Describe the Style of Art Paintingthat Developed in the Baroque Era Name an Artist From This Era

Italian Painting in the Baroque Period

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

Learning Objectives

Name the most important Italian painters of the 17th century

Cardinal Takeaways

Key Points

• Baroque painting is the painting associated with the Baroque cultural movement, which began in Italy in the 17th century.
• In its near typical manifestations, Baroque painting is characterized past peachy drama, rich, deep color, and intense lite and nighttime shadows.
• Caravaggio was an important effigy in early on Bizarre 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 Bizarre Period.
• In the later 17th century, artists such as Giordano increasingly produced monumental ceiling frescoes .

Key Terms

• tenebrism: A style of painting using very pronounced calorie-free dissimilarity (chiaroscuro), with darkness a dominating feature of the paradigm
• fresco: In painting, the technique of applying water-based paint to moisture or fresh lime mortar or plaster.

Overview: Baroque Painting

Baroque painting is associated with the Baroque cultural motility, which began in Italia in the 17th century. It encompasses a corking range of styles , as nigh important and major painting during the flow beginning effectually 1600 and continuing into the early 18th century is identified today as Bizarre painting. In its nearly typical manifestations, Baroque art is characterized by great drama, rich, deep colour, and intense lite and nighttime shadows.

Relevant Italian Painters of the Time

Caravaggio

Caravaggio (1571–1610), born and trained in Milan, stands as one of the about original and influential contributors to belatedly 16th century and early 17th century European painting. He was known for painting figures, even those of classical or religious themes, in gimmicky 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 dark backgrounds to dramatize the effect.

Some of Caravaggio'due south most 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 by the Caravaggisti, the followers of Caravaggio, such as Orazio Gentileschi (1563–1639), Artemisia Gentileschi (1592–1652/3), 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 betwixt partially lit figures and dark backgrounds to dramatize the issue.

Ecce Homoc by Caravaggio, 1605: Example of a Baroque painting by Caravaggio

Other Artists

Other influential Italian painters during this early period 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 than classical approach. Baroque painters such as Cortona, Giovan Battista Gaulli, and Ciro Ferri continued to flourish aslope the classical trend represented by painters such as Sacchi and Nicholas Poussin. Even a classicist painter like Sacchi's pupil Carlo Maratta was influenced in his use of color by the Baroque.

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

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

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

Spanish Painting in the Baroque Catamenia

The Spanish Golden Historic period is a period of flourishing in arts, congruent with the political rising and decline of the Spanish Habsburg dynasty.

Learning Objectives

Define the Spanish Aureate Age of painting

Fundamental Takeaways

Cardinal Points

• The Castilian Gold Age began in 1492, with the end of the Reconquista and the ocean voyages of Christopher Columbus to the New World . Politically, it ended no afterwards than 1659, with the Treaty of the Pyrenees ratified between France and Habsburg , Kingdom of spain.
• The Italian holdings and relationships made by Queen Isabella's husband and later Spain's sole monarch, Ferdinand of Aragon, launched a steady traffic of intellectuals across the Mediterranean between Valencia, Seville, and Florence.
• Castilian fine art contained a potent mark of mysticism and religion that was encouraged past the Counter-Reformation and the patronage of Kingdom of spain's strongly Catholic monarchs and aristocracy. The Habsburgs, both in Spain and Republic of austria, were great patrons of fine art in their countries.
• Diego Velázquez and Francisco de Zurbarán are ofttimes considered by scholars equally the influential founders of a uniquely Spanish manner of painting during the Baroque era.

Key Terms

• Counter-Reformation: The period of Catholic revival first with the Council of Trent (1545–1563) and catastrophe at the close of the Thirty Years' War (1648); sometimes considered a response to the Protestant Reformation.
• Habsburg: A Swabian noble family named afterwards it, which became the ruling (hereditary) dynasty of Republic of austria, at times other countries (mainly in Iberia and the quondam Burgundian territories), and supplied successive (elected) emperors of the Holy Roman Empire.

Overview: The Spanish Golden Age

The Spanish Gilded Age is a period of flourishing in arts and literature in Spain, congruent with the Baroque era and the political ascension and pass up 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 World, and the publication of Antonio de Nebrija'due south Gramática de la lengua castellana (Grammer of the Castilian Language). Politically, information technology ended no afterward than 1659 with the Treaty of the Pyrenees, ratified betwixt France and Habsburg, Spain.

