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David
Gianlorenzo Bernini
1623 |
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The differences between these two Sculptures reveal that the Baroque and the High Renaissance drew different lessons from Ancient Art.
- (I'm not entirely sure what that is.)
- (My Guess) Great attention to detail, curiosity in the human body.
Also, Bernini's David sculpture shows a distinctive feature in Baroque Sculpture: - Active relationship with the surrounding space |
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Rape of Persephone
Bernini
1621-1622
Marble
Figures larger than life, over 9' |
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Rape of Persephone
Bernini
1621-1622
Marble
Figures larger than life, over 9'
DETAIL!
Impressions and movement of the skin |
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Definition
Rape of Persephone
Bernini
1621-1622
Marble
Figures larger than life, over 9'
DETAIL!
Impressions and movement in the skin |
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Definition
Apollo And Daphne
Bernini
Marble
Larger than life, over 8' |
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Cornaro Chapel, Church of Santa Maria Della Vittoria, Rome
Bernini
1642-1652 |
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St. Teresa of Avila in Ecstasy
Closeup of: Cornaro Chapel, Church of Santa Maria Della Vittoria, Rome
Bernini
11' 6"
1645-1652 |
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| The Catholic Church and Baroque Architecture... |
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Definition
- As a part of the Counter Reformation, the Church embarked on a major building campaign
- Although many of these building plans started during the Renaissance, they developed distinctly different characteristics as they were completed during the Baroque (Seen in the plans for St. Peter's) |
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| Old St. Peter's 4th Century converted Basilica form |
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| Bramante Plan for the New St. Peter's (1506) |
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| Michelangelo plan for New St. Peter's (1546-1564) |
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| Maderno plan for New St. Peter's (1607-1626) |
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| Bernini Plan For New St. Peter's Piazza (1656-1657) |
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St. Peter's Basilica. Vatican, Rome.
Carlo Maderno
Facade, 1607-1626 |
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St. Peter's Basilica and Piazza, Vatican, Rome.
(Carlo Maderno: Facade, 1607-1626)
Bernini: Piazza design, 1656-1657 |
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St. Peter's Basilica and Piazza, Vatican, Rome.
Bernini: Piazza design, 1656-1657 |
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Baldacchino (Baldachin)
Bernini
1624-1633
At crossing of St. Peter's. |
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Baldacchino (Baldachin)
Bernini
1624-1633
At crossing of St. Peter's. |
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Facade of San Carlo alle Quattro Fontane
Francesco Borromini
1665-1676
Rome
"Nothing similar can be found in the world. This attested by the foreigners who... try to procure copies of the plan. We have been asked for them by Germans, Flemings, Frenchmen, Italians, Spaniards, and even Indians." - Account by the head of the religious order for whom the church was built
Other contemporaries complained that the church was "the corruption of architecture." |
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Facade of San Carlo alle Quattro Fontane
Francesco Borromini
1665-1676
Rome |
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(Inside) San Carlo alle Quattro Fontane
Francesco Borromini
1665-1676
Rome
Note Dome |
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(Inside Dome) San Carlo alle Quattro Fontane
Francesco Borromini
1665-1676
Rome
"The inside of the coffered dome, like the plan, looks 'stretched' ... it almost seems that if you were able to relax the tension it would snap back to 'normal'." |
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(Ground Plan) San Carlo alle Quattro Fontane
Francesco Borromini
1665-1676
Rome |
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Caravaggio's influence spread very quickly across Italy and Europe.
The most pronounced influence was tenebrism, the "spotlight" effect. |
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Saint Serapion
Francisco de Zurbaran
Oil on Canvas
Many of elements of Caravaggio's work can be seen in this piece. |
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Water Carrier of Seville
Diego Velazquez
1619
Oil on Canvas
Among the proponents of Caravaggism, Velazquez remains the most highly regarded. Velazquez reconciled intimacy with theatricality. |
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| Spain and N. Europe's response to the Reformation and Counter-Reformation... |
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| In Spain and N. Europe, artist responded to the Reformation and Counter-Reformation in different ways than those in Italy. Because religious art became a topic of controversy, artists began to explore secular themes. |
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