THE BAROQUE ART.
The Baroque term presents/displays in its origin an evident peyorativo shade since, apparently, “barrueco” has its etimología in the Portuguese (to per it defective). It was coined by the neoclassic tratadistas in the s. XIX to characterize of exaggerated, grotescas and outlandish the artistic forms of the s. XVII and it leaves from the XVIII.
It arises by evolution of the Own Renaissance, but it will be different depending on the country where it is developed. In spite of his Italian origin it materialized quickly in the rest of Europe. <> Expresa the fights between “Faith and Reason” that characterize the Europe of the time. In this same time, the great scientific revolution is developed tb. The s. XVII not only he is modern as far as the scientific discoveries, but tb by the way as it conceives the science that is based on the experimentation.
For many theoreticians, the baroque one is the fruit of the natural evolution of the manieristas artistic forms. <> Other theories insist on tying the baroque one with the phenomenon of the Contrarreforma. <> and others still more, insist on the fact that the baroque one could serve as justification the aims of the absolute monarchies. <> Anyway, we will be able to divide it in periods:
• Baroque or early primitive (1580-1630).
• Baroque mature or total (1630-1680).
• Baroque delayed or the Rococo (1680-1750).
The fundamental characteristics that they characterize it and differentiate it from the Renaissance are:
• Is opposed to the classic thing. It tries to excite sensitivity through the originality and the expresividad of its works.
• Frequently resorts to the exageración, to the virtuosity.
• Tiende to the dynamism as opposed to the Renaissance estatismo.
• The realism contrasts with the idealización of the previous period.
1. - ARCHITECTURE.
As or saying is had, as opposed to the Renaissance harmony, balance and static sense now, the taste by the resistances prevails, or are chromatic, using different materials: brick, stone, marble, bronze… or luminance, alternating dark zones with strongly illuminated others. But mainly the interest by the movement predominates, in plants, cash settlements, or in the own isolated elements.
The plants lose their traditional forms now, being now oval, mixtilineal… the walls become broken and undulate, break frontons and entablamentos, twist the columns, is the moment of the apogee of the curved thing, of the incoming and salient constants, the salomónica column, capricious and the unstable thing.
The decorative aspect will progressively play tb an outstanding paper in the new establishment of this aesthetic one, being multiplied the ornamentación until arriving at the recargamiento, for that reason it does not turn out strange to verify how the favorite orders at the moment will be corintio and the compound.
1.1. - Italy.
This one will be the country cradles of the Baroque one, the one that sets the standards to follow in the rest of Europe, with the names and more significant works of this style, and with one unquestionable capital, Rome.
MADERNO (1556-1629).
It concluded the Basilica of San Pedro of the Vatican, adding a body on the feet of the Renaissance cruciform scheme, leaving it with Latin cross form. Tb will raise the facade, low thus to admire the cupola of Miguel Angel. <> Hay to add tb the church of Sta. Susana, San Andrea of the Valley, Sta. Maria of the Victory (G.B facade. Soria), and the facade of the church of Trinidad of Monte (Seat of Spain).
BERNINI (1598-1680).
• Baldaquino. San Pedro. Bronze. Four gigantic salomónicas columns (helical woods); as it finishes off four scrolls that converge in their high part.
• Columnata. Seat of San Pedro. Two sections, one trapezial one, the immediate one to the facade, and the other an immense oval delimited by ready columns of colossal order in four parallel rows.
• Regal Scala. The Vatican. It communicates the seat and the Basilica with the Vatican stays.
• San Andrés of the Quirinal. The oval is used so much in the plant as in the cupola; to the convexity of the facade it unites most marked of the semicircular porch that leans to him, emphasized by the perron that precedes to him of the same form.
• Odescalchi Palace. Chigi family. Low body as a socle or plinth and a colossal order of columns or pilasters above.
• Barberini Palace. On plant of Maderno. Collaboration with Borromini.
• Chair of San Pedro. It has like objective locking up and to sacralizar the Chair of San Pedro, where, according to the legend, santo seated to preach. Triumph of the Church on the protestants.
• Palace of the Louvre. Projects that never were carried out.
BORROMINI (1599-1667).
In its beginnings it serves like assistant of Bernini, although for that reason they will not maintain a good friendship, rather quite the opposite. Man of distressed spirit, which will take to the suicide. He takes to the ends the anxiety of the dynamism. With him, the architectonic elements, including the space, acquire a great flexibility and ductility, able to curve themselves, to bend, to break themselves or to duplicate themselves at will. Works:
• San Carlos of the Four Sources. Plant of waved profile, as if in her a Latin cross and an ellipse had been fused. The entablamento repeats the form of the plant. Like cover, an oval cupola finished off by a octogonal lantern of convex sides. In the facade it repeats the game of curves and contracurvas.
