Hyacinthe Rigaud, Louis XIV. 1701. Oil on canvas. 9’ 2” x 6’ 3”.
The “Sun King” (he was the center of the universe) in all his glory, at age 63.
He felt he ruled by divine right, absolute authority.
He was a master of propaganda, used art for his glory.
Poses in his elaborate state robe
Decorated with the gold Fleur de Lis symbols, trimmed in Ermine fur
Red-heeled built up shoes he had invented to compensate for his short stature (5’ 4”). Was supposedly very proud of his elegant legs!
He is a confident leader in control. Looks DOWN on the viewer.
Pompous, pretentious, and yet, the face is so human.
Rigaud was good at capturing a mood & likeness of his subject, while
still managing to idealize them a little for flattery.
Skilled at doing rich textures and colors of the king’s surroundings & wardrobe.
Portraits were common gifts for relatives, like family photos are now.
This was made for his grandson, but he kept it, liked it so much.
Rigaud, Louis XIV (Earlier painting) 1694 – Louis was about 57 or 58
SLIDE - Louis Le Vau & Jules Hardouin Mansart, Palace of Versailles. France. 1668 - 1685. Gardens designed by Andre Le Notre.
Interior decoration by Charles Le Brun.
Louis the 13th had built a little chateau/hunting lodge in Versailles, near Paris.
In 1668, Louis the 14th began to enlarge it.
SYMBOL of his power & ambition.
Eventually, Louis required his entire court of 20,000 to live in Versailles–
5000 nobles, with 14,000 servants & military staff.
The town had another 30,000 residents, most of whom were employed at the palace.
Surrounded by gorgeous, elaborately landscaped French gardens.
SLIDE - Jules Hardouin-Mansart and Charles Le Brun, Hall of Mirrors. Palace of Versailles. Begun 1678. 240’ Long.
Literally 100’s of rooms in the palace, but this is most famous.Baroque artists love mirrors.
Took a gallery on 2nd floor -
Lined the interior wall opposite the windows with Venetian glass mirrors
(EXTREMELY EXPENSIVE!)
Same size & shape as the windows.
The mirrors reflect the natural light from the windows
Give the impression of an even larger space.
Had lots of luxurious furniture, though that is now gone - gold & silver chairs.
Le Brun’s ceiling is a tribute to Carracci’s Palazzo Farnese ceiling
Painting shows scenes that glorify the reign of Louis the 14th.
Done in a more Classical style though, like a French Baroque landscape painting like Poussin.
Shows the king as Apollo the Sun God. Very theatrical- like being on a stage.