“ WHEN SOCIETY CHANGES,

THINKING CHANGES, AND

“
NATURALLY ART CHANGES AS WELL
XU BING
HISTORY OF ART the academic study of
the history and development
of the visual arts.
LEARNING OUTCOMES

• To analyze the visual, sensual evidence to be

found in diverse works of art, architecture, and
design in combination with textual evidence;
• To be knowledgeable in the history of art; and
• To appreciate art.
 EARLY RENAISSANCE

• Quattrocento
• Italy experienced cultural rebirth, a renaissance that
affected all sectors of society.
• Florentine artists spurred rejuvenation of glories of
Classical art.
 EARLY RENAISSANCE

• Man is the measure of all things.

• Innovations continue to influence creative and
cultural arenas today.
 EARLY RENAISSANCE

Key ideas associated

• Art emulates natural world.
• Emphasis on body and face.
• Interest in Humanism.
• Revival of Classical antiquity.
• Disdain for Middle Age/Medieval Age/Dark Age.
 EARLY RENAISSANCE

Techniques and Artistic methods

• Perspective
• Chiaroscuro shading
• Naturalism
• Foreshortening
Background

Foreground
Tenebrism is chiaroscuro more on dark shading.
 EARLY RENAISSANCE

Painting
Tommaso di Ser Giovanni di Simone Cassai or
Masaccio
• First great master of Italian art.
• Giorgio Vasari says he is the best painter of his
time because of his skill at imitating nature,
recreating lifelike figures, movements and 3-
dimensionality.
 EARLY RENAISSANCE

Painting
The Tribute Money
• Gospel of Matthew 17:24-27.
• Linear perspective and continuous narration.
• Shift from highly stylized and decorative painting
emphasizing 3-dimensional space and solid,
realistic human forms.
Tommaso di Ser Giovanni di Simone Cassai, The Tribute Money, (c.1427). Fresco, 8 ft. 4 in. x 19 ft.
8 in. (2.54 x 5.9 m.). Santa Maria del Carmine, Florence, Italy.
Scene 2 Scene 1 Scene 3
 EARLY RENAISSANCE

Painting
The Holy Trinity
• God as a man.
• In medieval art, God was often represented by a
hand, an abstract force or power.
• Architectural setting is derived from contemporary
buildings by Brunelleschi which, in turn, were much
influenced by classical Roman structures.
Masaccio, The Holy Trinity (c.1426-7). Fresco, 21 ft. 10 ½ in. x 10 ft. 5 in (6.67 m. x 3.17m.).
Santa Maria Novella, Florence, Italy.
 EARLY RENAISSANCE

Painting
Guido di Pietro or Friar Fra Angelico, the Angelic
Painter
• Italian painter described by Vasari with rare and
perfect talent. Also Beato Angelico; common
English name Fra Angelico or Angelic friar. Beato is
Spanish, Portuguese, and southern Italian: from
personal name Beato, beatus for blessed, happy,
prosperous.
 EARLY RENAISSANCE

Painting
The Annunciation
• His finest version of this traditional theme and
most famous work.
• Commissioned by Cosimo de'Medici to decorate
the walls with intricate frescos.
• Embodies serene religious attitude and reflect
strong Classical influence.
Fra Angelico, The Annunciation, altarpiece for San Domenico. Cortona, (c.1450). Fresco Panel, 5 ft. 3 in. x 11 in.
(1.6 x 1.8 m.). Museo Diocesaio, Cortona, Ialy.
 EARLY RENAISSANCE

Painting
Alessandro di Mariano di Vanni Filipepi, Sandro
Boticelli
• One of greatest and esteemed artists.
• His paintings represent linear grace, or smooth and
relaxed, of Early Renaissance.
• Very little is known about his early life. His exact
birthdate is unknown.
 EARLY RENAISSANCE

Painting
The Birth of Venus
• Metaphor symbolizing birth in the minds of the
humankind, with ideas fertilized by divinity.
• Depicts the mythical birth of the Goddess of Love.
Her birth has 2 accounts.
Alessandro di Mariano di Vanni Filipepi, The Birth of Venus, (c.1482). Tempera on canvas, 5 ft. 8 3/4 x 9 ft.
3 ½ in. (1.72 x 2.78 m). Uffizi Gallery, Florence, Italy.
 EARLY RENAISSANCE

Sculpture
Verisimilitude
• Latin verum, and similis, or truth, and similar.
• Lifelikeness.
• Appearance of being true or real.
 EARLY RENAISSANCE

Sculpture
Donato di Niccolò di Betto Bardi
• Italian sculptor,
• Studied Classical sculpture and used this to
develop complete Renaissance style.
• Used stone, bronze, wood, clay, stucco and wax.
• Had superb command of sculpture.
• Buried next to Cosimo de’Medici.
 EARLY RENAISSANCE

Sculpture
St. George
• 1 of 14 sculptures commissioned by guilds of
Florence.
• St. George is the patron saint of armorer’s guild,
known as military figure, in the Byzantine East, and
in 3rd Crusade.
Donato di Niccolò di Betto Bardi, St. George, (1415). Marble, 3 ft. 7 ½ in. x 2 ft. 3 in (109 x 67 m.).
Muzeo Nazionale del Bargello, Florence Italy.
 EARLY RENAISSANCE

Sculpture
Equestrian Monument to Gattemalata
• A condottiero, or mercenary captain. Erasmo da
Narni or Gattamelata, or Honeyed Cat
commissioned by Republic of Venice.
• Ancestor of all equestrian monuments erected
since.
• Earliest surviving equestrian statue from
Renaissance.
Donato di Niccolò di Betto Bardi, Equestrian Monument to Gattemala, (1445-50). Bronze, about 11 x 13 ft.
(3.4 x 4 m.). Piazza del Santo, Padua, Italy.
 EARLY RENAISSANCE

Sculpture
Feast of Herod
• One of his earliest reliefs and his first bronze relief
commissioned by Cosimo de’Medici.
• Noted for his use of perspective.
Donato di Niccolò di Betto Bardi, Feast of Herod, (c.1423-1427), Bronze,, 60 x 60 cm.
baptismal front, Battistero di San Giovanni, Siena, Italy.
 EARLY RENAISSANCE

Sculpture
David
• First freestanding Judeo-Christian nude male
sculpture. 2nd of 2 statues commissioned by
Cosimo de’Medici for Palazzo Medici.
• One of most famous artworks in the world, the
iconic symbol of Florentine Republic.
Donato di Niccolò di Betto Bardi, David, (1430-40). Bronze, 5 ft. 2 1/4 in. (1.58 m.) high.
Museo del Bargello, Florence, Italy.
 EARLY RENAISSANCE
THE FEUD THAT SPARKED THE RENAISSANCE

Ghiberti-Brunelleschi
Dome of the Florence Cathedral competition
• Brunelleschi won the competition using an egg. He
told the commission he will reveal his plans if any
of them could make it stand. He smashed it in 2
parts and put ½ shell on top of the other, making
it to stand upright. The consuls and craftsmen
protested they could have done the same, but
responded, they could if they knew what he knew.
 EARLY RENAISSANCE
THE FEUD THAT SPARKED THE RENAISSANCE