• San Ivo of the Sapienza. Church of the old University of Rome. Upward sense. Incoming and salient constants, opening to a polygonal central space alternatively concave and convex sections. Poverty of materials. Interior of hexagonal form.
• Santa Ines. Piazza Navonna. Concave facade, approaching therefore the high cupola the same one, and delimits it with two bell esbeltos.
• Oratorio of San Felipe Neri. Brick. Undulation in the walls.
• San Juan de Letrán. Remodeling of the church.
PIETRO GIVES CORTONA (1596-1669).
• Sta Maria of La Paz. Columnado porch under semicircular, advancing towards the center of the seat (effect claroscuro).
• Stos Luca and Martina. In the forum. Plant Greek cross. Cash settlement very esbelto. The facade is curved towards outside, being related well to the profile of the cupola, tb convex.
RAINALDI (1611-1691).
• Seat of the Pópolo. Almost twin churches of Sta. Mª dei Miracoli and Sta. Mª I gave Santo Mount. Also it made the facade of San Andrea of the Valley.
At the end of century XVII, Rome loses part of its governing paper in favor of the North zone of Italy, Piedmont, with Turin like capital; and the Véneto, with Venice.
GUARINI (1624-1683).
• Chapel of Santo Sudario. Turin. Upward sense. Undulations. Claroscuro.
• Escribió “Treated about Civil Architecture”.
JUVARA (1676-1736).
• Superga Basilica and Stupinigi Palace in Turin.
LONGHENA (1598-1682).
• Sta Maria of the Health. Venice. After a plague epidemic. Octogonal central plant. Central cupola. Deambulatorio that leads us to presbiterio. Relation with the bizantino.
1.2. - Spain.
Our country will live from the beginnings of the s. XVII a crisis situation, that repels negatively in the art with a clear victim, the architecture. Few structural and ornamentales new features, mainly during both first thirds of the century.
• JUAN GO'MEZ DE MORA (1586-1648).
• Church of the Convent of the Incarnation. Madrid.
• Church of the Bernardas. Alcala de Henares. Hidden oval plant to the outside by a rectangular body.
• City council of Madrid.
• Palace of Sta Cruz. Madrid. Today Ministry of Outer Subjects.
• Greater Seat. Madrid.
• Clergy. Salamanca.
• Real Pantheon. Under the church of the Dump.
• FRANCISCO BAPTIST. (1594-1679).
• Church of San Isidro. Madrid.
• Church of San Juan Baptist. Toledo.
• URRANA PONCE.
• Church of the Abandoned ones. Valencia.
• JUAN OF OVIEDO. (1565-1625).
• Church of the Favor. Seville. Of the type “Church of drawer” (unique ship, high and narrows).
• ZUMÁRRAGA.
• Church of the Shrine. Seville. “Of drawer”. Like the other, rich stucco decoration of its vaults has tb, material ductile, easy to work and cheap, but with which it is able to give wealth impression, becoming something very characteristic of the zone.
In the Spanish architecture of the s. XVIII, two tendencies can be distinguished: the national, net Hispanic current, adopting solutions totally barrocas, and the cortesana, more balanced, elegant, ordered and clear.
• LEONARDO DE FIGUEROA (1650-1730).
• Hospital of Venerable. /Church of San Luis of the French. /School of San Telmo. Seville.
• STOLEN FRANCISCO (1699-1725).
• Granada: Shrine of the Cathedral, the Cartuja and Sacristía.
• VICENTE STEEL.
• Cathedral Of Cadiz.
• WHITE ALONSO (1601-1667).
• Cathedral of Granada. Facade.
• CHURRIGUERA.
They are a family of architects whose main members are Jose Benito, Joaquin and Alberto. From its last name it derived “the churrigueresco” term, used contemptuously to talk about with him to all the rich one and moved, although although it is certain that these characteristics totally barrocas are appraised mainly in their altarpieces more than in properly architectonic works, where are more conservatives.
• Jose Benito. San Esteban of Salamanca. The New Baztán and the Goyeneche Palace in Madrid.
• Joaquin. Anaya school. Salamanca.
• Alberto. Greater seat. Salamanca.
• SHORE (1683-1742).
• Bridge of Toledo. /Quarter of Count-Duke. /Hospicio. Madrid.
• NARCISSUS I TOOK (M. 1742).
• Transparente Cathedral. Toledo. Throwing already to the Rococo.
• JAIME BORT.
• Cathedral of Murcia. Facade.
• CONRADO RUDOLF.
• Cathedral of Valencia. Facade.
