LESSON: ARTS OF THE RENAISSANCE AND BAROQUE PERIODS

I. EXPECTATIONS
The learner demonstrates understanding of salient features of Western arts from
different historical periods, through appreciation, analysis, and performance for self-
development, the celebration of Filipino cultural identity and diversity, and the
expansion of one’s world vision.

Specifically, this will help you to:

 use artworks to derive the traditions/history of an art period.

II. PRE-TEST
Directions: Define the following words associated with the Renaissance and Baroque art
period.
1. Humanistic
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2. Mannerism
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3. Grandeur
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4. Extravagant
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5. Symmetry
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III. LOOKING BACK TO YOUR LESSON

Directions: Recall the concepts you have learned from the previous lesson, and answer the
questions that follow.
1. What characteristics does Renaissance and Baroque art have?
2. What art techniques was popularized by the different famous artists during the Renaissance
and Baroque period?

IV. BRIEF INTRODUCTION

RENAISSANCE ART PERIOD HISTORY

During the two hundred years between 1400 and 1600, Europe witnessed an astonishing
revival of drawing, fine art painting, sculpture and architecture centered on Italy, which we now refer
to as the Renaissance (rinascimento). It was given this name (French for 'rebirth') as a result of La
Renaissance - a famous volume of history written by the historian Jules Michelet (1798-1874) in 1855
- and was better understood after the publication in 1860 of the landmark book "The Civilization of
the Renaissance in Italy" (Die Kultur der Renaissance in Italian), by Jacob Burckhardt (1818-97),
Professor of Art History at the University of Basel.
In very simple terms, the Italian Renaissance re-established Western art according to the
principles of classical Greek art, especially Greek sculpture and painting, which provided much of the
basis for the Grand Tour, and which remained unchallenged until Pablo Picasso and Cubism.
From the early 14th century, in their search for a new set of artistic values and a response to
the courtly International Gothic style, Italian artists and thinkers became inspired by the ideas and
forms of ancient Greece and Rome. This was perfectly in tune with their desire to create a universal,
even noble, form of art which could express the new and more confident mood of the times.
Above all, Renaissance art was driven by the new notion of "Humanism," a philosophy which
had been the foundation for many of the achievements (eg. democracy) of pagan ancient Greece.
Humanism downplayed religious and secular dogma and instead attached the greatest importance to
the dignity and worth of the individual.
In the visual arts, humanism stood for (1) The emergence of the individual figure, in place of
stereotyped, or symbolic figures. (2) Greater realism and consequent attention to detail, as reflected
in the development of linear perspective and the increasing realism of human faces and bodies; this
new approach helps to explain why classical sculpture was so revered, and why Byzantine art fell out
of fashion. (3) An emphasis on and promotion of virtuous action: an approach echoed by the leading
art theorist of the Renaissance Leon Battista Alberti (1404-72) when he declared, "happiness cannot
be gained without good works and just and righteous deeds".
The promotion of virtuous action reflected the growing idea that man, not fate or God,
controlled human destiny, and was a key reason why history painting (that is, pictures with uplifting
'messages') became regarded as the highest form of painting. Of course, the exploration of virtue in
the visual arts also involved an examination of vice and human evil.

