In Contrast to Italian and Spanish Baroque Art 17thcentury Dutch Art Focused on

Italian Painting in the Baroque Flow

Bizarre painting emerged in the 16th century and became extremely popular in the 17th century; the Roman Loftier Baroque lasted from 1623 to 1667.

Learning Objectives

Proper noun the most important Italian painters of the 17th century

Central Takeaways

Central Points

• Baroque painting is the painting associated with the Baroque cultural movement, which began in Italy in the 17th century.
• In its most typical manifestations, Baroque painting is characterized by slap-up drama, rich, deep colour, and intense calorie-free and dark shadows.
• Caravaggio was an of import figure in early Baroque painting during the 16th and 17th centuries and inspired many mimics, known every bit Caravaggisti .
• Pietro da Cortona was the most influential painter of the High Baroque Period.
• In the later 17th century, artists such as Giordano increasingly produced monumental ceiling frescoes .

Fundamental Terms

• tenebrism: A style of painting using very pronounced light contrast (chiaroscuro), with darkness a dominating feature of the image
• fresco: In painting, the technique of applying h2o-based pigment to moisture or fresh lime mortar or plaster.

Overview: Baroque Painting

Baroque painting is associated with the Baroque cultural movement, which began in Italy in the 17th century. It encompasses a great range of styles , every bit most important and major painting during the period starting time effectually 1600 and continuing into the early 18th century is identified today equally Bizarre painting. In its most typical manifestations, Bizarre art is characterized by cracking drama, rich, deep colour, and intense light and nighttime shadows.

Relevant Italian Painters of the Time

Caravaggio

Caravaggio (1571–1610), built-in and trained in Milan, stands every bit one of the about original and influential contributors to late 16th century and early 17th century European painting. He was known for painting figures, even those of classical or religious themes, in contemporary clothing, or as ordinary men and women. His inclusion of the seedier side of life was in marked dissimilarity to the trends of the time. He used tenebrism and stark contrasts between partially lit figures and nighttime backgrounds to dramatize the effect.

Some of Caravaggio's well-nigh famous paintings include The Calling of St. Mathew, St. Thomas, The Conversion of St. Paul, The Entombment, and The Crowning of the Christ. His use of light and shadow was emulated past the Caravaggisti, the followers of Caravaggio, such equally Orazio Gentileschi (1563–1639), Artemisia Gentileschi (1592–1652/iii), Mattia Preti, Carlo Saraceni, and Bartolomeo Manfredi.

The Calling of Saint Matthew by Caravaggio: The Calling of Saint Matthew shows Caravaggio's use of tenebrism and stark contrasts between partially lit figures and nighttime backgrounds to dramatize the result.

Ecce Homoc past Caravaggio, 1605: Instance of a Baroque painting by Caravaggio

Other Artists

Other influential Italian painters during this early menstruum who influenced the development of Bizarre painting include Peter Paul Rubens, Giovanni Lanfranco, and Guercino. Other artists, such as Guido Reni and Domenico Zampieri, pursued a more classical approach. Baroque painters such as Cortona, Giovan Battista Gaulli, and Ciro Ferri continued to flourish aslope the classical tendency represented by painters such as Sacchi and Nicholas Poussin. Even a classicist painter like Sacchi's pupil Carlo Maratta was influenced in his apply of color by the Bizarre.

The principal painter of the Roman High Bizarre, a period that spanned several papal reigns from 1623 to 1667, was Pietro da Cortona. His baroque manner is conspicuously evident in paintings that he executed for the Sacchetti family unit in the 1620s and the vault fresco in the Palazzo Barberini (finished in 1639) in Rome .

Monumental ceiling frescoes mainly date to the latter part of the 17th century. Some were dramatically illusionistic , such as Gaulli's nave fresco (1674–9) in the church of the Gesu and Andrea Pozzo'southward nave vault (1691–4) in Sant'Ignazio, both in Rome. Luca Giordano (1634–1705) was born in Naples and was so prodigious in his output of paintings that he was known as 'Luca fa presto' ("Luke fast work").

