SCHEDULE
Introduction
Mannerism & Baroque
The Absence of Stylistic Unity
From Mannerism to Baroque
Naturalism
The Passions of the Soul
The Allegorical Tradition
Space
Time
Light
Antiquity
THE QUESTION OF STYLE
THE ABSENCE OF STYLISTIC UNITY
To recognize the broad differences between Mannerist and Baroque is simple enough. But it is quite another matter to define 'Baroque style'. Martin admits from the outset that this is "an impossible task."
Attempts have been made, nonetheless, to define a coherent stylistic vocabulary:
Heinrich Wölfflin, Principles of Art History, 1915
The problem of the Baroque may be somewhat simplified, if not resolved, by viewing the lack of stylistic unity as the result not only of national differences, but of a process of evolution.
- The first or 'Early Baroque' phase [1590-1620/30]
essentially naturalistic
originated in Italy- Caravaggio, Supper at Emmaus, c. 1600
- Caravaggio, The Death of the Virgin, 1605-06
- Rembrandt, The Money Changer, 1627
- Caravaggio, Supper at Emmaus, c. 1600
- The second or 'High Baroque' phase [1620-1640/50]
sensuous
coloristic
luxuriousness
sensuality
exuberant
voluptuous
opulent
emotional
flamboyant
- Guercino, Aurora, 1621
- Bernini, Apollo and Daphne, 1622-25
- Rubens, The Garden of Love, c. 1630-32
- Pietro da Cortona, Glorification of the Reign of Urban VIII, 1633-39
- Rembrandt, Blinding of Samson, 1636
- Guercino, Aurora, 1621
- The third or classicistic phase [1630s-1660/70]
more rigorous order [than 'High Baroque']
clarity
composure
rational
disciplined
calmness
frontality
stability
dignity
solemnity
- Andrea Sacchi, Vision of St. Romuald, 1631
- Nicolas Poussin, The Arcadian Shepherds, c. 1640
- Alessandro Algardi, Beheading of St. Paul, 1641-47
- Rembrandt, Supper at Emmaus, 1648
- Andrea Sacchi, Vision of St. Romuald, 1631
- The fourth or 'Late Baroque' phase [1660s-1700s]
decorative reworking of the classic vocabulary- Hyancinthe Rigaud, Portrait of Louis XIV, 1701
The Problem of Classicism
[Bolognese classicism]- Annibale Carracci
- Domenichino
- Andrea Sacchi
- Alessandro Algardi
- Nicolas Poussin
ART AND THEORY IN BAROQUE EUROPE is produced by Christopher L. C. E. Witcombe, Professor of Art History, Sweet Briar College in Virginia, 24595 USA (phone: 804-381-6194 / fax: 804-381-6494). For more information, please email him at witcombe@sbc.edu
- Hyancinthe Rigaud, Portrait of Louis XIV, 1701