Spain, in the time of the Italian Renaissance , had seen few slap-up artists come up to its shores. The Italian holdings and relationships made by Ferdinand of Aragon, Queen Isabella's husband and afterwards Spain's sole monarch, launched a steady traffic of intellectuals across the Mediterranean between Valencia, Seville, and Florence. Luis de Morales, one of the leading exponents of Spanish Mannerist painting, retained a distinctly Castilian style in his work reminiscent of medieval art . Spanish fine art, particularly that of Morales, independent a potent marker of mysticism and organized religion that was encouraged by the Counter-Reformation and the patronage of Spain's strongly Catholic monarchs and aristocracy.

Artists of the Aureate Age of Kingdom of spain

The Habsburgs, both in Kingdom of spain and Austria, were great patrons of art in their countries. Diego Velázquez and Francisco de Zurbarán are oftentimes considered by scholars every bit the influential founders of a uniquely Spanish way of painting during the Baroque era.

Diego Velázquez

Diego Velázquez is widely regarded equally one of Spain's virtually important and influential artists. He was an individualistic artist of the gimmicky Baroque period and virtually well-known equally a portrait artist. In improver to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Castilian regal 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 found increasingly high demand for his portraits from statesmen, aristocrats, and clergymen across Europe. His portraits of the King, his chief minister, the Count-duke of Olivares, and the Pope himself demonstrated a belief in artistic realism and a style comparable to many of the Dutch masters.

Philip IV in Brown and Silvery, 1632: Velázquez is perhaps most well-known for his many famous portraits, including this one of King Philip IV.

Velazquez'southward near famous painting, however, is the celebrated Las Meninas (1656), in which the creative person includes himself equally one of the subjects. Las Meninas (Spanish for "The Ladies in Waiting") is a painting with circuitous and enigmatic composition that raises questions about 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 nearly widely analyzed works in Western painting.

The painting shows a large room in the Royal Alcazar of Madrid during the reign of Rex Philip Iv and presents several figures, most identifiable from the Spanish court, captured in a particular moment as if in a snapshot. Some look out of the canvas towards the viewer, while others collaborate amongst themselves. The immature Infanta Margaret Theresa is surrounded by her entourage of maids of laurels, chaperone, bodyguard, ii other figures, and a domestic dog. Just backside them, Velázquez portrays himself working at a large canvass. Velázquez looks outwards, beyond the pictorial space to where a viewer of the painting would stand. In the background at that place is a mirror that reflects the upper bodies of the king and queen. They appear to be placed outside the flick space in a position similar to that of the viewer, although some scholars have speculated that their image is a reflection from the painting Velázquez is shown working on.

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

Religion in the Art of the Castilian Golden 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 Spanish art, along 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 religion. The mysticism of Zurbarán's work—influenced by Saint Theresa of Avila—became a hallmark of Castilian art in later generations.

The Nascency of the Virgin: The Birth of the Virgin, past 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 organized religion and faith. He is known primarily for his religious paintings depicting monks, nuns, and martyrs, also equally for his still-lifes. Zurbarán gained the nickname Spanish Caravaggio, attributable to the forceful, realistic use of chiaroscuro in which he excelled.

Saint Francis in Meditation, c. 1631–1640, National Gallery: Zurbarán'due south painting of Saint Francis of Assisi is notable for its use of chiaroscuro, or high contrast between low-cal and night.

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 backdrop of religious war across Europe. Zurbarán broke from Velázquez'due south sharp realist estimation of fine art and looked, to some extent, to the emotive content of the painter El Greco and the earlier 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 Bizarre sensibilities equally well equally the Classical tastes of the powerful monarchy.

Learning Objectives

Depict the changing nature of 17th century French painting and its almost of import practitioners

Central Takeaways

Key Points

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

Key Terms

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

Overview: The Baroque Era in France

17th century painting in France was influenced by Italian Bizarre sensibilities as well as the Classical tastes of the powerful monarchy. These two strong influences resulted in a way that was unique to France and culminated in the fine art produced for King Louis 14. The reign of Louis Fourteen saw a shift from Mannerist and Bizarre styles popular in the early on part of the century, during the reign of Louis XIII, toward a more than prescribed Classical manner. Louis Xiv established royal control over artisanal production in France, prohibiting the purchase of luxury goods from away. He too established the Academy of Painting and Sculpture, which maintained a hierarchy of genres in painting and a distinctly Classical season.