BAROQUE ART PERIOD HISTORY

Following the pronouncements made by the Council of Trent on how art might serve religion,
together with the upsurge in confidence in the Roman Catholic Church, it became clear that a new
style of Biblical art was necessary in order to support the Catholic Counter Reformation and fully
convey the miracles and sufferings of the Saints to the congregation of Europe. This style had to be
more forceful, more emotional and imbued with a greater realism. Strongly influenced by the views of
the Jesuits (the Baroque is sometimes referred to as 'the Jesuit Style'), architecture, painting and
sculpture were to work together to create a unified effect. The initial impetus came from the arrival in
Rome during the 1590s of Annibale Carracci and Carravaggio (1571-1610). Their presence sparked a
new interest in realism as well as antique forms, both of which were taken up and developed (in
sculpture) by Alessandro Algardi (in sculpture) and Bernini (in sculpture and architecture). Peter
Paul Rubens, who remained in Rome until 1608, was the only great Catholic painter in the Baroque
idiom, although Rembrandt and other Dutch artists were influenced by both Caravaggism and Bernini.
France had its own (more secular) relationship with the Baroque, which was closest in architecture,
notably the Palace of Versailles. The key figure in French Baroque art of the 17th century was Charles
Le Brun (1619-90) who exerted an influence far beyond his own metier. See, for instance, the
Gobelins tapestry factory, of which he was director. Spain and Portugal embraced it more
enthusiastically, as did the Catholic areas of Germany, Austria, Hungary and the Spanish Netherlands.
The culmination of the movement was the High Baroque (c.1625-75), while the apogee of the
movement's grandiosity was marked by the phenomenal quadratura known as Apotheosis of St
Ignatius (1688-94, S. Ignazio, Rome), by the illusionist ceiling painter Andrea Pozzo (1642-1709).
Surely one of the best Baroque paintings of the 17th century.
By the end of the 17th century the grand Baroque style was in decline, as was its principal
sponsor, Italy. The coming European power was France, where a new and contrasting style of
decorative art was beginning to emerge. This light-hearted style soon enveloped architecture, all
forms of interior decoration, furniture, painting, sculpture and porcelain design. It was known as
Rococo.
In order to fulfill its propagandist role, Catholic-inspired Baroque art tended to be large-scale
works of public art, such as monumental wall-paintings and huge frescoes for the ceilings and vaults
of palaces and churches. Baroque painting illustrated key elements of Catholic dogma, either directly
in Biblical works or indirectly in mythological or allegorical compositions. Along with this
monumental, high-minded approach, painters typically portrayed a strong sense of movement, using
swirling spirals and upward diagonals, and strong sumptuous colour schemes, in order to dazzle and
surprise. New techniques of tenebrism and chiaroscuro were developed to enhance atmosphere.
Brushwork is creamy and broad, often resulting in thick impasto. However, the theatricality and
melodrama of Baroque painting was not well received by later critics, like the influential John Ruskin
(1819-1900), who considered it insincere. Baroque sculpture, typically larger-than-life size, is marked
by a similar sense of dynamic movement, along with an active use of space.
Baroque architecture was designed to create spectacle and illusion. Thus, the straight lines of
the Renaissance were replaced with flowing curves, while domes/roofs were enlarged, and interiors
carefully constructed to produce spectacular effects of light and shade. It was an emotional style,
which, wherever possible, exploited the theatrical potential of the urban landscape - as illustrated by
St Peter's Square (1656-67) in Rome, leading up to St Peter's Basilica. Its designer, Bernini, one of the
greatest Baroque architects, ringed the square with colonnades, to convey the impression to visitors
that they are being embraced by the arms of the Catholic Church.
As is evident, although most of the architecture, painting and sculpture produced during the
17th century is known as Baroque, it is by no means a monolithic style. There are at least three
different strands of Baroque, as follows:

(1) Religious Grandeur

A triumphant, extravagant, almost theatrical (and at times) melodramatic style of religious art,
commissioned by the Catholic Counter Reformation and the courts of the absolute monarchies
of Europe. This type of Baroque art is exemplified by the bold visionary sculpture and
architecture of Bernini (1598-1680), by the trompe l'oeil illusionistic ceiling frescoes of Pietro
da Cortona (1596-1669) - see his masterpiece Allegory of Divine Providence (1633-39) - and
by the grandiose paintings of the Flemish master Rubens (1577-1640).

(2) Greater Realism

A new more life-like or naturalist style of figurative composition. This new approach was
championed by Carravaggio (1571-1610), Francisco Ribalta (1565–1628), Velazquez (1599-
1660) and Annibale Carracci (1560-1609). The boldness and physical presence of Caravaggio's
figures, the life-like approach to religious painting adopted by Velazquez, a new form of
movement and exuberance pioneered by Annibale Carracci, and a realistic form of rustic
Biblical genre painting, complete with animals, evolved by Castiglione (1609-64) - all these
elements were part of the new and dynamic style known as Baroque. See also: Classicism and
Naturalism in Italian 17th Century Painting.
 (3) Easel Art
Unlike the large-scale, public, religious works of Baroque artists in Catholic countries, Baroque
art in Protestant Holland (often referred to as the Dutch Golden Age) was exemplified by a new
type of easel-art - a glossy form of genre-painting - aimed at the prosperous bourgeois
householder. This new Dutch Realist School of genre painting also led to enhanced realism in
portrait art and landscape painting, flower pictures, animal compositions and, in particular, to
new forms of still life painting, including the Protestant-inspired genre known as vanitas
painting (flourished 1620-50). Different towns and areas had their own 'schools' or styles,
such as Utrecht, Delft, Leiden, Amsterdam, Haarlem and Dordrecht. See: Dutch Realist Artists.