Ghiberti-Brunelleschi rivalry
Ghiberti, his rival as co-superintendent
• Even if he won the competition, the administrators
of the project didn’t completely trust him. They
decided to nominate Ghiberti, as co-superintendent
in order to keep the ambitious goldsmith in line.
Their relationship never recovered when Ghiberti
beat him for the bronze door. Their collaboration
was characterized by frequent fights and intrigues.
 EARLY RENAISSANCE
THE FEUD THAT SPARKED THE RENAISSANCE

Ghiberti-Brunelleschi rivalry
The Gates of Paradise competition
• In 1401, Florence was ready for new commission
work. In 1329, Andrea Pisano just completed the
south-end doors of the Baptistery. The powers
wanted to install a new set of gilded doors on the
north end. 7 artists competed by submitting a
bronze plaque on the Abraham Sacrificing Isaac,
the city’s most prestigious public commission.
 EARLY RENAISSANCE
THE FEUD THAT SPARKED THE RENAISSANCE

Ghiberti-Brunelleschi rivalry
The Gates of Paradise competition
• 34 native-born Florentine citizens will judge, and 2
artists stood out among the rest. Both were in their
early 20s. Brunelleschi hid behind closed doors
and perfected his craft, while Ghiberti opened a
studio and allowed the general public to wander
and provide feedback including Giovanni de’Medici,
who was on the selection committee.
Brunelleschi’s work is by far the more dramatic and disturbing, all angles and movement and raw emotion. The Ghiberti’s panel is more elegant and more beautiful. He demonstrates masterful perfection of the art, as remarkable
story literally bursts out from the panel, breaking the boundaries of the Gothic quatrefoil within which, it is in its own way for the time and place and age of the artist as is the work of his rival.” (Paul Robert Walker)
supposed to be contained, just as Brunelleschi burst through the boundaries of the Gothic art with his creation.”
(Robert Paul Walker)
 EARLY RENAISSANCE
THE FEUD THAT SPARKED THE RENAISSANCE

Sculpture
Lorenzo Ghiberti
• Italian sculptor.
• Most celebrated craftsman of Florentine
Renaissance. A child prodigy, he received his first
commission at 23 years old.
• Established an open studio, allowed public to
wander including Giovanni de’Medici, son of
Cosimo.
 EARLY RENAISSANCE
THE FEUD THAT SPARKED THE RENAISSANCE

Sculpture
Porta del Paradiso
• Pair of gilded bronze doors installed at east
entrance. Containing statuettes in niches and
medallions with busts.
• Considered one of greatest masterpieces of Italian
art in Quattrocento and Western art.
Lorenzo di Bartolo, Portal del Paradiso, (1424-52). Gilt bronze, about 17 ft. (5.2 m.) high,
Baptistery, Florence, Italy.
 EARLY RENAISSANCE
THE FEUD THAT SPARKED THE RENAISSANCE

Architecture
Filippo Brunelleschi
• Italian architect and designer.
• Founding father of Renaissance architecture, his
accomplishments also include other architectural
works, sculpture, mathematics, engineering, and
ship design.
• Invented linear perspective.
 EARLY RENAISSANCE
THE FEUD THAT SPARKED THE RENAISSANCE

Architecture
Dome of the Cathedral of St. Mary of the Flowers
• Cathedral was built in 1296.
• Construction of dome marked beginning of
Renaissance.
• Plan resembles Gothic arch built without centring to
support masonry.
• Masterpiece of beauty and engineering, pioneering
construction that still remains unmatched.
Filippo Brunelleschi, dome of Cattedrale di Santa Maria del Fiore, (1420-36), Florence, Italy.
 EARLY RENAISSANCE

Architecture
Leon Batista Alberti
• Italian humanist, writer, architect, and principal
initiator of Renaissance art theory.
• Prototype of Renaissance universal man.
• Outlined key elements of classical architecture and
how these might be reused in contemporary
buildings.
 EARLY RENAISSANCE

Architecture
Palazzo Rucellai
• Palace-now-townhouse believed to be designed for
Giovanni di Paolo Rucellai.
• A splendid façade, was one of first to proclaim the
new ideas of Renaissance architecture in his book
De re aedificatoria or On the art of building.
Leon Battista Alberti, Pallazo Rucellai, (c.1452-70).
 EARLY RENAISSANCE

Theater
Niccolò Machiavelli
• Italian diplomat, philosopher and writer.
• Known for Il Principe, an instruction guide for new
princes and royals.
• Father of modern political philosophy and political
science.
 EARLY RENAISSANCE

Theater
The Mandrake or La Mandragola
• Satirical play, a political allegory, first performed in
1526 over 24-hour period.
• Plot centers around wealthy merchant Nicia and his
beautiful wife Lucretia. Callimaco,
• When the Medici came back into power in 1512,
he was arrested, tortured and exiled from Florence.
Niccolo Machiavelli, The Mandragola, (1526), Florence, Italy.
 EARLY RENAISSANCE

Music: Secular
• A Cappella is singing of voice.
• Madrigal is 4 or 5 voices choir.
• Vihuela and lute instruments became popular.
 EARLY RENAISSANCE

Dance
• Mummeries, pageants, and other pantomimes
flourished.
• Concern for perfection, individual expression,
dignity and grace for choreography.
 EARLY RENAISSANCE

Dance
Guglielmo Ebreo
• Jewish Italian dancing master.
• Took the name Giovanni Ambrosio.
• Travelled extensively among major Italian courts
including Naples, Urbino, Milan, and Ferrara,
teaching, performing, and choreographing court
festivities.
 EARLY RENAISSANCE

Dance
Treatise on the Art of Dancing/Little Book of
Dancing
• Emphasized the role of music.
• Also describes qualities necessary for dancers,
including posture, musicality, style, memory, and
provides first-hand accounts of court celebrations
in which he played a role.
Guglielmo Ebreo, De pratica seu arte tripudii, (1463), Florence, Italy.
 HIGH RENAISSANCE

• Artistic pinnacle of Renaissance.

• 30-year period exemplified by groundbreaking,
iconic works.
• Ideals of classical humanism.
• Increased awareness of nature, revival or classical
learning, and more individualistic view of man.
 HIGH RENAISSANCE

Techniques and Artistic methods

• Triangular composition
• Fibonacci sequence
• Sfumato
• Trompe-l’oeil
 HIGH RENAISSANCE

Painting
Leonardo di ser Piero da Vinci
• Italian polymath.
• One of most diversely talented individuals ever to
have lived.
• One of greatest painters of all time, his natural
genius crossed so many disciplines that he
epitomized term Renaissance man.
 HIGH RENAISSANCE

Painting
The Virgin and Child with St. Anne
• Commissioned as high altarpiece for Church of
Santissima Annunziata in Florence.
• Original is now located at Musée du Louvre.
Leonardo da Vinci, The Virgin and the Child with St Anne, (1503). Oil on wood. 66 in. × 44 in.
(168 cm. x 112 cm.). Musée du Louvre, Paris, France.
 HIGH RENAISSANCE