The Creation of Man, fresco by Giordano in the Palazzo Medici-Riccardi in Florence, 1684–1686.: Giordano was an extremely prolific Italian Baroque painter.

Spanish Painting in the Baroque Flow

The Spanish Golden Age is a menstruation of flourishing in arts, coinciding with the political rise and decline of the Spanish Habsburg dynasty.

Learning Objectives

Define the Spanish Gold Age of painting

Central Takeaways

Key Points

• The Spanish Golden Age began in 1492, with the end of the Reconquista and the body of water voyages of Christopher Columbus to the New World . Politically, it ended no later than 1659, with the Treaty of the Pyrenees ratified between French republic and Habsburg , Spain.
• The Italian holdings and relationships made past Queen Isabella's husband and later Spain'southward sole monarch, Ferdinand of Aragon, launched a steady traffic of intellectuals across the Mediterranean between Valencia, Seville, and Florence.
• Spanish fine art independent a strong mark of mysticism and organized religion that was encouraged by the Counter-Reformation and the patronage of Kingdom of spain'southward strongly Catholic monarchs and elite. The Habsburgs, both in Spain and Austria, were great patrons of fine art in their countries.
• Diego Velázquez and Francisco de Zurbarán are often considered by scholars equally the influential founders of a uniquely Spanish way of painting during the Baroque era.

Key Terms

• Counter-Reformation: The menstruation of Catholic revival outset with the Council of Trent (1545–1563) and ending at the shut of the Xxx Years' State of war (1648); sometimes considered a response to the Protestant Reformation.
• Habsburg: A Swabian noble family unit named after it, which became the ruling (hereditary) dynasty of Austria, at times other countries (mainly in Iberia and the former Burgundian territories), and supplied successive (elected) emperors of the Holy Roman Empire.

Overview: The Castilian Golden Age

The Spanish Golden Age is a period of flourishing in arts and literature in Spain, coinciding with the Baroque era and the political rise and decline of the Spanish Habsburg dynasty . It began no earlier than 1492 with the end of the Reconquista (Reconquest), the sea voyages of Christopher Columbus to the New Earth, and the publication of Antonio de Nebrija's Gramática de la lengua castellana (Grammer of the Spanish Language). Politically, it ended no afterwards than 1659 with the Treaty of the Pyrenees, ratified betwixt French republic and Habsburg, Spain.

Spain, in the fourth dimension of the Italian Renaissance , had seen few great artists come to its shores. The Italian holdings and relationships made past Ferdinand of Aragon, Queen Isabella's husband and later Spain'southward sole monarch, launched a steady traffic of intellectuals beyond the Mediterranean between Valencia, Seville, and Florence. Luis de Morales, one of the leading exponents of Spanish Mannerist painting, retained a distinctly Spanish manner in his work reminiscent of medieval art . Spanish art, particularly that of Morales, contained a strong marking of mysticism and religion that was encouraged by the Counter-Reformation and the patronage of Kingdom of spain'southward strongly Catholic monarchs and aristocracy.

Artists of the Golden Age of Spain

The Habsburgs, both in Spain and Republic of austria, were dandy patrons of fine art in their countries. Diego Velázquez and Francisco de Zurbarán are often considered past scholars as the influential founders of a uniquely Spanish manner of painting during the Baroque era.

Diego Velázquez

Diego Velázquez is widely regarded as one of Spain's most important and influential artists. He was an individualistic artist of the contemporary Baroque catamenia and nearly well-known as a portrait creative person. In improver to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Castilian purple family, other notable European figures, and commoners, culminating in the production of his masterpiece Las Meninas (1656). Velázquez was a court painter for King Philip IV and plant increasingly high need for his portraits from statesmen, aristocrats, and clergymen beyond Europe. His portraits of the King, his chief minister, the Count-knuckles of Olivares, and the Pope himself demonstrated a belief in artistic realism and a way comparable to many of the Dutch masters.

Philip IV in Brownish and Silver, 1632: Velázquez is peradventure near well-known for his many famous portraits, including this one of King Philip 4.