V. ACTIVITIES
Directions: Paste pictures as example of the different art techniques from Renaissance and
Baroque periods.

ART TECHNIQUE ARTWORK DESCRIPTION

Title:

Artist:
Humanism
Arts Period:

Title:

Artist:
Religious Grandeur
Arts Period:

Title:

Artist:
Greater Realism
Arts Period:
 Title:

Artist:
Easel Art
Arts Period:

VI. REMEMBER

 In very simple terms, the Italian Renaissance re-established Western art according to the
principles of classical Greek art, especially Greek sculpture and painting, which provided much of
the basis for the Grand Tour, and which remained unchallenged until Pablo Picasso and Cubism.
 From the early 14th century, in their search for a new set of artistic values and a response to the
courtly International Gothic style, Italian artists and thinkers became inspired by the ideas and
forms of ancient Greece and Rome. This was perfectly in tune with their desire to create a
universal, even noble, form of art which could express the new and more confident mood of the
times.
 Naples, in 1600 the second largest city in Europe after Paris, was an important centre of Counter-
Reformation Baroque art. The Neapolitan School was developed by Caravaggio, Ribera, Artemesia
Gentileschi, Mattia Preti (1613-99) Luca Giordano (1634-1705), Francesco Solimena (1657-1747)
and others. For more, see: Painting in Naples (1600-1700) and Caravaggio in Naples (1607, 1609-
10). For the early 17th century, see: Neapolitan School of Painting (1600-56); for later
developments see: Neapolitan Baroque Painting (c.1650-1700).
 It took longer for the Baroque style to reach Russia. Indeed, it wasn't until the period of Petrine art
in St Petersburg under Peter the Great (1686-1725), that architects like Rastrelli, Domenico
Trezzini, Andreas Schluter, Gottfried Schadel, Leblond, Michetti, and Matarnovi began designing in
the style of Russian Baroque.

VII. CHECK YOUR UNDERSTANDING
Directions: Write TRUE if the statement is correct, and FALSE it is wrong.

__________ 1. Italian Renaissance re-established Western art according to the principles of

classical Italian art.
__________ 2. Italian artists and thinkers became inspired by the ideas and forms of ancient
Greece and Rome.
__________ 3. Renaissance art was driven by the new notion of Humanism.
__________ 4. In order to fulfill its propagandist role, Roman-inspired Baroque art tended to be
large-scale works of public art.
__________ 5. Renaissance architecture was designed to create spectacle and illusion.

VIII. POST TEST

 1. ____________________________ 2. ____________________________ 3. ____________________________
Directions: Tell whether the artwork is from Renaissance or Baroque Period.

REFERENCES:

A Journey Through Western Music and Arts, Music and Arts - Learner's Material, First Edition 2014, ISBN:
978-971-9601-73-9

www.nationalgallery.org.uk/paintings/peter-paul-rubens-samson-and-delilah
painting.about.com/od/famouspainters/ig/famous-paintings/Leonardo-Mona-
Lisa.htm

http://en.wikipedia.org/wiki/Image:Gesu.jpg

http://en.wikipedia.org/wiki/Michelangelo

Renaissance Art: History, Characteristics. (2020). Retrieved 14 August 2020, from http://www.visual-
arts-cork.com/renaissance-art.htm

Baroque Art: Definition, Styles, History. (2020). Retrieved 14 August 2020, from http://www.visual-arts-
cork.com/history-of-art/baroque.htm

Eraji, M. (2016). Baroque Art – ArtyAds. Retrieved 14 August 2020, from

https://www.artyadshq.com/blog/baroque-art/