• HIPÓLITO ROVIRA.
• Palace of the Marquess of Two Waters.
• HOUSES NOVOA.
• Facade of the Obradoiro. Cathedral of Santiago.
The cortesana current will have its maximum architectonic exponents in the great residences of the Borbones, in the Real Palaces like the one of Madrid, and the one of the Farm, in Segovia. Aranjuez, Riofrío and the Brown, are works to a great extent of foreign architects, influenced by the European cuts. It is one more a clearer architecture, less recharged, clasicista.
The Real Palace of Madrid rises by initiative of Felipe V, to replace the old set afire Palace. Italian architects will work in him: Juvara, replaced its death by Sachetti and Sabattini. The traditional one of the old medieval palaces will be repeated in the plant: square, around a great central patio, with four towers in the corners. Of the exteriors it emphasizes his grandiosidad and elegance.
1.3. - France.
The foundation on the part of Luis XIV of the Academies of Architecture, Sculpture and Painting, where the official education of these arts will be distributed, favors the development of a baroque French clasicista, although not for that reason eminently free of monumentalidad, greatness and nobility.
• FRANÇOIS MANSART (1598-1666).
• Castle of Blois. It adds a new building to him with columnado central porch with his corresponding triangular fronton.
• Church of Val-of-Grace. Paris. Plant and facade remember to the one of the Gesú de Vignola.
• JACQUES HIM MERCIER.
• Church of the Sorbona. Paris. Porch hexástilo on perron and fronton of closing; cupola on drum and with lantern raises.
• CLAUDE PERRAULT (1613-1688).
• Palace of the Louvre. Eastern facade. Low body as a socle, and a giant order of twin columns above; fronton of termination on the central axis.
• L. BRUANT (1635-1697).
• Hôtel DES Invalides. Paris. Urban palace.
• JACQUES HARDOUIN MANSART (1646-1708).
• Church of the Disabled. Paris. Centralized plant: a Greek cross enrolled in a square. The facade echelons in depth in several bodies. Verticalidad. Esbelta cupola on double drum.
• Palace of Versailles. A small pavilion of hunting existed, of times of Luis XIII, who will become the nucleus around which he will be growing this persistence, due fundamentally to the interest of Luis XIV. The first remodeling had to Luis Him Vaun, that would conserve its central patio or “Cour de Marbre”, that will become him governing element of the set; their wings will be extended thus to create other greater patios preceding to him: the “Cour Royale” and it “Please d'Armes”, giving rise to a set in form of “Or” which it embraces the triple staggered patio, of that divide three great routes radial, the power station towards Paris, remembering the characteristic layouts in Italian tridente.
• Still would be added two long rectangular pavilions to him perpendicularly ready, one to the north and another one to the south. Really, one is a conglomerate of constructions of diverse times that will not acquire its definitive aspect until half-full of the s. XVIII with the new stays added by the architect Gabriel. <> Cabe to mention that the author of the Room of the Mirrors was Charles Him Brun, covering that part with the palace, that before was open to the field, doing function of terrace with views to the garden. <> As interesting as the own architecture is the gardens, trazaos to “square and compass”, for whose accomplishment Nôtre told to Luis XV with Andrea Him.
The baroque French gift of more innovations presents/displays is in the decorative aspect of the interiors, where the walls are covered of wood, fabrics, carpets, plasters, bronzes and marbles, which is known like the “decorative style”, whose evolution gives rise to a series of stages that we know with the names of its kings: Luis XIII, Luis XIV, Regency, Luis XV and Luis XVI. Most original it is the well-known by “style Luis XV”, the call “the Rococo”, with his more characteristic subject, the “pebbles”, a species of pieces of irregular shells, of soft, asymmetric and curved, exquisite and elegant forms.
Also in the baroque French, he would be possible to mention his urbanism. The capital is transformed into a stage scene of the power, power that imagined in the absolute monarchy of the Borbones (in Rome they were the Popes). A series of spaces is created very representative public, as they are the real seats (“It pleases Royale”), in where appears a statue in center of the sovereign.
• Place Dauphine (of the Dolphin). It is not real because the statue is not in center.
• Place Vosgos. Square of 140 ms. of side. Regularized and soportales facades. Destroyed statue of Luis XIII in the Revolution (like all).
• Place DES Victories. Almost circular. J.H. Mansart. Luis XIV in La Paz of Nimega.
• Place Vendôme. Square with the trimmed corners (octogonal). J.H. Mansart. Statue of Luis Xiv. Soon Napoleón put the column of Austerlitz. It was conceived to put the academies here, National Library, etc. In the end were problems and particular houses became.