Painting
Virgin of the Rocks
• Name for 2 paintings, of same subject, and
identical composition.
• There are a lot of differences between the two.
Leonardo da Vinci, The Madonna of the Rocks, (c.1485). Oil on panel, 6 ft. 3 in. x 3 ft. 7 in (1.91 x 1.09 m).
Musée du Louvre, Paris, France.
 HIGH RENAISSANCE

Painting
Mona Lisa
• Archetypal masterpiece of Italian Renaissance,
• Best known, most visited, most written about, most
sung about, most parodied work of art.
Leonardo da Vinci, La Gioconda, (c.1503-06 until 1517). Oil on poplar panel, 7 cm. x 53 cm. (30 in. x 21 in.).
Musée du Louvre, Paris, France.
 HIGH RENAISSANCE

Painting
The Last Supper
• Late 15th c. mural painting housed by refectory of
convent in Milan.
• Gospel of John, 13:21. One of most recognizable
paintings in Western world.
• Strong one point perspective, which involves all
lines in the painting converging in one place, known
as vanishing point.
Leonardo da Vinci, Il Cenacolo or L'Ultima Cena, (c.1495-95). Tempera and gesso, 460 cm.
(180 in.) x 880 cm.(350 in.). Santa Maria delle Grazie, Milan, Italy.
HIGH RENAISSANCE

Leonardo da Vinci, Last Supper, c. 1495-95. Tempera and gesso, 460 cm

(180 in) × 880 cm (350 in). Santa Maria delle Grazie.
 HIGH RENAISSANCE

Scientific inventions
Ornithopter
• Conceived the use of flapping motion to generate
thrust and provide forward motion necessary for
aerodynamic lift.
Vitruvian Man
• Drawing represents da Vinci’s concept of ideal
human body proportions.
Leonardo Da Vinci, L’uomo vitruviano, (c.1485-90). Pen and ink. 13 ½ x 9 3/8 (34.3 in. x 24.5 cm.).
Gallerie dell'Accademia, Venice, Italy.
Leonardo Da Vinci, Ornithopter, (1485).
 HIGH RENAISSANCE

Painting
Sistine Chapel painting
• Perfectly exemplifies ambition and genius of period.
• God stretches outward from his angels to reclining,
but dynamic Adam, awaiting divine infusion, spark
of soul.
Michelangelo di Lodovico Buonarroti Simoni, Sistine Chapel painting, (1508–1512), Gold and plaster.
40 m. x 14 m, Vatican, Rome, Italy.
Michelangelo di Lodovico Buonarroti Simoni, Volta della Cappella Sistina, (1508–1512), Gold and plaster.
40 m. x 14 m, Vatican, Rome, Italy.
 HIGH RENAISSANCE

Painting
Raffaello Sanzio da Urbino
• Italian painter and architect.
• Admired for clarity of form, ease of composition,
and visual achievement of Neoplatonic ideal of
human grandeur.
• Many of his works are found in Vatican Palace.
Considered one of great masters of Italian
Renaissance, his work influenced artists today.
 HIGH RENAISSANCE

Painting
The Marriage of the Virgin
• All elements connected to each other by
mathematical relations of proportion and placed
according to a clear, logical hierarchical order.
• Example of increasing maturity and confidence as
an artist.
Raffaello Sanzio da Urbino, Lo Sposalizio, (1504). Oil on roundheaded panel. 69 in × 48 in (174 x 48 cm).
Pinacoteca di Brera, Milan, Italy.
 HIGH RENAISSANCE

Painting
Alba Madonna
• Figures are grouped in broad low pyramid, aligning
them within circle that they not only conform to
their space, but dominate it as well.
• Most striking is its circular form called tondo
painting, from rotondo meaning round.
Raffaello Sanzio da Urbino, The Alba Madonna, (c.1510). Canvas. 37 ¼ in. (94.5 cm.) in diameter.
National Gallery of Art, Washington, D.C., U.S.A.
 HIGH RENAISSANCE

Painting
Liberation of St. Peter
• Acts 12:5-12.
• On left, side one guard has noticed light generated
by the angel and wakes a comrade, pointing up to
miraculously illumined cell.
• Overdoor in Apostolic Palace, now Vatican
Museum.
Raffaello Sanzio da Urbino, The Deliverance of St Peter, Fresco, (1514). 560 cm. (18 ft. 4 in.) wide.
Apostolic Palace, Vatican, Rome, Italy.
1 2 3
 HIGH RENAISSANCE

Painting
The School of Athens
• Part of his commission to decorate rooms now
known as Stanze di Raffaello.
• Marriage of art, philosophy, and science, hallmark
of Italian Renaissance.
Raffaello Sanzio da Urbino,, Scuola di Atene, (1509-11). Fresco. 500 cm. x 770 cm. (200 in. x 300 in.).
Apostolic Palace, Vatican, Rome, Italy.
 HIGH RENAISSANCE

Painting
Mannerism
• Soft revolt movement against relaxed, calm
portrayal of subject matter.
• Human figures usually appear slightly elongated or
stretched, especially in necks and limbs.
• Exaggerated forms often serve to heighten emotion
in artwork.
 HIGH RENAISSANCE

Painting
Mannerism
Characteristics
• Hyper-idealism, distorted human forms.
• Staged, awkward movement, exaggerated poses,
crowded, unorganized compositions, nervous
erratic lines.
• Sour color palettes, and ambiguous space.
 HIGH RENAISSANCE

Painting
Mannerism
• Agnolo Bronzino’s Portrait of a Young Man.
• Girolamo Francesco Maria Mazzola or
Parmigianino’s Madonna with the Long Neck.
• Jacopo Robusti or Tintoretto’s Last Supper.
• Doménikos Theotokópoulos or El Greco’s The
Disrobing of Christ.
 HIGH RENAISSANCE,
BAROQUE, MANNERISM
Painting
El Greco
• Works are precursors of Expressionism and
Cubism.
• Remembered chiefly for elongated, tortured figures,
often religious in nature.
• Influenced by Byzantine paintings.
 HIGH RENAISSANCE,
BAROQUE, MANNERISM
Painting
• Mannerism: unnatural proportions, intense color
relationships, and flat spaces.
• Renaissance: natural, authentic color schemes.
• Baroque: foreshadowing of the coming period.
• There’s a mannerist museum in Toledo, Spain
honoring El Greco.
 HIGH RENAISSANCE,
BAROQUE, MANNERISM
Painting
The Disrobing of Christ
• One of his most famous works, regarded
masterpiece of extraordinary originality.
• His idealized figure of Christ seems segregated
from other people and the violence surrounding
him.
Doménikos Theotokópoulos, El Expolio or Exspolĭum, (c.1577-79), Oil on canvas, 285 cm, x 173 cm.
(112 in. x 68 in.). Sacristy of Toledo Cathedral, Toledo, Spain.
Agnolo di Cosimo di Mariano, Portrait of a Young Man, (c.1535-50). Oil on wood. 37 5/8 x 29 ½ in.
(95.6 x 73 cm.). Metropolitan Museum of Art, New York U.S.A.
Girolamo Francesco Maria Mazzola Parmiginiano, Madonna dal collo lungo, (c.1534). 7 ft. 1 in. x 4 ft. 4 in.
(2.16 x 1.32 m.) Oil on canvas,. Uffizi Gallery, Florence, Italy.
Jacopo Robusti or Tintoretto, Last Supper, (c.1592-1594). Oil on canvas, 365 cm. x 568 cm
(144 in. x 224 in.). Basilica di San Giorgio Magiorre, Venice, Italy.
 HIGH RENAISSANCE

