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Baroque painting

December 26, 2022

Baroque painting is the painting associated with the Baroque cultural movement. The movement is often identified with Absolutism, the Counter Reformation and Catholic Revival,[1][2] but the existence of important Baroque art and architecture in non-absolutist and Protestant states throughout Western Europe underscores its widespread popularity.[3]

The Calling of Saint Matthew (1599–1600), by Caravaggio. Contarelli Chapel, San Luigi dei Francesi, Rome. The beam of light, which enters the picture from the direction of a real window, expresses in the blink of an eye the conversion of St Matthew, the hinge on which his destiny will turn, with no flying angels, parting clouds or other artifacts.
Rembrandt van Rijn, The Night Watch or The Militia Company of Captain Frans Banning Cocq, 1642, oil on canvas, 363 cm × 437 cm (143 in × 172 in), Rijksmuseum, Amsterdam. The painting is a classic example of Baroque art.
Orazio Gentileschi, David and Goliath (c. 1605-1607)

Baroque painting encompasses a great range of styles, as most important and major painting during the period beginning around 1600 and continuing throughout the 17th century, and into the early 18th century is identified today as Baroque painting. In its most typical manifestations, Baroque art is characterized by great drama, rich, deep colour, and intense light and dark shadows, but the classicism of French Baroque painters like Poussin and Dutch genre painters such as Vermeer are also covered by the term, at least in English.[4] As opposed to Renaissance art, which usually showed the moment before an event took place, Baroque artists chose the most dramatic point, the moment when the action was occurring: Michelangelo, working in the High Renaissance, shows his David composed and still before he battles Goliath; Bernini's Baroque David is caught in the act of hurling the stone at the giant. Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance.

Among the greatest painters of the Baroque period are Velázquez, Caravaggio,[5] Rembrandt,[6] Rubens,[7] Poussin,[8] and Vermeer.[9] Caravaggio is an heir of the humanist painting of the High Renaissance. His realistic approach to the human figure, painted directly from life and dramatically spotlit against a dark background, shocked his contemporaries and opened a new chapter in the history of painting. Baroque painting often dramatizes scenes using chiaroscuro light effects; this can be seen in works by Rembrandt, Vermeer, Le Nain and La Tour. The Flemish painter Anthony van Dyck developed a graceful but imposing portrait style that was very influential, especially in England.

The prosperity of 17th century Holland led to an enormous production of art by large numbers of painters who were mostly highly specialized and painted only genre scenes, landscapes, still lifes, portraits or history paintings. Technical standards were very high, and Dutch Golden Age painting established a new repertoire of subjects that was very influential until the arrival of Modernism.

History

The Council of Trent (1545–63), in which the Roman Catholic Church answered many questions of internal reform raised by both Protestants and by those who had remained inside the Catholic Church, addressed the representational arts in a short and somewhat oblique passage in its decrees. This was subsequently interpreted and expounded by a number of clerical authors like Molanus, who demanded that paintings and sculptures in church contexts should depict their subjects clearly and powerfully, and with decorum, without the stylistic airs of Mannerism. This return toward a populist conception of the function of ecclesiastical art is seen by many art historians as driving the innovations of Caravaggio and the Carracci brothers, all of whom were working (and competing for commissions) in Rome around 1600, although unlike the Carracci, Caravaggio persistently was criticised for lack of decorum in his work. However, although religious painting, history painting, allegories, and portraits were still considered the most noble subjects, landscape, still life, and genre scenes were also becoming more common in Catholic countries, and were the main genres in Protestant ones.

The term

The term "Baroque" was initially used with a derogatory meaning, to underline the excesses of its emphasis. Others derive it from the mnemonic term "Baroco" denoting, in logical Scholastica, a supposedly laboured form of syllogism.[10] In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, which sharply contrasted the clear and sober rationality of the Renaissance. It was first rehabilitated by the Swiss-born art historian, Heinrich Wölfflin (1864–1945) in his Renaissance und Barock (1888); Wölfflin identified the Baroque as "movement imported into mass", an art antithetic to Renaissance art. He did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Writers in French and English did not begin to treat Baroque as a respectable study until Wölfflin's influence had made German scholarship pre-eminent.

National variations

Led by Italy, Mediterranean countries, slowly followed by most of the Holy Roman Empire in Germany and Central Europe, generally adopted a full-blooded Baroque approach.