1.4. England.
In England the different styles will be followed one another to certain delay, the great root of the gothic one causes tardanza of the Renaissance, that prevails almost at the end of the s. XVI, reason why the architecture of the s. XVII he will be eminently clasicista.
• Cathedral of San Pablo. London. Reconstructed after a partial fire. Great cupola flanked by two towers with moved and flexible templetes of closing. Work of Wren.
• Bath City of Bath. Great circular seat, “Circus”, with uniform facades, are opened is three more or less equidistant streets. Work of Wood.
1.6. - Central Europe.
The architecture in this zone begins to have importance behind schedule. The War of the Thirty Years causes an economic, political and religious crisis, which they will not manage to leave until the final years of the s. XVII. To the French and Italian influences they will already add own singularities by the date of the Rococo that of the Baroque one. The rich, abundant, soft and moved decoration, where it dominates to the target and gold, will be the note most characteristic next to the dynamism and originality in the layout of its plants. The decoration reserve practically to the interiors, as much in civil works as in the nuns, arriving the ships from its temples to seem palaciegos halls.
• Church of the Trinidad. Salzburgo. Oval plant. Fischer Von Erlach (1656-1723).
• Cathedral of San Carlos Borromeo. Vienna. In the facade it combines a classic columnado porch, one esbeltísima cupola and two immense lateral columns of Fuste helically decorated. Same author.
• San Pedro of Vienna. Made oval. Lucas Von Hildebrant (1666-1745).
• San Nicholas of the Prague. Tribune of waved balustrade on lateral chapels, that separates as well by means of slanted pilasters. Christoph Dientzenhofer.
• Church of Osterhofen. Unique ship flanked by oval lateral chapels, on which a tribune of waved profile runs. J.M. Fischer.
• Palace of Wurzburgo. /Church of Vierzehnheiligen. /Church of the Convent of Neresheim. Neumann (1687-1753).
2. - SCULPTURE.
Like in architecture, tb the sculpture will be surrounded in a marked eagerness of movement; the clothes, the arms and the legs separate of the body and the figures move with greater freedom. The slanted lines, the escorzos predominate, disappearing the symmetry. You fold them they are multiplied, they crowded around and they swollen like whipped by the wind, they become deep and angular causing strong luminance resistances. <> the works acquire great variety of points of view, forcing sometimes to the spectator to turn in their winch to have of them a complete vision. We do not have to forget that the baroque art had between its functions the one to serve as reclamation.
The used materials more will be the marble, the bronze and the wood, depending on the sites. <> As far as the thematic one, the naked one practically disappears (not thus in painting), perhaps by the predominance of the religious production, subject where the realism is accentuated. /The picture incorporates the bust. /Another newness is the one of the funeral monuments, generally with a piramidal scheme, that raise, over everything, the fame and the virtue of the deceased, whose statue is located in the vertex, whereas in the base sarcófago is arranged. <> special Mention has the call city-planning sculpture: ecuestres sources and monuments.
2.1. - Italy.
ESTEBAN MADERNO (1556-1629).
• Santa Cecilia. Court in the neck.
BERNINI (1598-1680).
• Apolo and Dafne.
• Tumba de Urbano VIII.
• Cardinal Scipione Borghese. Bust.
• Éxtasis de Sta. Teresa.
• San Longino. Cruise of San Pedro.
• Constantino. Ecuestre.
• Tumba Alexander VII. Clock sand.
• Bust Luis XIV.
• David.
• Source 4 rivers. Navonna.
• Source of Triton.
• Source of the Hull.
ALGARDI (1598-1654).
• Olimpia.
2.2. - Spain.
Barroca one of the most genuine manifestations of our art is the sculpture. By all means, it enjoys some of the common characteristics of this style like the dynamism, the escorzos, the dominion of the diagonal, the opening of lines, the abundance of folds, the luminance preoccupations… But to them it will add some totally personal notes, like are the strong attraction of the reality and the extreme search of the expresividad, objectives that it even persecutes and it reaches at the cost of the own technical correction. <> the material basically used is the wood. The policromía that requires him aid to accentuate so longed for naturalismo. <> the thematic one, almost of exclusive form, will be religious.
In century XVII two schools can be distinguished: Castilian and the Andalusian.
CASTILIAN SCHOOL:
GREGORIO FERNANDEZ (1575-1636).
• Yacente Christ.
• Christ of the Light.
• Villa distresses.
• the Cirineo.
• Sta. Teresa.
• San Fco. Javier.
• Altarpieces of San Miguel in Valladolid; the Conception in Vitoria and the Cathedral of Plasencia.
SCHOOL ANDALUSIAN.
• JUAN MOUNTAIN MARTINEZ (1568-1649).