Sculpture
Michelangelo di Lodovico Buonarroti Simoni
• Italian sculptor, painter, architect, and poet.
• Exerted unparalleled influence on development of
Western art.
• Contender for title of archetypal Renaissance man.
• Several scholars described him greatest artist of
his age and even greatest artist of all time.
 HIGH RENAISSANCE

Sculpture
Bacchus
• Roman god of wine in state of drunkenness.
• One of his earliest, commissioned by Cardinal
Raffaele Riario inspired by Praxiteles. But when
Riario saw it finished, he rejected it.
Michelangelo di Lodovico Buonarroti Simoni, Bacchus, (1496-97). Marble. 80 in. (203 cm.) high.
Museo Nazionale del Bargello, Florence, Italy.
he upper body moves in opposition to the lower. The entire figure seeks to break free from confinement through thrust and counter-thrust.
The bulging muscles, exaggerated rib cage, heavy hair, undercut eyes, and frowning brow–may be since these features were intended to be read form a distance.

HIGH RENAISSANCE

Sculpture
Pieta
• Commissioned by Cardinal Jean de Bilhères, it was
made for his funeral monument.
• Bilhères wanted to acquire the most beautiful work
of marble in Rome, one that no living artist could
better.
Michelangelo, Pieta, (1498-9). Marble. 5 ft. 9 in. (1.75 m.) high. St Peter’s Basilica, Rome, Italy.
 HIGH RENAISSANCE

Sculpture
David
• Majestic and nude Hellenistic David, with slingshot,
slung victoriously over one shoulder.
• Symbolized civil liberties embodied in Republic of
Florence.
• World’s greatest sculpture.
Michelangelo, David, (c.1501-04). Marble. 17 ft. x 6.5 ft. (517 cm. x 199 cm.) high.
Galleria dell'Accademia, Florence, Italy.
 HIGH RENAISSANCE

Architecture
Donato Bramante
• Italian architect.
• Restored true principles of ancient architecture,
and acknowledged as founder of High Renaissance
architectural style.
• Under patronage of Pope Julius II, he renewed
artistic greatness appropriate to Rome as heir to
Roman Empire as center of Christendom.
 HIGH RENAISSANCE

Architecture
Tempietto
• Small temple, small circular chapel commissioned
by Ferdinand and Isabella of Spain.
• More sculpture than building.
• Prototype of basilica of St. Peter’s Basilica in
Vatican.
Donato di’Angelo, The Tempietto, (Authorized 1502, completed 1511).
San Pietro in Montorio, Rome, Italy.
Donato di’Angelo, The Tempietto, interior, (Authorized 1502, completed 1511).
San Pietro in Montorio, Rome, Italy.
 HIGH RENAISSANCE

Architecture
Andrea Palladio
• Italian architect.
• Active in Venetian Republic, influenced by Vitruvius.
• One of most influential individuals in the history of
architecture.
• Teachings summarized in his treatise, The Four
Books of Architecture, gained him recognition.
• Inspired U.S. Thomas Jefferson.
 HIGH RENAISSANCE

Architecture
Villa Capra “La Rotunda”
• A villa (type of house of ancient Roman upper-
class country house) in northern Italy, one of his
legacies to the architectural world. It may have
inspired a thousand subsequent buildings, but itself
was inspired by the Pantheon in Rome. Name
Capra derives from Capra brothers, who completed
the building after it was ceded to them.
 HIGH RENAISSANCE

Architecture
The Four Books of Architecture
• Treatise on architecture or I quattro libri
dell’architettura in Italian.
• 1st book discusses 5 classical orders.
• 2nd book covers designs of private urban
townhouses and country villas of 1500s, in and
around Venice, almost all designed by himself.
 HIGH RENAISSANCE

Architecture
The Four Books of Architecture
• 3rd book addresses matters of city planning:
streets, stone street paving, bridges of both stone
and wood, and piazzas, with examples drawn from
Roman origins alongside contemporary examples.
• 4th book describes designs of specific Roman
temples dating from antiquity, along with one
contemporary church design.
Andrea Palladio, I quattro libri dell’architettura. (1570). Italy.
 HIGH RENAISSANCE

Architecture
Papal Basilica of Saint Peter
• Papal enclave, within city of Rome.
• Designed by Palladio, Bramante, Michelangelo, and
Bernini.
• Most renowned work of Renaissance architecture,
largest church in the world.
• One of holiest shrines and greatest of all churches
of Christendom.
Palladio, Raphael, Michelangelo, Bernini, St. Peter’s Basilica, (Groundbreaking 1506, completed 1626).
220 m. (720 ft.) x 150 m. (490 ft.) x 136 m. (448 ft.). Vatican, Rome, Italy.
St. Peter’s Basilica, interior (Groundbreaking 1506, completed 1626). 220 m. (720 ft.) x 150 m.
(490 ft.) x 136 m. (448 ft.). Vatican, Rome, Italy.
St. Peter’s Basilica, interior (Groundbreaking 1506, completed 1626). 220 m. (720 ft.) x 150 m.
(490 ft.) x 136 m. (448 ft.). Vatican, Rome, Italy.
St. Peter’s Basilica, interior (Groundbreaking 1506, completed 1626). 220 m. (720 ft.) x 150 m.
(490 ft.) x 136 m. (448 ft.). Vatican, Rome, Italy.
 HIGH RENAISSANCE

Theater
• Arrangement of space and imagery.
• Illusion of depth and creation of perspective
imagery through vanishing lines and scaling of
objects.
• Creation of Proscenium, as frame for picture of
stage.
The theatre of the Auditorium Building, a horseshoe-shaped theatre with a proscenium stage.
 HIGH RENAISSANCE

Theater
Teatro Olimpico
• Oldest existing theatre in Europe designed by
Palladio.
• Still operates today dedicated to dramatic musical
performances.
• Commissioned by Olympic Academy, inaugurated
on March 3, 1585,.
Andrea di Pietro della Gondola,Teatro Olimpico, stage, (1580-04). Vicenza, Italy,
Andrea di Pietro della Gondola,Teatro Olimpico, stage, (1580-04). Vicenza, Italy,
Andrea di Pietro della Gondola,Teatro Olimpico, stage, (1580-04). Vicenza, Italy,
 HIGH RENAISSANCE

Theater
Commedia dell’arte
4 specific characteristics.
• Improvisation. Productions had plots and subplots.
Dialogue was completely improvised within plot
outline. Most plays were comical.
• Stock, stereotypical, recognizable characters.
• Mime and pantomime.
 HIGH RENAISSANCE

Theater
Commedia dell’arte
• Actors traveled in companies, and each member of
the company played the same role over and over.
• Many actors changed their original names to those
they portrayed.
• Woman were introduced, and important as men.
 HIGH RENAISSANCE