A rather different art developed out of northern realist traditions in 17th century Dutch Golden Age painting, which had very little religious art, and little history painting, instead playing a crucial part in developing secular genres such as still life, genre paintings of everyday scenes, and landscape painting. While the Baroque nature of Rembrandt's art is clear, the label is less used for Vermeer and many other Dutch artists. Most Dutch art lacks the idealization and love of splendour typical of much Baroque work, including the neighbouring Flemish Baroque painting which shared a part in Dutch trends, while also continuing to produce the traditional categories in a more clearly Baroque style.

In France a dignified and graceful classicism gave a distinctive flavour to Baroque painting, where the later 17th century is also regarded as a golden age for painting. Two of the most important artists, Nicolas Poussin and Claude Lorrain, remained based in Rome, where their work, almost all in easel paintings, was much appreciated by Italian as well as French patrons.

Baroque painters

 
Jacob Isaakszoon van Ruisdael, Bentheim Castle (1653).
 
Jan Brueghel the Elder, The Entry of the Animals Into Noah's Ark, 1613.
 
Peter Paul Rubens, Galileo Galilei, c. 1630
 
Georges de La Tour, Joseph the Carpenter, 1642, Louvre
 
Francisco de Zurbarán, The Birth of the Virgin, c. 1625–1630
 
Bartolomé Esteban Murillo, Saint Peter in Tears, 1650–1655
 
Tomás Yepes, Virgen de los desamparados (1644), a trompe-l'œil in horror vacui Baroque style

British

Dutch

Czech (Bohemian)

Flemish

French

German

Hungarian

Italian

Polish

Portuguese

Spanish

Gallery

Main articles: Baroque, Quadratura, and Flemish Baroque painting

See also

References

  1. ^ Counter Reformation, from Encyclopædia Britannica Online, latest edition, full-article.
  2. ^ Counter Reformation 2008-12-11 at the Wayback Machine, from The Columbia Encyclopedia, Sixth Edition. 2001–05.
  3. ^ Helen Gardner, Fred S. Kleiner, and Christin J. Mamiya, "Gardner's Art Through the Ages" (Belmont, California: Thomson/Wadsworth, 2005)
  4. ^ For example, in French calling Poussin Baroque would be generally rejected
  5. ^ "Getty profile, including variant spellings of the artist's name". Getty.edu. 2002-12-11. Retrieved 2012-02-13.
  6. ^ Gombrich, p. 420.
  7. ^ Belkin (1998): 11–18.
  8. ^ His Lives of the Painters was published in Rome, 1672. Poussin's other contemporary biographer was André Félibien.
  9. ^ W. Liedtke (2007) Dutch Paintings in the Metropolitan Museum of Art, p. 867.
  10. ^ Panofsky, Erwin (1995). "What is Baroque?". Three Essays on Style. The MIT Press: 19.
  11. ^ Often described as Saint Bartholemew, martyred in similar fashion, but now recognized as St Philip. See Museo del Prado, Catálogo de las pinturas, 1996, p. 315, Ministerio de Educación y Cultura, Madrid, No ISBN.

