March 8
Mannerism (continued) and the Baroque Era
El Greco
(Domenikos Theotokopoulos)
1541 - 1614
El Greco. Burial of Count Orgaz. 1586. 16' X 11'10".
Santo
Tome Chapel with The Burial of Count Orgaz, 1586. Toledo, Spain.
Janson,
H.W. and Anthony F. Janson. History of Art. Sixth edition. University of North
Carolina, Wilmington: Prentice Hall, Inc., 2001.
Masaccio. Trinity with the Virgin, Saint John the Evangelist, and Donors. c. 1425-27/28.
Mannerism in Venice
Veronese. Feast in the House of Levi. 1573. Oil on canvas approx. 18' 6" X 42' 6".
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Leonardo.
The Last Supper. 1495-98.
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Veronese.
Feast in the House of Levi. 1573. Oil on canvas
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Tintoretto. The Last Supper. 1592-94.
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Andrea
del Castagno. Last Supper. c. 1445-50.
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Leonardo.
The Last Supper. 1495-98.
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Veronese.
Feast in the House of Levi. 1573. Oil on canvas approx. 18'
6" X 42' 6".
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Tintoretto.
The Last Supper. 1592-94.
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Mannerism in the Netherlands
Hieronymus Bosch. Garden of Earthly Delights. c. 1505-15.
Baroque period
1600 - 1750
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Characteristics
of the Baroque Style:
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Interest
in light and space
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Rich
use of color and dramatic contrasts
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Innovative
illusionism
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More emphasis
on emotion than reason
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Multi-media
extravaganza
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"The
Baroque style favored dramatic and intense subjects, rich textures,
and exaggerated lighting. It sought to convince, not through reason,
but by illusion, and by overwhelming the senses and emotions."
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Gianlorenzo Bernini
1598 - 1680
Gianlorenzo Bernini. David. 1623.
Invisible complement = a compositional element that is implied rather than physically present
Detail of David
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Donatello.
David. c. 1446-60(?)
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Michelangelo.
David. 1501-4.
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Gianlorenzo
Bernini. David. 1623.
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Gianlorenzo Bernini. Baldacchino. 1624-33.
Gianlorenzo Bernini. Saint Teresa of Avila in Ecstacy. 1645-52.
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Excerpt
from the life of St. Teresa:
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...Beside
me, on the left hand, appeared an angel in bodily form, such as I
am not in the habit of seeing except rarely. In his hands I saw a
great golden spear, and at the iron tip there appeared to be a point
on fire. This he plunged into my heart several times so that it penetrated
to my entrails. When he plunged it out, I felt that he took them with
it, and left me utterly consumed by the great love of God. The pain
was so severe that it made me utter several moans. The sweetness caused
by this intense pain is so extreme that one cannot possibly wish it
to cease, or is anyone's soul then content with anything but God.
This is not physical, but a spiritual pain, though the body has some
share in it- even a considerable share. So gentle is this wooing which
takes place between God and the soul that if anyone thinks I am lying,
I pray God to grant him some experience of it. |
Gianlorenzo Bernini.
Saint Teresa of Avila in Ecstacy. 1645-52.
Fred S. Kleiner and Christin J. Mamiya,
Gardner's Art Through the Ages. Twelfth ed. Vol. 1. Fort Worth: Harcourt
Brace College Publishers, 2005. 2 vols.
Cornaro family
Cole, Bruce. The Informed Eye. Chicago: Ivan
R. Dee Publisher, 1999.
Gianlorenzo Bernini. Cornaro Chapel, Church of Santa Maria della Vittoria, Rome. 1642-52.