Theater
Tiberio Fiorilli
• Italian actor.
• Developed Scaramouche, scaramuccia or little
skirmisher, a stock clown.
• Popular in France, the director of troupe of
Comédie-Italienne, which shared with troupe of his
friend Molière.
 HIGH RENAISSANCE

Music: Religious
Giovanni Pierluigi da Palestrina
• Italian composer of sacred music and best-known
16th c. representative of Roman school of musical
composition.
• Influenced on development of church and secular
music in Europe.
• His work is culmination of Renaissance polyphony.
 HIGH RENAISSANCE

Music: Religious
Pope Marcellus Mass
• Best-known mass frequently taught in university
courses on music, sung at Papal Coronation
Masses.
• Consists, like most Renaissance masses, of Kyrie,
Gloria, Credo, Sanctus/Benedictus, and Agnus Dei.
Giovani Pierluigi da Palestrina, Missa Papae Marcelli (1526), Florence, Italy.
 HIGH RENAISSANCE

Music: Secular
• A Cappella is singing of voice.
• Madrigal is 4 or 5 voices choir.
• Vihuela and lute became popular.
 Lute

Vilhuela
 HIGH RENAISSANCE

Dance
Balleto
• Ballo, ballare meaning to dance, ballizo, meaning to
dance or jump about.
• Ballet is French, which had its origin in Italian
balletto, diminutive of ballo (dance).
• Ballet came into English usage from French around
1630.
 HIGH RENAISSANCE

Dance
Balleto
• Originated in Italian courts as form of
entertainment. Nobility were treated to lavish
events, in wedding celebrations, where dancing and
music created an elaborate spectacle.
• During the 15th and 16th c., it became formalized.
 HIGH RENAISSANCE

Dance
Balleto
• Catherine de’Medici encouraged elaborate festivals
ballet de cour, a program with dance, decor,
costume, song, music and poetry.
• Brought dancing masters from Milan to France and
made the arts, including dance, a central part of
court life.
 HIGH RENAISSANCE

Literature
Baldassare Castiglione
• Italian courtier, diplomat, soldier, writer, and author.
• Entered courts of prominent figures of time.
• Began his political career as diplomat in France,
England, and was appointed an ambassador. He
was ordained a priest and held position of apostolic
nuncio in Spain, until his death.
 HIGH RENAISSANCE