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December 26, 2022
baroque, painting, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, news, newspapers, books, scholar, jstor, february. This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Baroque painting news newspapers books scholar JSTOR February 2019 Learn how and when to remove this template message Baroque painting is the painting associated with the Baroque cultural movement The movement is often identified with Absolutism the Counter Reformation and Catholic Revival 1 2 but the existence of important Baroque art and architecture in non absolutist and Protestant states throughout Western Europe underscores its widespread popularity 3 The Calling of Saint Matthew 1599 1600 by Caravaggio Contarelli Chapel San Luigi dei Francesi Rome The beam of light which enters the picture from the direction of a real window expresses in the blink of an eye the conversion of St Matthew the hinge on which his destiny will turn with no flying angels parting clouds or other artifacts Rembrandt van Rijn The Night Watch or The Militia Company of Captain Frans Banning Cocq 1642 oil on canvas 363 cm 437 cm 143 in 172 in Rijksmuseum Amsterdam The painting is a classic example of Baroque art Orazio Gentileschi David and Goliath c 1605 1607 Baroque painting encompasses a great range of styles as most important and major painting during the period beginning around 1600 and continuing throughout the 17th century and into the early 18th century is identified today as Baroque painting In its most typical manifestations Baroque art is characterized by great drama rich deep colour and intense light and dark shadows but the classicism of French Baroque painters like Poussin and Dutch genre painters such as Vermeer are also covered by the term at least in English 4 As opposed to Renaissance art which usually showed the moment before an event took place Baroque artists chose the most dramatic point the moment when the action was occurring Michelangelo working in the High Renaissance shows his David composed and still before he battles Goliath Bernini s Baroque David is caught in the act of hurling the stone at the giant Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance Among the greatest painters of the Baroque period are Velazquez Caravaggio 5 Rembrandt 6 Rubens 7 Poussin 8 and Vermeer 9 Caravaggio is an heir of the humanist painting of the High Renaissance His realistic approach to the human figure painted directly from life and dramatically spotlit against a dark background shocked his contemporaries and opened a new chapter in the history of painting Baroque painting often dramatizes scenes using chiaroscuro light effects this can be seen in works by Rembrandt Vermeer Le Nain and La Tour The Flemish painter Anthony van Dyck developed a graceful but imposing portrait style that was very influential especially in England The prosperity of 17th century Holland led to an enormous production of art by large numbers of painters who were mostly highly specialized and painted only genre scenes landscapes still lifes portraits or history paintings Technical standards were very high and Dutch Golden Age painting established a new repertoire of subjects that was very influential until the arrival of Modernism Contents 1 History 1 1 The term 2 National variations 3 Baroque painters 3 1 British 3 2 Dutch 3 3 Czech Bohemian 3 4 Flemish 3 5 French 3 6 German 3 7 Hungarian 3 8 Italian 3 9 Polish 3 10 Portuguese 3 11 Spanish 4 Gallery 5 See also 6 References 7 ReadingHistory Edit Nativity by Josefa de obidos 1669 National Museum of Ancient Art Lisbon The Council of Trent 1545 63 in which the Roman Catholic Church answered many questions of internal reform raised by both Protestants and by those who had remained inside the Catholic Church addressed the representational arts in a short and somewhat oblique passage in its decrees This was subsequently interpreted and expounded by a number of clerical authors like Molanus who demanded that paintings and sculptures in church contexts should depict their subjects clearly and powerfully and with decorum without the stylistic airs of Mannerism This return toward a populist conception of the function of ecclesiastical art is seen by many art historians as driving the innovations of Caravaggio and the Carracci brothers all of whom were working and competing for commissions in Rome around 1600 although unlike the Carracci Caravaggio persistently was criticised for lack of decorum in his work However although religious painting history