• Christ of the Mercy. Chapel of the Chalices of the Cathedral of Seville.
• Young Jesus. He creates a new, generally naked type.
• Immaculate. Of great popular devotion.
• San Isidro of the Field. /// Sto. Domingo de Portacoell.
• TABLE JUAN (1583-1627).
• Christ of the Agony. Seville.
• Christ of the Great Power. Seville.
• WHITE ALONSO (1601-1667).
• Altarpiece of the church of Lebrija.
• Immaculate. Sacristía Cathedral of Granada.
• Young Jesus with the Cross to hills. Brotherhood of the Nazarenos. Madrid.
• Adam and Eva. Individual busts. Chapel Greater Cathedral of Granada.
• PEDRO OF MENA (1628-1688).
• Choir of the Cathedral of Malaga
• Painful. Barefoot real. Madrid.
• Magdalena. Museum of Valladolid.
• San Francisco. Cathedral of Toledo.
The Spanish sculpture of century XVIII has in Spain an outstanding figure:
• FCO. SALZILLO (1707-1783).
It is born in Murcia. The types of carved pieces that make more are belenes and procesionales steps, mainly for the Brotherhood of Jesus Nazareno of Murcia, today turned Museum of Salzillo.
• The Oration of the Orchard.
• the Prendimiento.
• the Last Supper.
• the Fall.
• the Painful one.
• Verónica and San Juan.
2.3. - France.
The French sculpture barroca introduces some changes with respect to the Italian or to the Spanish, for example in the thematic one, where the religious sort will be relegated in favor of profane it, more compatible with the new customer, not only the Church, but the monarch and his cortesanos. <> Subjects like the picture or those of funeral character. <> will be able to be appreciated a certain evolution between the s. XVII and the XVIII, the first more severe and serious, and gladder, being refined and full one of grace the second.
• Picture of Luis XIV. As a Roman emperor. J. Warin.
• Cariátides. /// Mausoleo de Enrique de Borbón. Sarrazin.
• Luis XIV. Ecuestre statue in Place Vêndome. Destroyed in the Revolution. /// Apolo and the /// Nymphs the Kidnapping of Proserpina, both in Versailles. Works of Girardon.
3. - PAINTING.
Search of the reality. Marked naturalismo (although for it it is necessary to resort to the ugly thing, sad or the old thing). <> New subjects, like the landscape, bodegones, the animals, the picture. <> From the formal point of view, will be the color the one that predominates on the drawing, the loose invoice, the spots replace the linear precision of the edges. The light will be the one that defines the forms, debilitating them or making them more intense according to its incidence on them. The shades will be another one of the most singular characteristics.
The simple triangular schemes will be replaced by the diagonal, with oblique lines that cross the scenes violently. <> Buscan the movement and the dynamism in the details and the set. They are sent to the conquest of the third dimension, the one of the depth. Accentuated escorzos.
The decorative painting, the applied one to the architecture, will have an important development, covering with fresh the vaults with temples and palaces. Technically one give ins the weather and the table, being replaced by the oil and the linen cloth, which facilitates the increase of size of the pictures.
3.1. - Italy.
CARAVAGGIO (1573-1610).
He was a man of violent character, that took a Bohemian life, traveling from a side to other, full of disputes and argument that made give him with their bones in the jail, dying finally of malaria before fulfilling the 40. This disquieting existence will be reflected in its work, in which it will be accentuated gradually the dramatic quality. Safe at a first moment, where some mitológicos or allegorical subjects have capacity, the thickness of its work will be formed by religious pictures. The most outstanding element of its painting will be the light and the strong resistances that with her cause. Not in vain the great cultivator of the “Tenebrismo” considers itself him, with the well-known technique as “warehouse light” Their linen cloths are become involved more and more in I pull ahead of mystery.
• Realism.
• Naturalismo.
• Tenebrismo.
• Instantaneity.
• Claroscuro/Sfumato.
• Diagonals
Between his works it is necessary to emphasize:
• Santo Entierro. Point of view used very low, almost from the niche.
• The death of the Virgin. It took like model to a woman drowned in the Tíber.
• Letter Players.
• Woman touching laúd.
• Basket of fruits.
• Woman saying the good luck.
ANNIBALE CARRACCI (1560-1609).