Literature
The Book of the Courtier
• Shows picture of artistically ordered society.
• Propounds humanist’s ultimate ideals–of men and
women of intellectual refinement, cultural grace,
moral stability, spiritual insight, and social
consciousness.
• Very influential in 16th c. European court circles.
Conte Baldassare Castiglione, Il Cortegiano, (1528)
NORTHERN RENAISSANCE
AND REFORMATION
Northern European Renaissance and Reformation
• Van Eyck borrowed Italian Renaissance techniques
that eventually spread to the Netherlands,
Germany, France, Switzerland, Austria, and others.
• Protestant Reformation stepped in with backlash
against the Roman Catholic Church due to sales of
indulgences (Zwingli, Calvin, Bucer, and John Knox)
• Bible translation from Latin to vernacular language.
NORTHERN RENAISSANCE
AND REFORMATION
Painting
Jan van Eyck
• Flemish painter.
• One of early innovators of Early Netherlandish
painting.
• One of significant representatives of Early Northern
Renaissance art.
• Innovator of veristic realism.
NORTHERN RENAISSANCE
AND REFORMATION
Painting
The Arnolfini Marriage
• One of most famous works believed to depict
Italian merchant Giovanni di Nicolao Arnolfini and
his wife.
• One of original and complex works in Western art,
because of its beauty, complex iconography,
geometric orthogonal perspective, and expansion
of the picture.
Jan Van Eyck, The Arnolfini Wedding, The Arnolfini Marriage, the Portrait of Giovanni Arnolfini and his Wife,
(1434). Oil on panel, 33 x 22 1/2 in. (83.8 x 57.1 cm.). National Gallery, London, England.
NORTHERN RENAISSANCE
AND REFORMATION
Painting
Hieronymous Bosch
• Dutch painter.
• One of most notable representatives of
Netherlandish painting.
• Works mainly show fantastic illustrations of
religious concepts and narratives, with macabre and
nightmarish depictions of hell. Works have deep
insight into humanity’s desires and deepest fears.
NORTHERN RENAISSANCE
AND REFORMATION
Painting
Garden of Earthly Delights
• Triptych surrealism. When closed, it shows
monochrome painting of creation of world, with
God looking down on flat landscape sealed inside
giant bubble.
Jheronimus van Aken, The Garden of Earthly Delights, triptych, left panel, center panel, The World
Before the Flood, right panel Hell, (c.1505). Side panels 86 x 36 in. (218.5 x 91.5 cm.), center
panel 86 x 76 in. (218.5 x 195 cm.). Museo del Prado, Madrid, Spain.`
Jheronimus van Aken, The Garden of Earthly Delights, triptych, left panel, center panel, The World
Before the Flood, right panel Hell, (c.1505). Side panels 86 x 36 in. (218.5 x 91.5 cm.), center
panel 86 x 76 in. (218.5 x 195 cm.). Museo del Prado, Madrid, Spain.
NORTHERN RENAISSANCE
AND REFORMATION
Painting
Pieter Bruegel the Elder
• Most significant Dutch and Flemish painter and
printmaker.
• Reinvigorates medieval subjects such as humor and
buffoonery of ordinary life in illuminated
manuscripts, and calendar scenes of agricultural
labors set in landscape backgrounds.
NORTHERN RENAISSANCE
AND REFORMATION
Painting
Landscape with the Fall of Icarus
• Comically minute reference to titular narrative.
• Icarus is popular symbol in Italian art. It gave artists
chance to show human body in flight or falling.
Pieter Bruegel, Landscape with the Fall of Icarus, (c.1554-5). Oil on panel, 2 ft 5 in. x 3 ft. 1/8 in.
(74 x 112 cm.). Musees Royax de Beaux-Arts, Belgium.
NORTHERN RENAISSANCE
AND REFORMATION
Woodcut
Albrecht Dürer
• German painter, and printmaker.
• Communicated with major Italian artists of his time
• Patronized by Emperor Maximilian I, he is
commemorated by Lutheran and Episcopal
churches.
NORTHERN RENAISSANCE
AND REFORMATION
Woodcut
Four Horsemen of Apocalypse
• Pestilence, War, Famine, and Death about to bring
the divine apocalypse.
• Book of Revelations 6:1–8.
• Most reproduced and recognizable of Apocalypse
prints, as it has various Christian and secular
symbols.
Albrecht Durer, Die vier Apokalyptischen Reiter, (c.1497-8). Woodcut. 15 2/5 x 11 in. (39;2 x 27.9 cm.),
Museum of Fine Arts, Boston, Massachusetts, U.S.A.
NORTHERN RENAISSANCE
AND REFORMATION
Painting
Four Apostles
• John, Peter, Mark and Paul.
• Protestant belief that icons were contradictory to
the Word of God
• Any Protestant artist, like Dürer became, had to
commission their own works.
Albrecht Durer, Four Apostles, (1526). Oil on wood, each panel, 7 ft. 2 in. x 2 ft. 6 in. (215 x 76 cm.).
Altepinakothek, Munich, Germany.
NORTHERN RENAISSANCE
AND REFORMATION
Painting
Albrecht Altdorfer
• German painter, engraver and architect.
• One of the first artists to take an interest in
landscape as an independent subject.
• Pioneer painter of pure landscape, making them
the subject of his paintings.
NORTHERN RENAISSANCE
AND REFORMATION
Painting
Battle of Alexander and Darius at Issus
• Pioneer of landscape art.
• Regarded as his masterpiece
• One of most famous examples of world landscape,
with unprecedented grandeur.
• Duke William IV of Bavaria commissioned it as part
of set of historical pieces.
Albrecht Altdorfer, Alexanderschlacht, (1529). Oil on wood, 5 ft. 3 1/4 in. x 4 ft. (1.58 x 1.2 m.).
Altepinakothek, Munich, Germany.
NORTHERN RENAISSANCE
AND REFORMATION
Painting
Jean Clouet
• French miniaturist and painter.
• Known for delicate psychological characterization
of his subjects.
• Made numerous portraits of members of royal
family and nobility. Portraits painted on small
panels, models being presented at ½ length, faces
illuminated by light, hands placed in foreground.
NORTHERN RENAISSANCE
AND REFORMATION
Painting
King Francis I
• French king ascending into throne at young age.
• Always eager to present himself in great splendor,
as patron of arts.
• Shows self-indulgent, calculating character–
notorious for sexual affairs–but likeness is stiff and
formal, with same kind of distorted, mannered
appearance.
Jean Clouet, Francis I, (c.1530). Tempera and oil on wood, 38 1/4 in. x 29 1/2 in. (96 x 74 cm.).
Louvre Museum, Paris, France.
NORTHERN RENAISSANCE
AND REFORMATION
Music
Catholic and Secular
• Musicians were imported from elsewhere and
brought to Flanders.
• Franco-Flemish composers were dominating;
• Press enabled music to be easily transmitted.
NORTHERN RENAISSANCE
AND REFORMATION
Music
Catholic
Gillaume Dufay
• Franco-Flemish composer and music theorist of
early Renaissance.
• Noted for both his church music and his secular
chansons.
• Bridge between Medieval and Renaissance periods.
NORTHERN RENAISSANCE
AND REFORMATION
Music
Catholic
Recently Flowers of Roses or The Rose Blossoms
Recently
• Commissioned motet (vocal musical composition)
written for consecration of Brunelleschi’s dome.
• Icon of Western culture.
Gillaume Dufay, Nuper Rosarum Flores, (1436).
NORTHERN RENAISSANCE
AND REFORMATION
Music
Catholic
Josquin des Pres
• French composer.
• Most famous composer, central figure of Franco-
Flemish School writing sacred and secular music.
• His mastery of technique and expression
universally imitated and admired.
NORTHERN RENAISSANCE
AND REFORMATION
Music
Catholic
Ave Maria… Virgo Serena
• His most famous motet and one of most famous
pieces of 15th c.
• One of best examples of its style, power, and
beauty. Composed during his service at North
Italian court at Milan.
Josquin de Prez, Ave Maria… Virgo serena, (1502).
NORTHERN RENAISSANCE
AND REFORMATION
Music
Catholicism
• Very structured, follows specific form, with use of
music in certain parts only.
• Kyrie eleison.
• Preserves solemnity by playing organ, and
sometimes the guitar.
NORTHERN RENAISSANCE
AND REFORMATION
Music
Protestantism
Martin Luther’s central points of criticism:
• Sale of indulgences from sins.
• People didn’t understand Latin sermon.
Martin Luther’s reformed points:
• Exclusivity of worship.
• Music produced in vernacular language and
employs musical band instruments.
NORTHERN RENAISSANCE
AND REFORMATION
Theater (and Literature)
• Humanism became very popular among educated
townspeople and court circles.
• Mystery plays continued, but the impact of
Protestant Reformation discouraged their staging.
• Playwrights tailored their productions to fit popular
tastes.
• Evidence of rising attendance.
NORTHERN RENAISSANCE
AND REFORMATION
Theater
William Shakespeare
• English playwright, poet, and actor.
• Greatest writer in English language, world’s
greatest dramatist.
• England’s national poet.
• Works continued to be studied and reinterpreted.
NORTHERN RENAISSANCE
AND REFORMATION
Theater
Hamlet
• His longest play, among most powerful and
influential work.
• World’s most filmed story after Cinderella.
• “To be, or not to be: that is the question.”
William Shakespeare, Hamlet. (1603).
NORTHERN RENAISSANCE
AND REFORMATION
Literature
Desiderius Erasmus
• Dutch philosopher and scholar.
• One of greatest scholars of Northern Renaissance.
As a Catholic priest, he was an important figure in
classical scholarship who wrote in pure Latin style.
• Crowning glory of Christian humanists.
NORTHERN RENAISSANCE
AND REFORMATION
Literature
Adagia
• Singular, adagium.
• Title o annotated collection of Greek and Latin
proverbs. His collection of proverbs is one of most
monumental...ever assembled: Call a spade to
spade, one step at a time, kill two birds in one
stone, to break the ice, hanging by a thread, and
necessary evil.
Desiderius Eramus Roterudamus, Adagia. (1500).
NORTHERN RENAISSANCE
AND REFORMATION
Literature
Lord Michel de Montaigne
• French philosopher.
• Work noted for its merging of casual anecdotes
and autobiography with intellectual insight.
• Influenced on Western writers including Bacon,
Descartes, Rousseau, Woolf, Waldo Emerson, Marx,
Freud, Darwin, and Shakespeare.
NORTHERN RENAISSANCE
AND REFORMATION
Literature
Essais
• Attempts to put one’s thoughts into writing.
• Designed to intrigue and involve reader, sometimes
appearing to move in stream-of-thought from topic
to topic and at times, employing structured style
that emphasizes didactic nature of one’s work.
Michel de Montaigne, Essais. (1580).
 BAROQUE

Baroque
Barocco, irregular pearl or stone.
Grandeur, extravagant, lavish, sensuous richness,
drama, vitality, movement, tension, emotional
exuberance. Art of the Church.
Absolutism.
Donors were modest compared to the Medici’s.
 BAROQUE

Painting
Appealed to emotions and to desire for magnificence
through opulent ornamentation.
Color and grandeur were emphasized.
Often exhibited intensely active compositions.
 BAROQUE

Painting
Composition is for religious purposes as it defined
strength of Catholicism.
Tenebrism, from Italian for tenebroso or dark,
gloomy, mysterious, also dramatic illumination, style
of painting using chiaroscuro, darkness becomes
dominating feature of the image.
 BAROQUE

Painting
Michelangelo da Caravaggio
• Italian painter.
• Most famous painter in Rome, his paintings
combine realistic observation of human state, both
physical and emotional.
• Used tenebrism and emphasized on co-extensive
space.
 BAROQUE

