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“Baroque” – the word, the style, the period
“Baroque” – the word, the style, the period
In the context of European history, the period from c. 1585 to c.
1700/1730 is often called the Baroque era. The word “baroque” derives from the Portuguese and Spanish words for a large, irregularly-shaped pearl. 18th
C century critics were the first to apply the term to the art of the 17th
century. It was not a term of praise. To the eyes of these critics, who favored
the restraint and order of Neoclassicism, the works of this period appeared
bizarre, absurd, even diseased—in other words, misshapen, like an imperfect
pearl.
By the middle of the 19th century, the word had lost its pejorative implications and was used to describe the ornate and complex qualities present in many examples of 17th-century art, music and literature. Eventually, the term came to designate the historical period as a whole. Scholars continue to debate the validity of this label, admitting the usefulness of having a label for this distinct historical period, while also acknowledging its limitations in characterizing a huge variety of artistic styles present across Europe in the 17th century.
When Martin Luther tacked his 95 theses to the doors of Wittenburg
Cathedral in 1517 protesting the Catholic Church’s corruption, he initiated a
movement that would transform the religious, political, and artistic landscape
of Europe. For the next century, Europe would be in turmoil as new political
and religious boundaries were determined, often through bloody military conflicts.
Only in 1648, with the signing of the Treaty of Westphalia, did the conflicts
between Protestants and Catholics subside in continental Europe.
Martin Luther focused his critique on what he saw as the Church’s greed
and abuse of power. He called Rome, the seat of papal power, “the whore of
Babylon” decked out in finery of expensive art, grand architecture, and
sumptuous banquets. While the Protestants harshly criticized the cult of images,
the Catholic Church ardently embraced the religious power of art. The visual
arts, the Church argued, played a key role in guiding the faithful, many of
whom were illiterate. In order to be effective in its pastoral role, religious
art had to be clear, persuasive, and powerful. Not only did it have to
instruct, it had to inspire. It had to move the faithful to feel the reality of
Christ’s sacrifice, the suffering of the martyrs, the visions of the saints.
This desire to communicate with the faithful in a direct way led to a backlash
against Mannerism – a desire to return
to the Classical values of the Renaissance, because Mannerism is too difficult
to read, distracting.
The Church’s emphasis on art’s pastoral role prompted artists to
experiment with new and more direct means of engaging the viewer. Annibale
settled on a classical visual language, inspired by the vibrant palette,
idealized forms, and balanced compositions of the High Renaissance. Facial
expressions are very dramatic, easier to interpret, in contrast to the
ambiguities of Mannerism.
Caravaggio turned to a powerful and dramatic realism, accentuated by
bold contrasts of light and dark, and tightly-cropped compositions that enhance
the physical and emotional immediacy of the depicted narrative.
Guido Reni trained with the Caracci studio, where he learned their
tradition of clear firm draughtsmanship.
Pozzo was best known for his grandiose frescoes using illusionistic technique called quadratura, in which architecture and fancy are intermixed. His
masterpiece is the nave ceiling of the Church of Sant'Ignazio in Rome. Through his techniques, he has become one of the
most remarkable figures of the Baroque period. This is typical of the daring feats of
illusionism that characterise this period; they blurred not only the boundaries
between painting, sculpture, and architecture, but also those between the real
and depicted worlds.
In so doing, the divine was made physically present and palpable.
Whether through shocking realism, dynamic movement, or exuberant ornamentation,
seventeenth-century art is meant to impress. It is meant to show the
interweaving of earthly and divine rule.
By the end of the 16th century, the Catholic Church was once again
feeling optimistic, even triumphant. It had emerged from the crisis with
renewed vigor and clarity of purpose. Shepherding the faithful—instructing them
on Catholic doctrines and inspiring virtuous behavior—took center stage. Keen
to rebuild Rome’s reputation as a holy city, the Papacy embarked on extensive
building and decoration campaigns aimed at highlighting its ancient origins,
its beliefs, and its divinely-sanctioned authority.
Contrapasto – opposition of movements
Two arms – the motherly arms of the church reaching out to the faithful,
reuniting the heretics with the church (the protestants) Very baroque idea of
using art to reach out to the faithful.
Ceremonical forecourt, the language of ancient Greek and Roman
sculpture, doric columns, balustrade, ends of the collonades there are
pediments.
Della sapienza; a masterpiece of
Roman Baroque architecture.
Carlo Moderno; façade of
Sta. Susanna (was given the job of finishing St. Peter’s following
Michaelangelo’s designs)
This work has not yet broken
completely with classical architecture,
but has a dynamic rhythm of columns and pilasters, with a protruding central
bay and condensed central decoration add complexity to the structure.
Baroque
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