Boloñian School belongs to the call. Along with their brothers Luis and Agustín founded the Academy dei Desiroi or degli Incaminnati, antecedent of the present Schools of beautiful Arts, where technical lessons and tb were distributed theoretical on History of the painting, Anatomy… and restored prizes that stimulated their students. Their main work was the fresh airs of the Farnesio Palace in Rome, with subjects inspired by “the Metamorphosis” of Ovid (scene of Baco and Ariadna). Still there is something of the previous time, because there is more idealismo, of there the mitológico subject. The composition is symmetrical, without diagonals. It appears the landscape. Much color, nothing of tenebrismo. Two basic concepts: “Cuadri riportati” (=marcos painted simulating pictures of you forbid. Influence of Rafael); and “prospecttico Cuadraturismo” (=desarrollo architectonic of the painting, is not distinguished what is sculpture of which is painting. Influence of Miguel Angel).
GUIDO RENI (1575-1642).
The most representative artist of the boloñian school. Influence of Rafael. Its more outstanding work is the “Aurora” of the Rospiglioni Casino of Rome. It represents Apolo in a car rolled by the beautiful courtship of the Hours and preceded of the Aurora there being dew flowers on the Earth. It was conceived like a great linen cloth (in spite of being in vault) without preoccupations by escorzos and effects of perspective.
PIETRO GIVES CORTONA (1596-1669).
• Triumph of the Divine Providence. Barberini palace. Urbano VIII. This author uses the “trampe-l'oeil” (simulated painting) to open all the architecture of the ceiling and to let plan at the top of the room an allegorical vision, in tribute to the Papado and the Barberini dynasty (bees) as if she was a celestial vision. He has religious and political a sense, because simultaneously it express the politicosocial power of the tie Barberini with the power of the Church.
ANDREA POZZO (1642-1709).
• Gloria of San Ignacio. Jesuítica church of San Ignacio. Rome. It is a painting similar to the previous artist, with the opening of ceilings in which floors and floors extend, with galleries, columns and entablamentos that end at the cosmos of angels and saints to be fused finally with an imaginary sky.
GUERCINO (1591-1666).
• the Aurora. Ludovisi casino. Rome. More movement than the previous one. In addition, he distinguishes himself of the one of Reni because he is in a glory opening, where is created an effect ilusionist.
3.2. - Spain.
Like general characteristics, we can indicate the increasing increase of the naturalismo, the realistic character, rejecting the mitológicos subjects in general; sorts like the picture, bodegones will be cultivated and mainly the religious subjects, since it will be the most important Church of the patrons. <> Reason why to the compositions talks about, usually is simple and calm, although the lines diagonals and the figures in escorzo do not need. <> From the technical point of view is possible to indicate the almost total absence of fresh (unlike the Italians). One of the most outstanding aspects is the carried out investigations with the light in the picture, that takes to them to make in very early date great luminance resistances. The influence of the tenebrismo will arrive soon.
VALENCIAN SCHOOL.
• FRANCISCO RIBALTA (1565-1628).
Catalan. He is pleased with the light resistances, standing out with her the volumes of his energetic figures and providing force and mystery to his compositions.
• Santa Cena. Greater altarpiece of the School of the Patriarchs.
• San Francisco and the Angel. Museum of the Prado.
• San Bruno. // San Juan Baptist. // San Francisco embracing the Cross.
• JOSE SHORE (1591-1652).
Játiva (Valencia), although great part of its life pass in Italy. It is known like the “Spañoleto” by his small stature. Mixture of lights and shades. Extraordinary verismo, obtained when taking models from the street. Naturalismo. Bodegones.
• Magdalena in tears.
• The martyrdom of San Bartholomew.
• Blessing of Isaac.
• Sueño de Jacob.
• Barbuda Woman of loa Abruzzos.
• the Patizambo.
SCHOOL ANDALUSIAN.
• FRANCISCO ZURBARÁN (1598-1664).
Frontier dweller of birth. Its moderate and comeasured style, burdens and severe, it adapts well to his taste towards the daily thing and simple, that he will know to identify surrounding it in I haul of solemnity and greatness. There are in him no disturbed gestures, neither weeping nor smiles. He rejects the blood, the cruelty and the martyrdom, preferring the mystical and ascético aspect of the religiosidad. The “painter of the friars” has been called him. <> Great volumetric sense. Clearness in the profiles. It rejects the landscaping bottoms or architectonic, it prefers the closed spaces. The white color predominates. Claroscuro and naturalismo.
• Convent of San Buenaventura.
• San Hugo in the refectory.
• Cartuja of the Caves.
• Cartuja de Jerez.
• Monastery of Guadalupe.
• Bodegones.
• WHITE ALONSO (1601-1667).
He initiates his race in Seville, soon will go to Madrid and, finally, its native Granada. Calm and calm compositions. Perfectly ideal tendency, that takes to the creation of types that soon repeats. Beautiful, esbeltas and exquisite Virgins of great eyes. Colorista.
• The Immaculate one of Vitoria.