Velazquez'south near famous painting, nonetheless, is the celebrated Las Meninas (1656), in which the creative person includes himself equally one of the subjects. Las Meninas (Castilian for "The Ladies in Waiting") is a painting with complex and enigmatic limerick that raises questions nearly reality and illusion, creating an uncertain human relationship between the viewer and the figures depicted. Because of these complexities, Las Meninas has been one of the most widely analyzed works in Western painting.

The painting shows a large room in the Majestic Alcazar of Madrid during the reign of King Philip Four and presents several figures, most identifiable from the Castilian court, captured in a particular moment as if in a snapshot. Some look out of the canvas towards the viewer, while others interact amid themselves. The immature Infanta Margaret Theresa is surrounded by her entourage of maids of honor, chaperone, bodyguard, 2 other figures, and a domestic dog. Just behind them, Velázquez portrays himself working at a large canvas. Velázquez looks outwards, beyond the pictorial space to where a viewer of the painting would stand. In the background there is a mirror that reflects the upper bodies of the king and queen. They appear to be placed outside the picture space in a position similar to that of the viewer, although some scholars accept speculated that their epitome is a reflection from the painting Velázquez is shown working on.

Las Meninas, 1656 (English: The Ladies in Waiting): In his most celebrated painting, Valzquez's self-portrait is included on the left.

Religion in the Fine art of the Castilian Gold Age: Francisco de Zurbarán

The religious element in Spanish art, in many circles, grew in importance with the Counter-Reformation. The austere, austere, and severe work of Francisco de Zurbarán exemplified this thread in Castilian fine art, forth with the piece of work of composer Tomás Luis de Victoria. Philip IV actively patronized artists who agreed with his views on the Counter-Reformation and organized religion. The mysticism of Zurbarán'south work—influenced by Saint Theresa of Avila—became a hallmark of Spanish art in later generations.

The Birth of the Virgin: The Nascence of the Virgin, by Francisco de Zurbarán, demonstrates the religious themes, particular the devotion to the Virgin Mary, that pervaded Counter-Reformation Spanish artwork.

Influenced by Caravaggio and the Italian masters, Zurbarán devoted himself to an artistic expression of religion and faith. He is known primarily for his religious paintings depicting monks, nuns, and martyrs, besides as for his still-lifes. Zurbarán gained the nickname Castilian Caravaggio, attributable to the forceful, realistic use of chiaroscuro in which he excelled.

Saint Francis in Meditation, c. 1631–1640, National Gallery: Zurbarán's painting of Saint Francis of Assisi is notable for its use of chiaroscuro, or high contrast between light and dark.

His paintings of St. Francis of Assisi, the immaculate conception, and the crucifixion of Christ reflected a third facet of Spanish culture in the 17th century, against the properties of religious war across Europe. Zurbarán bankrupt from Velázquez's sharp realist interpretation of fine art and looked, to some extent, to the emotive content of the painter El Greco and the before Mannerist painters for inspiration and technique, though Zurbarán respected and maintained the lighting and physical nuance of Velázquez.

French Painting in the Baroque Period

17th century painting in France was influenced by Italian Baroque sensibilities also as the Classical tastes of the powerful monarchy.

Learning Objectives

Draw the irresolute nature of 17th century French painting and its most important practitioners

Key Takeaways

Fundamental Points

• King Louis XIV established the Academy of Painting and Sculpture, which propagated a style of art with distinctly Classical affectation. Important painters of 17th century French republic include Simon Vouet, Charles Le Brun, Nicolas Poussin, Claude Lorrain, and Georges de la Tour.
• Simon Vouet is known for introducing Bizarre mode painting to France. Charles Le Brun was a pupil of Vouet and the most important painter in the court of King Louis XIV. He was responsible for the interior decoration at the Palace of Versailles.
• Nicolas Poussin is known for his Classical fashion paintings that favor clarity, logic, order, and make clean lines over colour. Claude Lorrain is known peculiarly for his work in landscape paintings.
• Georges de la Bout was a French Baroque painter known for painting religious chiaroscuro scenes.