Influential French Painters

Important painters of 17th century France include Simon Vouet, Charles Le Brun, Nicolas Poussin, Claude Lorrain, and Georges de la Tour. 17th century painting in France was divided: on 1 manus there was influence from the Italian Bizarre way equally seen in the piece of work of de la Tour; on the other was a distinctive turn towards a rigid, Classical style that was favored by the monarchy, and exemplified past 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 manner painting to French republic. He studied in Italy and learned the techniques of the Italian masters, which he imbued with his ain sensibilities. He was fabricated "premier peintre du Roi" by Louis XIII, who commissioned numerous works from him. Charles Le Brun was Vouet's most influential educatee and was to become an important painter in the court of King Louis Xiv. Le Brun worked primarily for Louis Fourteen, and his near of import works reside at the Palace of Versailles. Mostly producing battle pieces and altarpieces , Le Brun'south paintings exemplify a synthesis of Baroque and Classical styles.

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

Nicolas Poussin and Claude Lorrain

Nicolas Poussin is known for his Classical mode paintings created in 17th century France. His work features clarity, logic, order, and clean lines over color, serving as a counterpoint to Baroque style painting. He spent well-nigh of his life working in Rome and became a favorite painter of Male monarch Louis XIV. Claude Lorrain is known particularly for his work in landscape paintings. He earned the patronage of Pope Urban VIII, after which his fame grew apace. Lorrain and Poussin were friends and were known to take traveled the Italian countryside together.

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

Georges de la Tour

Georges de la Bout was a French Bizarre painter known for painting religious chiaroscuro scenes lit by candlelight. His work shows a dandy deal of influence from Caravaggio, characterized past the painted effects of light and dark, but 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 Menses

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

Learning Objectives

Name different genres within the Flemish Baroque and its representative painters

Central Takeaways

Key Points

• Flemish Baroque painting is notable for the fact that information technology was separated into the different thematic categories of history, portraiture, genre , landscape, and all the same life .
• Peter Paul Rubens was the preeminent painter of the Flemish Baroque style ; he was the dominant creative person 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 type of however 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.

Key Terms

• monumental: Large, m, and imposing.

Overview: Flemish Baroque

The style of painting produced in Flemish region during the 17th century is known as Flemish Baroque. This style was produced between nearly 1585, when the Dutch Commonwealth dissever from the Habsburg Espana regions of the southward, until about 1700, when the Habsburg dominion ended after the expiry of Male monarch Charles II. Antwerp—the home of Peter Paul Rubens, Anthony Van Dyck, and Jacob Jordaens—figured prominently as a point of artistic product during this time, as did Brussels and Ghent to a lesser extent. Peter Paul Rubens, the preeminent painter of the Flemish Baroque style, had a strong influence on the artistic aesthetic of the 17th century.

Categories of Flemish Painting

Flemish Baroque painting is notable for the fact that it was separated into different thematic categories, and artists of the fourth dimension tended to specialize in 1 of these areas. These genres included history, portraiture, genre, landscape, and still life paintings.

History Painting

History painting, considered the most 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 student Anthony Van Dyck too 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 work of the masters, and he introduced the monumental hunting scene to painting. This is exemplified in his work Wolf and Play tricks Hunt, which depicts a noble battle on a large scale and was inspired by his study of classical antiquity .

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

Portrait Paintings

Portrait paintings were, for the most part, awe-inspiring or life sized, though the group 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 student, 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 Flemish region. These paintings feature figures with no specific identity, usually 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 oftentimes show peasants fighting and drinking, serve equally an example of Flemish genre painting. Brouwer is known for painting his subjects in interior, rather than exterior, scenes. He was also known for his expressive facial studies, characteristic of a genre called "tronies" (faces) and exemplified in works such equally The Bitter Potable.

Hamlet Lawyer past 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 mural paintings, which were non specially realistic and employed the semi-aerial view typical of Peter Brueghel the Elder. Architectural interior painting besides became popular around this time, developing out of the works of Hans Vredman de Vries and depicting the realistic interiors of existing churches and cathedrals .

Still Lifes

Floral all the same life painting was widespread in 17th century Flanders, popularized by Brueghel the Elder around 1600. His sons, Jan Brueghel the Younger and Ambrosius Brueghel, were likewise known flower specialists of the time. Other subjects or subcategories of even so life painting included the feast yet life, the animal still life, and garland scenes. Nonetheless life paintings often had an underlying moralistic message concerning the brevity of life, a trait exemplified past the "vanitas." A vanitas is a symbolic still life painting that is meant to illustrate the meaninglessness of earthly life and the transience of all earthly pursuits. Vanitas paintings were very popular in 17th century Flemish and Dutch piece of work, and they often describe symbols such as 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 example 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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