• The Miracle of the Well of San Isidro.
• The Seven Joys of Sta. Maria.
• BARTHOLOMEW ESTEBAN MURILLO (1618-1682).
Already of second half of the s. XVII. Representative of the beauty and the dulzura, approaching the religion the daily life. Unlike the previous one, he prefers to represent the woman and the boy.
• Purest of the Dump, Soult and Aranjuez.
• Sagrada Family of the pajarito.
• Young of the Shell.
• The good Shepherd.
• Young eating melon and grapes.
• Young playing the dices.
• Young espulgando itself.
• LOYAL VALDÉS (1622-1690).
The opposed pole represents in the panorama of the Spanish painting barroca Murillo: violence, movement and dynamism. Author prone to the exageraciones and the ends. Realism, arriving even to allude to to the trivialities of all the earth things forehead to the death: “In ictu oculi” and “Finis gloriae mundi”.
• DIEGO VELA'ZQUEZ (1599-1660).
He will allow the transit us from the Sevillian School to the Madrilenian, because he, Sevillian of birth, initiates his formation and its race in this city, but most of develops his activity in the Court.
Vela'zquez is one of the greatest painters of the history of the art. His Zurbarán, Murillo and Ribalta in Spain, and Caravaggio, Rembrandt and Rubens in Europe are contemporary. In the Court it will know the work Caravaggio and the school of the Carracci, as well as the flamenco one. It had to his disposition, the best thing of the artistic vanguard.
Its life
In the factory of Francisco Pacheco its authentic formation like painter began. Dot bodegones, with a treatment of the tenebrista light. The religious pictures are the main source of income for the painters of the time. The Immaculate one, the old one frying eggs and the water carrier of Seville.
In the 1622 Vela'zquezes he has his first contact with the Court. He painted the picture of Góngora, that impressed so much that the following year, is called to the Court and named camera painter. This allows him to know the accumulated art in palace and to have certain economic independence.
In 1628 Rubens it visits Madrid, it knows Vela'zquez and it influences in him. That same year paints the Triumph of Baco. Between 1629 and 1631 it makes his first trip to Italy, to know the art the country. Fruit of that trip is its picture the forge of Vulcano.
To his return of Italy, and between 1631 and 1649 it receives the order of the decoration of the Hall Kingdom, in the Retirement. It is the fecund time of Vela'zquez. Dot the Surrender of Breda, with which it introduces the contemporary historical subject in his painting. It organizes the picture in a circular space that turns around the protagonists.
It makes the pictures of Felipe III, Felipe IV, his women, the count-Duke of Olive groves, the infants, etc. But also of farcical and the people of the town who surround to the Court, like Pablo of Valladolid, a brilliant picture by their treatment of the bottom.
Between 1649 and 1651 Vela'zquez it does his second travels to Italy. Dot its famous picture of the Pope Innocent X. Juan of Pair, and dot portrays to his slave pictures of mitológico subject, like the Venus of the mirror, in which the naked one is allowed, one of the few naked ones of the baroque Spanish.
In 1651 it returns to Spain demanded by the king to paint the pictures of the real family: The meninas, an extraordinary picture of multiple compositivos problems. Also it touches mitológicos subjects: The hilanderas.
Its art
The nature, the light and the movement are common preoccupations to all the artists of the baroque one, but she is Vela'zquez who gives the most original solutions and that better solve the problems. <> Rare time is called on deeply dramatic subjects to show its realism. When it is entered in these fields reduces the dramatic quality to the minimum expression. Noncopy, invents its compositions. <> Utiliza claroscuro, but moved away of the tenebrismo. The air interposed between the objects catches the distorsionadores effects, which is known like aerial perspective: The forge of Vulcano, the meninas or the hilanderas. <> the color applies it with moderation, in pinceladas loose. The movement is created through the light and the aerial perspective.
ESCUELA MADRILEÑA.
• CLAUDIO COELLO (1642-1693).
Pintor de cámara de los Austrias. Destaca su obra “ La Sagrada Forma ”.
• JUAN CARREÑO DE MIRANDA (1614-1685).
Destaca como retratista: “ Carlos II ”.
3.3. - Flandes.
La Guerra de Religión supone la total escisión entre Flandes y Holanda. La actual Bélgica, bajo dominio español, será católica, por lo que los temas religiosos seguirán siendo de primer orden, aunque si bien es cierto no será una religiosidad emotiva, sino optimista y alegre.
PEDRO PABLO RUBENS (1577-1640).