Cardinal Terms

• chiaroscuro: An artistic technique popularized during the Renaissance, referring to the apply of exaggerated lite contrasts in order to create the illusion of volume.
• altarpiece: A work of fine art suspended above and behind a table used for religious purposes; (altar) in a church.

Overview: The Baroque Era in France

17th century painting in France was influenced by Italian Baroque sensibilities as well equally the Classical tastes of the powerful monarchy. These two strong influences resulted in a style that was unique to France and culminated in the art produced for King Louis XIV. The reign of Louis XIV saw a shift from Mannerist and Baroque styles pop in the early office of the century, during the reign of Louis Xiii, toward a more prescribed Classical style. Louis Fourteen established royal control over artisanal production in France, prohibiting the buy of luxury appurtenances from abroad. He likewise established the Academy of Painting and Sculpture, which maintained a hierarchy of genres in painting and a distinctly Classical flavor.

Influential French Painters

Important painters of 17th century French republic include Simon Vouet, Charles Le Brun, Nicolas Poussin, Claude Lorrain, and Georges de la Tour. 17th century painting in French republic was divided: on one manus there was influence from the Italian Bizarre style equally seen in the piece of work of de la Tour; on the other was a distinctive turn towards a rigid, Classical mode that was favored past the monarchy, and exemplified by the works of Le Brun, Poussin, and Lorrain. The convergence of these two styles gave 17th century painting an aesthetic tone that was wholly unique to France.

Simon Vouet and Charles Le Brun

Simon Vouet is known for introducing Baroque style painting to France. He studied in Italia and learned the techniques of the Italian masters, which he imbued with his own sensibilities. He was made "premier peintre du Roi" past Louis XIII, who deputed numerous works from him. Charles Le Brun was Vouet's about influential pupil and was to go an important painter in the courtroom of King Louis 14. Le Brun worked primarily for Louis 14, and his most important works reside at the Palace of Versailles. Mostly producing battle pieces and altarpieces , Le Brun's paintings exemplify a synthesis of Baroque and Classical styles.

Charles Le Brun, The Conquest of Franche-Comté : Charles Le Brun worked primarily for Rex Louis XIV, and his most of import works reside at the Palace of Versailles. Mostly producing battle pieces and altarpieces, Le Brun's paintings exemplify a synthesis of Bizarre and Classical styles.

Nicolas Poussin and Claude Lorrain

Nicolas Poussin is known for his Classical mode paintings created in 17th century French republic. His work features clarity, logic, order, and make clean lines over color, serving every bit a counterpoint to Bizarre style painting. He spent most of his life working in Rome and became a favorite painter of Rex Louis 14. Claude Lorrain is known particularly for his work in mural paintings. He earned the patronage of Pope Urban VIII, after which his fame grew rapidly. Lorrain and Poussin were friends and were known to have traveled the Italian countryside together.

Nicolas Poussin, Echo and Narcissus : Nicolas Poussin is known for his Classical style paintings created in 17th century France. His piece of work features clarity, logic, order, and clean lines over color.

Georges de la Tour

Georges de la Tour was a French Baroque painter known for painting religious chiaroscuro scenes lit by candlelight. His work shows a great bargain of influence from Caravaggio, characterized by the painted effects of light and dark, only is unique in that he applies this technique to genre subjects.

Georges De La Tour, Büende Maria Magdalena (Magdalena Terf) :

Flemish Painting in the Baroque Menstruation

The fashion of painting produced in Flanders during the 17th century is known as Flemish Bizarre.

Learning Objectives

Name different genres within the Flemish Baroque and its representative painters

Primal Takeaways

Primal Points

• Flemish Baroque painting is notable for the fact that it was separated into the different thematic categories of history, portraiture, genre , mural, and still life .
• Peter Paul Rubens was the preeminent painter of the Flemish Baroque style ; he was the dominant artist of history painting  and drew influence from Italian painting.
• The paintings of Adriaen Brouwer exemplified the genre painting of 17th century Flanders . They depicted scenes of the everyday life of peasants and were notable for their expressive facial studies.
• The vanitas , a blazon of still life painting that is meant to illustrate the meaninglessness of earthly life and the transience of all earthly pursuits, became very popular in 17th century Flemish painting.