painting allegories and portraits were still considered the most noble subjects landscape still life and genre scenes were also becoming more common in Catholic countries and were the main genres in Protestant ones The term Edit The term Baroque was initially used with a derogatory meaning to underline the excesses of its emphasis Others derive it from the mnemonic term Baroco denoting in logical Scholastica a supposedly laboured form of syllogism 10 In particular the term was used to describe its eccentric redundancy and noisy abundance of details which sharply contrasted the clear and sober rationality of the Renaissance It was first rehabilitated by the Swiss born art historian Heinrich Wolfflin 1864 1945 in his Renaissance und Barock 1888 Wolfflin identified the Baroque as movement imported into mass an art antithetic to Renaissance art He did not make the distinctions between Mannerism and Baroque that modern writers do and he ignored the later phase the academic Baroque that lasted into the 18th century Writers in French and English did not begin to treat Baroque as a respectable study until Wolfflin s influence had made German scholarship pre eminent National variations EditLed by Italy Mediterranean countries slowly followed by most of the Holy Roman Empire in Germany and Central Europe generally adopted a full blooded Baroque approach A rather different art developed out of northern realist traditions in 17th century Dutch Golden Age painting which had very little religious art and little history painting instead playing a crucial part in developing secular genres such as still life genre paintings of everyday scenes and landscape painting While the Baroque nature of Rembrandt s art is clear the label is less used for Vermeer and many other Dutch artists Most Dutch art lacks the idealization and love of splendour typical of much Baroque work including the neighbouring Flemish Baroque painting which shared a part in Dutch trends while also continuing to produce the traditional categories in a more clearly Baroque style In France a dignified and graceful classicism gave a distinctive flavour to Baroque painting where the later 17th century is also regarded as a golden age for painting Two of the most important artists Nicolas Poussin and Claude Lorrain remained based in Rome where their work almost all in easel paintings was much appreciated by Italian as well as French patrons Baroque painters Edit Jacob Isaakszoon van Ruisdael Bentheim Castle 1653 Jan Brueghel the Elder The Entry of the Animals Into Noah s Ark 1613 Peter Paul Rubens Galileo Galilei c 1630 Georges de La Tour Joseph the Carpenter 1642 Louvre Francisco de Zurbaran The Birth of the Virgin c 1625 1630 Bartolome Esteban Murillo Saint Peter in Tears 1650 1655 Tomas Yepes Virgen de los desamparados 1644 a trompe l œil in horror vacui Baroque style British Edit William Dobson 1611 1646 George Jamesone 1587 1644 Godfrey Kneller 1646 1723 Peter Lely 1618 1680 Daniel Mijtens 1590 1648 John Michael Wright 1617 1694 Dutch Edit Rembrandt 1606 1669 Hendrick Avercamp 1585 1634 Gerard ter Borch 1617 1681 Adriaen Brouwer 1605 1638 Hendrick ter Brugghen 1588 1629 Aelbert Cuyp 1620 1691 Gerrit Dou 1613 1675 Jan van Goyen 1596 1656 Frans Hals 1580 1666 Meindert Hobbema 1638 1709 Gerard van Honthorst 1592 1656 Pieter de Hooch 1629 1684 Willem Kalf 1619 1693 Pieter van Laer 1599 1642 Judith Leyster 1609 1660 Gabriel Metsu 1629 1667 Adriaen van Ostade 1610 1685 Jacob van Ruisdael 1628 1682 Salomon van Ruysdael 1602 1670 Pieter Jansz Saenredam 1597 1665 Johannes Vermeer 1632 1675 Jan Steen 1626 1679 Czech Bohemian Edit Vaclav Hollar 1607 1677 Karel Skreta 1610 1674 Petr Brandl 1668 1735 Vaclav Vavrinec Reiner 1686 1743 Flemish Edit Peter Paul Rubens 1577 1640 Anthony van Dyck 1599 1641 Jacob Jordaens 1593 1678 Jan Brueghel the Elder 1568 1625 Frans Francken the Younger 1581 1642 Clara Peeters 1594 1657 Gerard Seghers 1591 1651 Frans Snyders 1579 1657 David Teniers the Younger 1610 1691 Adriaen van Utrecht 1599 1652 Cornelis de Vos 1584 1651 French Edit Valentin de Boulogne 1591 1632 Philippe de Champaigne 1602 1674 Laurent de La Hyre 1606 1656 Georges de La Tour 1593 1652 Charles Le Brun 1619 1690 Le Nain brothers Antoine Le Nain c 1599 1648 Louis Le Nain c 1593 1648 Mathieu Le Nain 1607 1677 Eustache Le Sueur 1617 1655 Claude Lorrain 1600 1682 Pierre Mignard 1612 1695 Hyacinthe Rigaud 1659 1743 Nicolas Poussin 1594 1665 Simon Vouet 1590 1649 German Edit Cosmas Damian Asam 1686 1739 Adam Elsheimer 1578 1610 Johann Liss 1590 1627 Sebastian Stoskopff 