Sus lienzos rebosan vida, con un predominio total del movimiento. Son composiciones abiertas y dinámicas, casi siempre de acentuada diagonalidad, con una riquísima y brillante gama cromática distribuida a base de sueltas y fluidas pinceladas, con frecuencia sinuosa. Muchísimas obras de variadísima temática, aunque en algunas sólo colabora, concluyéndolas sus ayudantes.
• El Apostolado.
• Adoración de los Magos.
• Exaltación de la Eucaristía.
• Las Tres Gracias.
• Retrato de Felipe II.
• Retrato de María de Médicis.
ANTON VAN DYCK (1601-1641).
Formado con Rubens. Su larga permanencia en la corte inglesa le hace inclinarse por lo elegante y distinguido, por el buen gusto. Gran retratista. Canon estilizado y ademanes exquisitos. Composiciones armónicas. Hizo triunfar el retrato doble, donde contrapone las actitudes de los personajes. Su fama fue grande y sus encargos tantos que acabó limitándose a pintar sólo los rostros, dejando el resto a su taller.
• Retratos de Carlos I.
• Los condes de Bristol y Bedford.
JACOB JORDAENS (1593-1678).
Como los anteriores, está relacionado con Amberes. Destaca en las escenas populares. Destacar el “ Rey Bebé ”.
3.4. - Holanda.
Lo reducido de su territorio, el calvinismo imperante, su condición de República en un continente de monarquías, su sociedad burguesa de comerciantes frente a la aristocracia de otros lugares, harán que desaparezca el mecenazgo de la Iglesia y la primacía del tema religioso a favor de una nueva clientela, la que prefiere temas más cotidianos, como escenas de la vida rural, interiores burgueses, paisajes, retratos, bodegones, flores, etc.
JAN VERMEER (1632-1675).
Fue el primero en utilizar la técnica de “plen-air”, captando la luz diurna como fuente de iluminación. Parece seguro que utilizó la “cámara oscura” para ayudarse en la composición y en la perspectiva, de la que consigue un gran sentido de la profundidad. La luz generalmente entra por una ventana a la izquierda, da un incomparable esplendor a los tejidos sedosos, crea, además, una atmósfera a le vez plácida y armoniosa, en la cual se integran personajes igualmente apacibles. En sus interiores no se ven escenas de acción. Medidores espaciales. Obras:
• Vista de Delft.
• La callejuela.
• El geógrafo.
• Lecciones de música.
• Joven del turbante.
• El soldado y la muchacha.
REMBRANDT (1606-1669).
Su tema es siempre el ser humano, lo mismo cuando sufre que cuando exulta de júbilo, y como su misma persona fue el modelo más fácil de comprender y explorar, gustó de pintarse a sí mismo. <> En sus escenas bíblicas no los viste con atavíos suntuosos. <> Claroscuro. <> La luz desciende del cielo. Obras:
• Simeón en el Templo.
• La Cena de Emaus.
• Autorretratos.
• Lección de Anatomía.
• Ronda de Noche.
• El síndico de Pañeros.
FRANS HALS (1585-1666).
Estilo dinámico y emotivo. Vida cotidiana. La luz procede de la parte superior izquierda. Pincelada muy suelta. Gran retratista. Realismo. Instantaneidad. Obras:
• La gitanilla.
• La Bruja de Haarlem.
• El chico de la flauta.
• Las regentes del asilo de Haarlem.
• Hombre con zambomba.
• Cientos de retratos.
RUYSDAEL y HOBBEMA .
Sendos paisajistas, el primero de sensibilidad más intensa y vital en sus visiones de la naturaleza (vientos, cascadas, tormentas); el segundo más sereno y quieto. <> Los paisajes holandeses son inconfundibles, con la línea del horizonte muy baja, ocupando gran parte del lienzo amplios celajes nubosos.
3.5. - Francia.
NICOLAS POUSSIN (1594-1664).
Vivió mucho tiempo en Roma donde asimiló la cultura clásica. Es el creador del denominado “paisaje histórico”, debido a los innumerables paisajes jalonados de ruinas romanas. Sus cuadros se caracterizan por el orden y la claridad compositiva, la serenidad y el equilibrio. De sus obras destacan “Rapto de las Sabinas”; “Bacanal”; “El Parnaso”; “Pastores de la Arcadia ”.
CLAUDIO DE LORENA (1600-1682).
Paisajista de peculiar luminosidad atraído por las brumas, las neblinas, los amaneceres y las puestas de sol, luces suaves que van desvaneciéndose, y con ellas los elementos que componen sus cuadros. Vivió tb muchos años en Roma. Destaca “El embarco de Santa Paula”.
VÍCTOR MANUEL FERNÁNDEZ RUIZ
LICENCIADO EN HUMANIDADES
victormfernandez@hotmail.com
JUNIO DE 2005