EL GRECO The Greek 1541 1614 The Burial

EL GRECO (“The Greek, ” 1541 -1614), The Burial of Count Orgaz, Santo Tomé, Toledo, Spain, 1586. Oil on canvas, approx. 16’ x 12’. Spanish Mannerism, expressionism captures the fervent intensity of Spanish Catholicism. The tomb of Gonzalez Ruiz, the Count of Orgaz, who died in 1323, is at the base of the painting.

Detail of The Burial of Count Orgaz, 1586

Baroque Art 1600 -1700 / 17 th Century

Europe in the 17 th Century. The Peace of Westphalia in 1648 ended the religious wars. European trade and financial markets span the globe.

A great source of wealth for Europe was Latin America, the main destination of the millions of people enslaved and taken out of Africa between 1500 and 1850. The U. S. received about 523, 000 enslaved immigrants. Cuba alone got more than the U. S. Spanish America absorbed around 1. 5 million and Brazil at least 3. 5 million.

Bernini was influenced by Hellenistic sculpture like this one, The Dying Gaul, c. 200 BC. (Roman copy) GIANLORENZO BERNINI (Italian, 1598 -1680), David, 1623. Marble, approx. 5’ 7” high. Galleria Borghese, Rome.

GIANLORENZO BERNINI, Self-Portrait, about 1625

Michelangelo, Bound Slave, c. 1513 GIANLORENZO BERNINI (Italian, 1598 -1680), David, 1623. Marble, approx. 5’ 7” high. Galleria Borghese, Rome.

DONATELLO, David, 1420 s-1450 s, bronze, 5’ 2” high. First freestanding nude since antiquity MICHELANGELO, David, 1501– 1504. Marble, 13’ 5” high. BERNINI (Italian, 1598 -1680), David, 1623. Marble, approx. 5’ 7” high. Galleria Borghese, Rome.

Gianlorenzo Bernini, Cornaro chapel, Santa Maria della Vittoria, Rome, Italy, 16451652, Italian Baroque

Detail: face of Carmelite nun and Spanish Counter-Reformation saint, Teresa of Avila (1515 -1582) experiencing a transfiguring coma, the so-called “Sleep of God, ” in which Heaven is briefly experienced. Mystics like Teresa would pray for days, often unfed, to achieve such visions. BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645– 1652. Marble, height of group 11’ 6”.

Busts of members of the family of Cardinal Federico Cornaro watch as if in balcony seats on both sides. All men, witnesses to the drama, some are praying and others are perhaps arguing the authenticity of St. Theresa’s conversion. Theresa had recently been canonized.

FRANCESCO BORROMINI, Chapel of Saint Ivo, College of the Sapienza, Rome, Italy, begun 1642. Italian Baroque

Compare (above) classical forms of High Renaissance dome of Sant’Eligio degli Orefici (view into dome), Rome, Italy, attributed to BRAMANTE and RAPHAEL, ca. 1509 Francesco Borromini, Saint Ivo (view into dome), Rome, Italy, 1642, Italian Baroque, deeply coffered, high relief ornament, and an extension of walls

GUARINO GUARINI, Palazzo Carignano, Turin, Italy, 1679– 1692. Palace (private residence) of the Princess of Carignan

Details (exterior & interior) GUARINO GUARINI, Palazzo Carignano, Turin, Italy, 1679– 1692. Sweeping arabesques and ornamentation in deep relief that typifies Baroque architecture.

Theatricality is a hallmark of the Baroque. CARAVAGGIO (Michelangelo Merisi, Italian, 1573 -1610), Conversion of Saint Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, Italy, ca. 1601. Oil on canvas, approx. 7’ 6” x 5’ 9” Use of perspective, low horizon line, and tenebrism brings the viewer into the experience.

Detail from The Creation of Adam, Michelangelo, Sistine Chapel, c. 1511 What role does light play in this painting? CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, ca. 1597– 1601. Oil on canvas, 11’ 1” x 11’ 5”.

