BAROQUE

1600 - 1750 C.E.

Southern, Southern + Northern Aristocratic, Northern Bourgeois

CONTENT: What do you see?

FORM: The details (what you see more exactly). How the artist delivers the content.

CONTEXT: Everything NOT observable.

FUNCTION: The intended purpose of the work.

Assignments:

READINGS: 

UNIT SHEET: below

 

SNAPSHOT Sheet:

Baroque Unit Sheet Part 1
Baroque Unit Sheet Part 2
Baroque Unit Sheet Part 3

APAH 250 Images:

Southern Baroque Art

85. Calling of Saint Matthew, Caravaggio 

* Conversion of St. Paul, Death of the Virgin, Entombment, Caravaggio

82. Il Gesù, including Triumph of the Name of Jesus ceiling fresco 

88. San Carlo alle Quattro Fontane, Francesco Borromini 
89. Ecstasy of Saint Teresa, Gian Lorenzo Bernini 

* Blessed Ludovica, Gian Lorenzo Bernini

 

Southern + Northern Aristocratic Baroque

86. Henri IV Receives the Portrait of Marie de'Medici, Peter Paul Rubens 

93. The Palace at Versailles 

                  * Hall of Mirrors

                  * The Gardens of Versailles

Spanish Baroque Art

91. Las Meninas, Diego Velazquez 

* Water Carrier

 

Northern Bourgeois Baroque Art

87. Self-Portrait with Saskia, Rembrandt van Rijn 

* Dr. Tulp’s Anatomy Lesson

* Night Watch

92. Woman Holding a Balance, Johannes Vermeer 

* The Allegory of the Art of Painting, Vermeer

96. Fruit and Insects, Rachel Ruysch 

Key Ideas

  • Art during the Baroque period is influenced by the Counter-Reformation, symbolized the Catholic resurgence (after the Protestant Reformation). 
  • Baroque art flourished in Holland and became of the voice to counter Catholic art.
  • Baroque can be separated in 2 schools: classicists (influenced by Raphael) and naturalists (inspired by Titian).
  • Baroque architecture is associated with the grand and majestic royal courts.
     

The Many Faces of Baroque Art:

Blessed Ludovica, Gian Lorenzo Bernini
SOUTHERN BAROQUE (Italy & Spain):
  • Conforms to the Counter Reformation Agenda (inviting, inspiring, enticing, exciting)
  • Caravaggio= Tenebrism - dramatic use of light and shadow (figures emerging from a dark background = heightened tension and emotion)
  • Breaks away from the refined, Classical, mathematical, and careful,observation of the High Renaissance in favor of heightened emotion and movement, similar to that of theHellenistic Period of Greece
  •  
NORTHERN BAROQUE (France, Flanders & Dutch Republic):
  • For fear of creating idolatrous images Northern patrons prefer more secular subjects: group portraits, still lives, genre, landscapes, moralizing allegories, etc. 
  • more thoughtful and reflective than dramatic
  • interested in the particular identities or Psychology of Light that surrounds a person and illuminates their soul
  • Rembrandt- stringy, painterly application of paint
- Appropriated from Karissa Ferrell

ACKNOWLEDGEMENTS:

A very special thank you to Dr. Robert Coad for his infinite wisdom, amazing workshops, gift of materials and time, and years of support.

Another special thank you to Ms. Marsha Russell for her devotion to teaching and generosity in sharing her materials and knowledge with all of us.

Thank you to Valerie Park for her inspirational AP Art History web site that guided the creation of this site.

And finally, if you choose to use any of the images or information from this site, I ask that you kindly give me credit.  Thank you for visiting!

82_-_Il_Gesù,_including_Triumph_of_the_Name_of_Jesus_ceiling_fresco