Primal Terms

• monumental: Big, grand, and imposing.

Overview: Flemish Baroque

The style of painting produced in Flanders during the 17th century is known every bit Flemish Baroque. This style was produced between about 1585, when the Dutch Democracy carve up from the Habsburg Kingdom of spain regions of the south, until well-nigh 1700, when the Habsburg rule ended after the expiry of King Charles Two. Antwerp—the home of Peter Paul Rubens, Anthony Van Dyck, and Jacob Jordaens—figured prominently as a point of creative production during this time, every bit did Brussels and Ghent to a lesser extent. Peter Paul Rubens, the preeminent painter of the Flemish Bizarre way, had a strong influence on the artistic aesthetic of the 17th century.

Categories of Flemish Painting

Flemish Bizarre painting is notable for the fact that it was separated into different thematic categories, and artists of the time tended to specialize in one of these areas. These genres included history, portraiture, genre, landscape, and all the same life paintings.

History Painting

History painting, considered the near noble genre during the 17th century, was comprised of depictions of historical, biblical, mythological, and allegorical scenes. Peter Paul Rubens was the dominant painter in this category, though his pupil Anthony Van Dyck besides became prominent. More than in any other category, Flemish history painters continued to draw influence from Italian painting. Rubens spent nine years in Italy studying the piece of work of the masters, and he introduced the awe-inspiring hunting scene to painting. This is exemplified in his work Wolf and Play a trick on Hunt, which depicts a noble battle on a large calibration and was inspired by his study of classical antiquity .

Wolf and Pull a fast one on Hunt by Peter Paul Rubens: Wolf and Fox Hunt is an example of the awe-inspiring hunting scene Rubens introduced to painting.

Portrait Paintings

Portrait paintings were, for the most part, monumental or life sized, though the grouping and family portrait came into prominence during the 17th century. Although he was not a portrait painter, Rubens completed some early on works in this category. He also exerted influence through his educatee, Anthony Van Dyck, who became the court painter for Charles I of England and an influence on subsequent portraiture in England.

Genre Painting

Genre paintings describe scenes from everyday life and were very common in 17th century Flanders. These paintings feature figures with no specific identity, unremarkably engaged in activities associated with "the peasant life." Many genre artists follow the tradition of Peter Brueghel the Elder in their depiction of the lower classes. The paintings of Adriaen Brouwer, which often evidence peasants fighting and drinking, serve every bit an example of Flemish genre painting. Brouwer is known for painting his subjects in interior, rather than exterior, scenes. He was too known for his expressive facial studies, characteristic of a genre called "tronies" (faces) and exemplified in works such as The Bitter Drink.

Village Lawyer by Peter Brueghel: A genre painting by Peter Brueghel.

Landscapes

Landscape painting was another major category in the 17th century. The style developed from before 16th century Flemish landscape paintings, which were not especially realistic and employed the semi-aerial view typical of Peter Brueghel the Elder. Architectural interior painting besides became popular effectually this fourth dimension, developing out of the works of Hans Vredman de Vries and depicting the realistic interiors of existing churches and cathedrals .

Still Lifes

Floral still life painting was widespread in 17th century Flanders, popularized by Brueghel the Elder effectually 1600. His sons, Jan Brueghel the Younger and Ambrosius Brueghel, were also known flower specialists of the time. Other subjects or subcategories of nevertheless life painting included the feast still life, the animal still life, and garland scenes. Still life paintings often had an underlying moralistic message apropos the brevity of life, a trait exemplified by the "vanitas." A vanitas is a symbolic withal life painting that is meant to illustrate the meaninglessness of earthly life and the transience of all earthly pursuits. Vanitas paintings were very pop in 17th century Flemish and Dutch piece of work, and they often describe symbols such every bit skulls, flowers, rotting fruit, clocks, watches, smoke, and hourglasses, all of which are meant to convey the ephemeral nature of life on globe.

Vanitas Painting: An case of a vanitas from the 17th century by Franciscus Gysbrechts.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/painting-of-the-baroque-period/

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