Arte Barocca (Italiano)

Lart Baroque (Francais)

Barockkunst (German)

BAROQUE
ART
JASMIN REYES 6

Timeline
Etymology: Portuguese Barocco, or oddly-shaped pearls
Active between 1600- 1750
During the Baroque Era, the Counter-Reformation emerged
concurrently, resulting in the mannerism style of art ceasing
to be an effective way of expression. Baroque art was fitting
for the growing desire to propagandize religious art.
The Catholic church adopted the new form as a way to
stimulate the publics faith in the church. The sculptures and
paintings were successful in provoking emotion to the
viewer as it appealed by conveying overly dramatized
spiritual images.

Characteristics of Baroque Art

Strong contrast between light and shadow, dramatic use
called Tenebrism or Chiaroscuro
Bold colours
Dramatic movements concerning the subject
Portrayed everyday people (lay people) who are not
idealized
Large use of space, such as height and depth
Ornate decorations, such as in grandeur scale Baroque
buildings
Focused primarily on religious scenes

Baroque Artists: Caravaggio Michelangelo

Merisi
1573-1610
Considered to be the most
revolutionary artist for his time,
due to his abandonment of rules
that had previously been followed
by artists for centuries.
Was commissioned at 24 by
Cardinal Francesco del Monte to
paint church of San Luigi dei
Francesi, here his works drew
public criticism for their realistic
and dramatic nature.

Caravaggio: The Beheading of St. John the

Baptist
Caravaggios largest painting, figures larger than life
size.
Linked to Mark 6:27
Backdrop 16th century prison, where two prisoners
silently witness the scene, symbolizing the lack of rights
to the public over church ruling and decisions.
Dark colours used behind the figures adding Chiaroscuro
effect.
The old woman covering her faces, while the other
witnesses stand silently symbolizes the mind set of the
new generation lacking compassion, hungry only for
revenge and power.
John the Baptist is placed on the floor like a lamb, rather
than kneeled like a normal execution. This symbolizes
the dehumanizing of saints and divine beings, an idea
introduced by some Protestant denominations.
(Fun Fact) This is the only work where Caravaggio signed
his name, in the blood of John the Baptist.

1608

Caravaggio: The Entombment of Christ

The face of death of Christ symbolizes the
unique moment which lies in the heart of
church ritual in a tangible visible form.
Caravaggio's paintings is distinguished by
his refusal to portray the human individual
as beautiful and heroic like renaissance
artists did. The figures here are bent,
cowering or reclining. The self confidence
has been replaced with humility, to appeal
to the viewers emotion.
2-point perspective is used to poke out of
the painting. The use of one and two-point
perspective becomes a common trademark
of Caravaggio and baroque paintings.
1603

Baroque Artists: Johannes Vermeer

1632-1675
Developed friendship with leading Delft
painter Leonard Bramer, one oh his early
supporters.
In his early works he explored mythology
and religion, after a decade his unique
and personal painting style began to
emerge.
His later works focus on domestic
scenes, with realistic figures and objects.
He had a fascination with light, including
Chiaroscuro in many of his works.

Vermeer: Allegory of Catholic Faith

The allegorical figure of faith, thought to be Mary
Magdalene, rests her foot on the globe and gazes
as the crucifix of Christ crowned with thorns. This
is Vermeers interpretation of an earlier French
painting, The Repentant Magdalene
The hanging glass orb is a reference to a Jesuit
drawing (many theories say the Vermeer
converted to Jesuitism in his later life). The glass
orb also shows the play of light.
The luxury gold panel in the background contrasts
with the white washed wall. It is symbolic of a
makeshift Catholic Church.
The serpent is symbolic of Satan, which spits blood
on the floor which stands for the stone on which
Christ ordered Peter to found his church.

1672

Vermeer: The Astronomer

The globe signifies the complex forms of
constellations, as well as the open
astronomical manual on the table.
The incoming light of the window is
concentrated on the contemplative scholar
and celestial globe creating an air of mystery
relating to the heavens.
The painting in the back represents Moses and
the bull, which symbolizes wisdom. Moses as
well, was considered the geographer of the
ages.
The astronomer also wears a robe worn by
scholars.
An astrolabe on the table also symbolizes the
new enlightenment of the time with new
technology.

1668

Baroque Artists: Peter Paul Rubens

1577-1640
In his early years he served as an apprentice to
many established artists such as Titian.
The Duke of Mantua commissioned him to paint
portraits. He was later commissioned to paint
religious works for churches.
He is well-known for his Counter-Reformation
portraits and history paintings of mythological and
biblical subjects.
His patrons included nobility and church leaders.
His style combined renaissance classicism with
baroque characteristics.

Rubens: The Fall of the Damned

1620
Chiaroscuro is represented in the
human forms and in the clouds. It
emphasizes the darkness from
which the figures fall. The light and
dark emphasizes the threedimensional objects.
Works like these instilled the fear
that was put into many followers to
be afraid of damnation and that the
key to salvation is through good
acts of faith and following Catholic
church dogma.

Rubens: Raising of the Cross

1610
In the center nine
executioners raise the cross
from which Christ's pale body
hangs. The Virgin Mary and a
group of weeping women and
children are on the left. On
the right, a Roman officer
watches on horseback while
soldiers in the background
are crucifying the two
thieves.
The painting is spread across
all three panels.
The use of chiaroscuro adds
to the drama of the scene,
evoking emotion into the