1600-1750. Characterize the main concerns of Baroque art

1600-1750

Characterize the main concerns of Baroque art

Catholic Church’s response to the Protestant Reformation

decided that art of the church had become too decorative and had lost focus on subject matter

Decided art should be direct, compelling, and accurate

Catholic Popes- financed magnificent cathedrals and grand works to display their faith’s triumph after the Counter Reformation. They also wanted to attract new worshippers

by overwhelming them with theatrical, “must see” architecture.

Monarchs- designed palaces to impress visitors with the power and grandeur of the king, and to glorify themselves.

Renaissance art wasOrderlyRationalProportionalBelievable sense of space and weight

MannerismElongatedDramaticChaoticUnusual use of color and light

overly emotionaldramatic action, tension and strainmore energetic than earlier stylesartists pursued the study of nature directlyviolent narrativescolor and light are dramatically contrastedsurfaces are richly texturedspace is usually asymmetrical and lacks the

appearance of controlled linear perspectivebelievable sense of weight and spacelandscape, genre, and still life gain new

status

Baroque artists chose the most dramatic moment when the action was occurring as their composition.

The most common element throughout Baroque styles was the sensitivity to and absolute mastery of light to achieve maximum emotional impact.

1600-1750

Bernini designed a colonnade at the entrance to St. Peter’s284 columns in the colonnade. Ninety larger-than-life statues of saints. This is where the people receive the Pope’s blessing.

Huge plaza, holds half a million people. Often called “St. Peter’s Square”.

Colonnade acts a dramatic gesture of embracing arms, symbolically bringing the faithful into the church.

Shaped like a skeleton keyhole-St. Peter holds the keys to the kingdom of heaven.

100 ft. high canopy over the altar, above St. Peter’s tomb

Serves as focal point of the church’s interior

Twisted columns that spiral upwardLost wax casting-5 sections

4 angels stand guard at the top

Forming the canopy’s apex are four serpentine brackets that support the orb and the cross

Features lots of bees, and suns: symbols of the Barberini family (family name of the Pope at the time, Pope Urban VIII)

Dark bronze contrasts against the light marble

Aims at catching the figures split-second actionthe dramatic moment when he’s about to sling

the stone

Has muscular legs widely and firmly planted- he is beginning the violent pivoting motion that will launch the stone from his sling-

Tense muscular body, knotted brows, focused eyes express his unwavering resolve.

Meant to be viewed from all sides.

Seems to be moving through time and space

Harp at David’s feet symbolizes his role as a psalmist (poet).

The face is an idealized self portrait of Bernini.

St. Theresa’s diary writes of an angel of God plunging a fire-tipped arrow of divine love into her side repeatedly while she was in a trance

A mingling of spiritual and physical passion

Whole sculptural group made up of white marble

Yellow glass pours down on bronze rays that suggest the radiance of heaven

Whole altarpiece throbs with emotion, drama, and passion. Figures appear to be floating.

Bernini even created balconies around the statue, resembling theater boxes, creating a stage-like setting.

He included members of the Corano family, the patrons, inside the theater boxes.