Details (Matthew & Jesus) from Caravaggio’s Calling of St. Matthew, Italian Baroque c. 1597– 1601

“Caravaggista” theatricality, tenebrism and drama Poor restoration has Removed the furrows from the women's foreheads that indicated intense concentration and effort. ARTEMISIA GENTILESCHI (Italian, 1593 -1653), Judith Slaying Holofernes, ca. 1614– 1620. Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.

Compare (left) Gentileschi’s Judith Slaying Holofernes (1614 -29) and Caravaggio’s Judith Beheading Holofernes 1598 -1599.

PIETRO DA CORTONA (Italian, 1596 -1669), Triumph of the Barberini, ceiling fresco in the Palazzo Barberini, Rome, Italy, 1633– 1639. Commissioned by Pope Urban VIII of the Barberini family. What does the fresco tell us about the Counter -Reformation?

Know term: genre – the subject of the artist is the daily life of people DIEGO VELÁZQUEZ (Spain, 1599 -1660), Water Carrier of Seville, ca. 1619 (The artist was around 20 years old. ), Oil on canvas, 3’ 5 1/2” x 2’ 7 1/2”. Wellington Museum, London. Shows influence of Caravaggio.

DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid.

Compare the representation and role of light in Caravaggio and Velazquez. CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, ca. 1597– 1601. Oil on canvas, 11’ 1” x 11’ 5”. DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid.

Self-portrait of Diego Velázquez – a detail in Las Meninas. He is wearing the cross of the Order of Santiago that he was awarded in 1659. According to legend, the king himself painted the cross.

Ostentation and elaborate spectacle PETER PAUL RUBENS (Flemish, 1577 -1640), Arrival of Marie de’ Medici at Marseilles, 1622– 1625. Oil on canvas, approx. 5’ 1” x 3’ 9 1/2”. Louvre, Paris. One of 21 vast canvases for the queen’s new Luxembourg palace in Paris.

REMBRANDT VAN RIJN (Dutch, 1606 -1669), The Company of Captain Frans Banning Cocq (The Night Watch), 1642. Oil on canvas (cropped on left and top from original size), 11” x 14’ 4”. Rijksmuseum, Amsterdam.

How is light used for psychological purposes? REMBRANDT VAN RIJN, Self-Portrait, ca. 1659– 1660. Oil on canvas, approx. 3’ 8 3/4” x 3’ 1”. Kenwood House, London.

Etching was perfected in the early 17 th century. How is it different from engraving? REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (“Hundred Guilder Print”), ca. 1649. Etching, approx. 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York.

JAN VERMEER, Woman Holding a Balance, c. 1664; Oil on canvas, 40. 3 x 35. 6 cm; National Gallery of Art, Washington D. C. Protestant piety and prosperity http: //www. youtube. com/watch? v =1 o. Yg. TP 0 MX 2 U

JAN VERMEER, Allegory of the Art of Painting, 1670– 1675. Vermeer’s probable use of the camera obscura http: //www. youtube. com/watch? v=Ie. RDRL 57 I_Q First representation of a Camera obscura, 1544

Art in the service of Absolutism: “The Sun King” HYACINTHE RIGAUD (French, 1659 -1743) Louis XIV, 1701. Oil on canvas, approx. 9’ 2” x 6’ 3”. Louvre, Paris. French Baroque

Aerial view of palace at Versailles, France, begun 1669, and a portion of the gardens and surrounding area. French Baroque

JULES HARDOUIN -MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Versailles, France, ca. 1680.

Controlling nature – Gardens of Versailles

LOUIS LE NAIN (French Baroque era, ca. 1592 -1635) , Family of Country People, ca. 1640. Oil on canvas, approx. 3’ 8” x 5’ 2”. Louvre, Paris. Genre scene depicting the dire poverty but also the passive resignation of the French peasants