1597 1657 Hungarian Edit Adam Manyoki 1673 1757 Italian Edit Federico Barocci 1535 1612 Jacopo Chimenti 1554 1640 Giovanni Battista Paggi 1554 1627 Antonio Tempesta 1555 1630 Bartolomeo Cesi 1556 1629 Alessandro Maganza 1556 1640 Bernardo Castello 1557 1629 Lodovico Cigoli 1559 1613 Enea Talpino 1559 1626 Bartolommeo Carducci 1560 1610 Caravaggio 1571 1610 Guercino 1591 1666 Annibale Carracci 1560 1609 Guido Reni 1575 1642 Giuseppe Passeri 1654 1714 Orazio Gentileschi 1563 1639 Artemisia Gentileschi 1592 c 1656 Domenichino 1581 1641 Agostino Carracci 1557 1602 Ludovico Carracci 1555 1619 Bernardo Strozzi 1581 1644 Pietro da Cortona 1596 1669 Giovanna Garzoni 1600 1670 Virginia Vezzi 1601 1638 Gregorio Preti 1603 1672 Francesco Cozza 1605 1682 Mattia Preti 1613 1699 Salvator Rosa 1615 1673 Luca Giordano 1634 1705 Elisabetta Sirani 1638 1665 Andrea Pozzo 1642 1709 Polish Edit pl Jan Reisner 1655 1713 Jerzy Siemiginowski Eleuter 1660 1711 Szymon Czechowicz 1689 1775 Bartlomiej Strobel 1591 1650 Krzysztof Boguszewski 1635 Portuguese Edit Josefa de obidos 1630 1684 Spanish Edit Jose Antolinez 1635 1675 Alonso Cano 1601 1667 Juan Carreno de Miranda 1614 1685 Claudio Coello 1642 1693 Juan van der Hamen 1596 1631 Juan Bautista Maino 1569 1649 Juan Bautista Martinez del Mazo 1612 1667 Bartolome Esteban Murillo 1617 1682 Antonio de Pereda 1611 1678 Lorenzo Quiros 1717 1789 Francisco Ribalta 1565 1628 Jose de Ribera Lo Spagnoletto 1591 1652 Juan de Valdes Leal 1622 1690 Diego Velazquez 1599 1660 Tomas Yepes 1595 or 1600 1674 Francisco Zurbaran 1598 1664 Gallery EditMain articles Baroque Quadratura and Flemish Baroque painting Caravaggio Bacchus c 1595 Oil on canvas 95 x 85 cm Galleria degli Uffizi Florence Artemisia Gentileschi Judith Slaying Holofernes 1614 20 oil on canvas 199 x 162 cm Galleria degli Uffizi Florence Frans Hals Gypsy Girl 1628 30 oil on wood 58 x 52 cm Musee du Louvre Paris Peter Paul Rubens Judgement of Paris c 1636 National Gallery London Nicolas Poussin The Rape of the Sabine Women 1637 38 Louvre Paris Jose de Ribera Martyrdom of St Philip 1639 Prado Madrid 11 Salvator Rosa Philosophy Of Silence and Speech Silence is better 1640 National Gallery London Diego Velazquez The Surrender of Breda 1635 oil on canvas Museo del Prado Madrid Claude Lorrain The Embarkation of the Queen of Sheba 1648 149 194 cm National Gallery London Diego Velazquez Las Meninas 1656 57 oil on canvas 318 x 276 cm Museo del Prado Madrid Rembrandt van Rijn The Syndics of the Clothmaker s Guild 1662 oil on canvas 191 5 cm 279 cm 75 4 in 109 8 in Rijksmuseum Amsterdam Jan Vermeer The Allegory of Painting or The Art of Painting 1666 67 130 x 110 cm Kunsthistorisches Museum ViennaSee also EditBaroque illusionistic painting History of painting Western painting Rococo PaintingReferences Edit Counter Reformation from Encyclopaedia Britannica Online latest edition full article Counter Reformation Archived 2008 12 11 at the Wayback Machine from The Columbia Encyclopedia Sixth Edition 2001 05 Helen Gardner Fred S Kleiner and Christin J Mamiya Gardner s Art Through the Ages Belmont California Thomson Wadsworth 2005 For example in French calling Poussin Baroque would be generally rejected Getty profile including variant spellings of the artist s name Getty edu 2002 12 11 Retrieved 2012 02 13 Gombrich p 420 Belkin 1998 11 18 His Lives of the Painters was published in Rome 1672 Poussin s other contemporary biographer was Andre Felibien W Liedtke 2007 Dutch Paintings in the Metropolitan Museum of Art p 867 Panofsky Erwin 1995 What is Baroque Three Essays on Style The MIT Press 19 Often described as Saint Bartholemew martyred in similar fashion but now recognized as St Philip See Museo del Prado Catalogo de las pinturas 1996 p 315 Ministerio de Educacion y Cultura Madrid No ISBN Reading EditBelkin Kristin Lohse 1998 Rubens Phaidon Press ISBN 0 7148 3412 2 Belting Hans 1994 Likeness and Presence A History of the Image before the Era of Art Edmund Jephcott University of Chicago Press ISBN 0 226 04215 4 Mark Getlein Living With Art 8th edition Gombrich E H The Story of Art Phaidon 1995 ISBN 0 7148 3355 X Christine Buci Glucksmann Baroque Reason The Aesthetics of Modernity Sage 1994 Michael Kitson 1966 The Age of Baroque Heinrich Wolfflin 1964 Renaissance and Baroque Reprinted 1984 originally published in German 1888 The classic study ISBN 0 8014 9046 4 Retrieved from https en wikipedia org w index php title Baroque painting amp oldid 1126479439, wikipedia, wiki, book, books, library,

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