Barque Research Essay

Barque Research Essay 3

Baroque Art, characterised by its dramatic, exaggerated, intricately detailed, yet heavily expressive style, its painters, sculptors, and architects sought to shock and delight by undermining the typically placid works of the renaissance era which preceded it, they did this by focusing entirely on emotion, variety and movement.

Baroque art had many influences, two main influences were religion and politics, The Roman Catholic Church used art as a powerful tool in there battle against the Protestant Reformation also known as the counter- reformation, the beauty and splendor of the works were intended to create an emotional response from the largest audience possible. Other Influences were the scientific and economical advances which forced Europeans into viewing the world in completely different ways, thereby allowing them more freedom. The grandeur of the movement was influenced by the greatness of the Spanish and French kingdom.

Although many artists flourished at this time, there were a few artists who made a moderately larger impact than others. This essay will discuss these artist, there works, and there significance in the movement.

Caravaggio, an Italian painter born Michelangelo Merisi, in 1573,who changed his mane to that of his birth place, Caravaggio near Milan, Italy. His first major artistic influence was in 1593 from his time spent under the mannerist painter Giuseppe Cesari, his first major commission which he completed in 1601 was to decorate the Contarelli Chapel in San Luigi dei Francesi in Rome with three scenes of the life of Saint Matthew, and his second major commission from Santa Maria del Popolo in Rome for a Conversion of St Paul and Crucifixion of St Peter. The life and death of Caravaggio has been one of intense speculation, many believe that he led a undisciplined life, running into trouble and having to escape from the law on numerous occasions, he died in 1610 at the young age of 38.

Image A shows Caravaggio painting The Supper at St Emmaus completed in 1602. The scene was painted from Luke 24, which describes a post crucifixion event and displays the disciples as they suddenly realise that they are sharing the Eucharist with Christ himself, his use of the common, lower class as his models enhances this symbolism. This dramatic subject matter is typical of Caravaggio's intense, naturalistic style.

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The content consists of the four models, the chairs and table at which they are seated, bread, wine, and other condiments including a basket of fruits which seems to be almost tipping over the edge.

Caravaggio has used a variety if techniques to highlights Christ as the focal point, for example the single beam of harsh light from the top left corner which stands in contrast against the dark shadows around him, he has used gestural line, both psychic, as all the disciples look at Christ the viewers eyes are drawn to him too, and implied, the arms of the disciple to the left of Christ reach out, thereby connecting us to Christ and simultaneously creating a sense of unity and balance.

Caravaggio error in his use of perspective and scale in the disciple to the left, whose right hand appears a fair amount larger than the left, and his use of foreshortening in the disciple on the right whose elbow and chair appears to move into the viewers space all add to his dramatic style.

Caravaggio had a flair for conveying textured fabrics and forms, and this technique, paired with his use of rich colours and smooth paint, creates fine, realistic qualities.

Although his naturalistic technique often resulted in criticism, his use of the common lower class citizens as models and his dramatic contrast between light and dark was appreciated by those involved in the counter-reformation. Caravaggio did not create this technique, however, he brought an intensity and life to it in a completely original manner. Through out the 17th century a fresh group of naturalist painters, who were inspired by his dynamic, dramatic style, flourished in Italy and eventually spread to France, England, Spain and the Netherlands.

Bernini, Gianlorenzo, was born on the 7th of December, 1598 in Naples, Italy and died in Rome on the 28th of November,1680. He was the son of a sculptor and studied his father's works. His father also helped him gain recognition as he moved on to become a master sculptor, painter and architect. Bernini's talents were recognized by Pope Urban VIII (Barberini), and it was under his patronage that he completed Apollo and Daphne (1622-24) and David (1623-24) and was made principal architect for St. Peter's in 1629. Bernini died at age 81, after having served eight popes and completing many extraordinary works in all three disciplines.

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Bernini produced his version of the statue of David, Image B, in 1623, under the commission of Borghese; here he depicts David in the process of slinging a stone at goliath who is imagined to be in the space behind the viewer. This violent subject matter is typical of baroque and more specifically Bernini's particular sculptural style.

Benini was well known for his technique of blending different media, which gave his sculpture the same flowing movement of a painting; this was enhanced by his sensual treatment of the surface textures of skin and hair, and his unique, deep shading.

This image makes it easy to recognize the focal point of the sculpture as the sling in his hand. It is highlighted by the strong triangular shapes of his body, these triangular shapes along with the strong diagonal line formed from the head down to the leg on the right adds a sense of balance and highlights the solidarity, unity and forceful appearance of the sculpture. Bernini's use of Cotrapasto, the dramatic outward twist from his central core, forces the viewer to acknowledge the smooth, solid forms which can be viewed all around the sculpture.

There are two important differences between previous sculptures of David and Bernini's version, firstly, the fact that Bernini has captured David in the act of killing goliath, a transient moment, with all the strain and emotion shown in his intense facial expression, this imagery and symbolism is typical of the baroque style, secondly, his enlarged scale depicting David as a gladiator, a fully developed muscular male as apposed to an adolescent.

Bernini was well recognized for capturing the essence of the Counter-Reformation. His giant sculptures and architectural brilliance gave Rome a dramatic, Baroque atmosphere. His willingness to experiment accounts for his work as a fusion of architecture and sculpture. His marble works had the same violent, extravagant effect usually found