Painting
The Calling of St Matthew
• First public commission in Rome, one of group of
three paintings commissioned for Cardinal Matteo
Contarelli’s chapel.
• Matthew 9:9.
• Recognizable for its realism, intense chiaroscuro,
and artist’s emphasis on co-extensive space, or
action is extended to viewer.
Michelangelo Merisi da Caravaggio, The Calling of St. Matthew, (c.1596-8). Oil on canvas, 11 ft.
1 in. x 11 ft. 5 in. (3.38 x 3.48 m.). Contarelli Chapel, San Luigi dei Francesi, Rome, Italy.
 BAROQUE

Painting
Death of The Virgin
• Nothing testifies to the divine nature of the subject
traditionally used to indicate her holiness.
• Real, almost common figures.
• Commissioned by Laerzio Cherubini.
Michelangelo Merisi da Caravaggio, Death of the Death Virgin, (1605-06). Oil on canvas, 12 ft. 1 in.
x 8 ft ½ in. (3.69 x 2.45 m). Musée du Louvre, Paris, France.
 HIGH RENAISSANCE,
BAROQUE, MANNERISM
Painting
El Greco
• His works are seen as precursors of Expressionism
and Cubism.
• Remembered chiefly for elongated, tortured figures,
often religious in nature.
• Influenced by Byzantine paintings.
 HIGH RENAISSANCE,
BAROQUE, MANNERISM
Painting
• Mannerism: unnatural proportions, intense color
relationships, and flat spaces.
• Renaissance: natural, authentic color schemes.
• Baroque: foreshadowing of the coming period.
• There’s a mannerist museum in Toledo, Spain
honoring El Greco.
 HIGH RENAISSANCE,
BAROQUE, MANNERISM
Painting
St. Jerome as Scholar
• Saint is shown in red vestments of cardinal, seated
before an open book.
• Deep folds in garments point to influence of
Renaissance artist Michelangelo and Byzantine icon
painting.
Doménikos Theotokópoulos, St. Jerome as Cardinal, (1609). Oil on canvas, 43 in × 34 in. (108 x 87 cm.).
Metropolitan Museum of Art, New York, U.S.A.
 HIGH RENAISSANCE,
BAROQUE, MANNERISM
Painting
View From Toledo
• The entire city is transformed.
• Arid, stony, sun-drenched city is subjected to the
blackness and radiance of a powerful storm, its
awesome power dwarfing the grandeur of the city
below.
 HIGH RENAISSANCE,
BAROQUE, MANNERISM
Painting
View From Toledo
• Emotional and spiritual power of this painting
helped earn El Greco the posthumous title of
proto-Expressionist in early 20th c.
El Greco, View of Toledo, (1596–1600). Oil on canvas, 47.8 in x × 42.8 in. (121.3 cm × 108.6 cm.).
Metropolitan Museum of Art, New York City, U.S.A.
 BAROQUE

Painting
Diego Velásquez
• Hd keen eye and remarkable facility with brush
showing strong modeling and sharp contrasts of
light, resembling tenebrism.
• A master geometrician.
 BAROQUE

Painting
Las Meninas
• One of most widely analyzed works in Western Art.
In the room are King Philip IV and Queen Maria of
Austria, Infanta Margarita Theresa’s parents, who
are only being reflected in the mirror.
Diego Velasquez, Las Meninas, (1656), Oil on canvas, 125.2 in × 108.7 in. (318 cm × 276 cm.).
Museo del Prado, Madrid, Spain.
 BAROQUE

Painting
Peter Paul Rubens
• Flemish painter.
• His works have highly charged compositions
reference erudite aspects of classical and Christian
history.
• Stressed movement, color, sensuality that followed
dramatic artistic style in Counter-Reformation.
 BAROQUE

Painting
Henry IV Receiving the Portrait of Maria de’Medici
• Commissioned by Protestant-turned Catholic queen
that gives allegorized version of her life.
• From Marie de'Medici Cycle,
• Queen establishes her central authority.
Peter Paul Rubens, Henri IV Receives the Portrait of Marie de'Medici, (1622-1625),
Oil on canvas, 13 ft. x 9 ft. 8 in. (3.96 x 2.95 m.). Musée du Louvre, Paris, France.
 BAROQUE

Painting
The Massacre of the Innocents
• Subject of 2 versions.
• Gospel of Matthew 2:13-18.
• He wanted to shock and unnerve as an outcry
against atrocities of war and violence in 80 Years
War or Dutch Revolt. Despite the beautiful detail,
coloring and chiaroscuro, it is one of desperation,
pain, and destruction.
Peter Paul Rubens, Massacre of the Innocents, (1612), Oil on canvas, 55.9 in. × 71.7 in. (142 × 182 cm.).
Art Gallery of Ontario, Ontario, Canada.
 BAROQUE

Painting
Rembrandt Harmenszoon van Rijn
• One of greatest in art history, most important in
Dutch history with over 300 artworks
• Painted in different styles and subject matter, from
portraits, self-portraits, landscapes, genre scenes,
allegorical & historical scenes, and Biblical &
mythological themes.
 BAROQUE

Painting
The Anatomy Lesson of Dr. Nicolaes Tulp
• Group portrait of 7 surgeons and Dutch surgeon
and mayor Nicolaes Tulp.
• One of series of group portraits made for board
room of Guild of Surgeons.
• Dynamism added by great contrasts between light
to dark. One of his early masterpieces.
Rembrandt Harmenszoon van Rijn, The Anatomy Lesson of Dr. Nicolaes Tulp, (c.1632),
Oil on canvas, 85.2 in × 66.7 in (216.5 cm × 169.5 cm). Mauritshuis, The Hague,
The Netherlands.
 BAROQUE

Painting
The Night Watch
• One of greatest portrait paintings of 17th c., done at
the height of his career.
• Uses suggestion rather than detail leading eyes into
focus.
• Most famous painting in the Netherlands.
Rembrandt Harmenszoon van Rijn, The Night Watch, (1612), Oil on canvas, 12 ft. 2 in. x 14 ft. 7 in.
(3.7 x 4.45 m.), Rijksmuseum, Amsterdam, The Netherlands.
 BAROQUE

Painting
Johannes Vermeer
• Began painting large-scale Biblical & mythological
scenes, but most of his later works–ones for which
he is most famous–depict scenes of daily life
remarkable for purity of light and form, qualities
that convey a serene, timeless sense of dignity.
• Also painted cityscapes & allegorical scenes.
 BAROQUE

Painting
The Girl with a Red Hat
• Part of Dutch Golden Age, from trogne, slang for
mug or head.
• Tronie means face in 17th c., refers works that
show exaggerated expression or stock character in
costume.
Johannes Vermeer, The Girl with the Red Hat, (c.1665). Oil on panel, 9 ½ x 7 1/8 in. (23 x 18 cm.).
National Gallery of Art, Washington, D.C., U.S.A.
 BAROQUE

Painting
The Girl with the Pearl Earrings
• Young woman in dark shallow space, an intimate
setting that draws viewer's attention exclusively on
her.
• Voted the most beautiful painting in the
Netherlands.
Johannes Vermeer, The Girl with the Pearl Earrings, (c.1665), Oil on canvas, 44.5 x 39 in.
(Mauritshuis, The Hague), The Netherlands.
 BAROQUE

Sculpture
Baroque art wants us to be able to relate to the
image in our bodies, not just in our minds.
The space around it–reaching out into the space of
the viewer.
 BAROQUE

Sculpture
Gian Lorenzo Bernini
• Leading Italian sculptor credited with creating
Baroque style of sculpture.
• Also painter (mostly small canvases in oil) and man
of theater: he wrote, directed and acted in plays
(mostly Carnival satires).
 BAROQUE

Sculpture
Gian Lorenzo Bernini
• Designed stage sets and theatrical machinery. He
also produced designs as well for wide variety of
decorative art objects including lamps, tables,
mirrors, and even coaches.
 BAROQUE

Sculpture
Rape of Proserprina
• Commissioned by Cardinal Scipione Borghese
• Only 23 years old at its completion.
• Illustrates several of his strong suits, including his
mastery of anatomy and ability to evoke both
dynamism and drama.
Gian Lorenzo Bernini, Ratto di Proserpina, (1621-22). Marble, 89 in. (225 cm). Galleria Borghese, Rome, Italy.
 BAROQUE

Sculpture
David
• Exudes sense of power and action.
• Viewer participates emotionally, feels drama and
responds to sensuous contours of fully articulated
muscles.
Gian Lorenzo Bernini, David, (1623). Marble, 5 ft. 7 in. (1.70 m.). high. Galleria Borghese, Rome, Italy.
 BAROQUE

Sculpture
The Ecstasy of St Theresa
• Portrays overpowering sense of pleasure in serving
Christ–a spiritual experience.
• Manifestation of her love of God and her yearning
for spiritual union with him.
Gian Lorenzo Bernini, Santa Teresa or Santa Teresa in estasi, (1645-52), about 11 ft. 6 in. (3.5 m.) high.
Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy.
 BAROQUE

Sculpture
St Peter’s Baldachin
• Bronze canopy at high altar of St Peter’s Basilica.
At center of crossing, and directly under its dome
of the basilica.
• Colossal commissioned work by Pope Urban VIII.
Gian Lorenzo Bernini, Baldacchino di San Pietro or L'Altare di Bernini, 1623-34. Gilded bronze, about 94.3 ft.
(28.74 m.) high, St Peter’s Basilica, Rome, Italy.
 BAROQUE

Sculpture
Jean-Baptiste Tuby
• French sculptor.
• Known for fountain sculptures of Château de
Versailles.
• Expresses exuberance of Baroque blended with the
classicism of the Style Louis XIV.
• Sculptured grottoes and terraces around Paris.
 BAROQUE

Sculpture
The Fountain of Apollo or Apollon’s Pond
• Apollo rises from the sea at daybreak in his 4-
horse chariot.
• At God’s behest in glorious baroque splendor,
surrounded by art that was rational yet emotional
opulent in tone, and complex in design.
Jean-Baptiste Tuby, Bassin d'Apollon, (1688-1671). Palace of Versailles, Versailles, France.
 BAROQUE

Architecture
Emphasized light to shade/dark tonal contrasts,
action, emotion, opulence, and ornamentation.
 BAROQUE

Architecture
Louis Le Vau
• First architect of Château de Versailles,.
• One of greatest architects in 17th c. France that
helped developed French Classical style.
• Most ambitious work was at Versailles, where he
remodeled and expanded the château.
 BAROQUE

Architecture
Palace of Versailles
• Used to be principal royal residence of France from
1682, under Louis XIV, until French Revolution
under Louis XVI.
• Complex grew from hunting lodge of Louis XIII,
into chateau into grand palace with many
architects.
Louis Le Vau, Château de Versailles, Versailles, France, 1631-34.
Louis Le Vau, Château de Versailles, Versailles, France, 1631-34.
Louis Le Vau, (1661–68), then later Jules Hardouin-Mansart (1679–1681),
Palace of Versailles, Versailles, France.
A detail view of a sun symbol on an ornate gate of the Palace of Versailles.
 BAROQUE

Architecture
Sir Christopher Wren
• One of most highly acclaimed English architects.
• Anatomist, astronomer, geometer, mathematician-
physicist.
• Accorded for rebuilding 53 churches after the Great
Fire of London. Founder of the Royal Society
 BAROQUE

Architecture
St Paul’s Cathedral
• An Anglican Church dedicated to Paul the Apostle.
• Wren’s 3rd approved design combined Neoclassical,
Gothic, and Baroque elements symbolizing the
ideals of English Restoration and 17th c. scientific
philosophy.
Christopher Wren, St. Paul’s Cathedral, façade, (1675-1710). London, England.
Christopher Wren, St. Paul’s Cathedral, interior, (1675-1710). London, England.
 BAROQUE

Theater
Secular
Combination of Catholic and Protestant attitudes
resulted in legal suppression of all religious drama.
Freed from religious competition, drama turned to
Renaissance classicism.
France developed significant theatrical tradition
called French Neoclassicism.
 BAROQUE

Theater
Molière
• French playwright, actor and poet.
• His influence is such that the French language is
referred as language of Molière.
• Many of his plays have been translated for
performances in English theatres, giving him
reputation abroad.
 BAROQUE

Theater
Tartuffe
• Tartuffe means hypocrite in French. The Impostor,
or The Hypocrite, it is a 5-act comédie.
• Denounced for supposedly attacking religion
through its portrayal of pious titular hypocrite,
Tartuffe.
Jean-Baptiste Poquelin, Tartuffe, ou l'Imposteur, (1664).
 BAROQUE

Music
• Grandeur, highly ornamented, polyphonic.
• Composed music for specific instruments, or voices.
• Era was crucial to development of modern musical
language.
• Innovated instrumental music in performance.
• Concerto is musical composition for solo
instrument/s accompanied by orchestra;
• Innovation of musical techniques.
 BAROQUE

Music
Johann Sebastian Bach
• Leading German composer.
• Composed fugues, or polyphonic pieces for one or
more instruments or group of singers.
• Focused on instrumental music, concertos for
orchestras, dance suites and sonatas for multiple
instruments.
 BAROQUE

Music
Air on G String
• Arrangement is extremely fitting melody for
wedding ceremonies.
• Melody is equally graceful has a slow tempo.
• Soulful interplay gives birth to musical tension.
 BAROQUE

Music
Tocata & Fugue in D Minor, BWV 565
• First part of Bach’s piece is toccata, from toccare,
to touch.
• Known by its appearance in opening minutes of
1940 Disney classic Fantasia, in which it was
adapted for orchestra by the conductor Leopold
Stokowski.
Johann Sebastian Bach, Air on G String, (18th century), Germany.
Johann Sebastian Bach, Fugue in D Minor, (18th century), Germany.
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Music
Johann Pachelbel
• German composer, organist, and teacher.
• Brought the south German organ schools to peak.
Composed large body of sacred and secular music,
and his contributions to development of chorale
prelude and fugue have earned him place among
most important composers of middle Baroque era.
 BAROQUE

Music
Canon in D
• One of most widely performed pieces of Baroque
music.
• Not published until early 20th c. and been
frequently used in weddings and funeral
ceremonies in Western world.
• Heard in 2001 Korean movie My Sassy Girl.
Johann Pachelbel, Canon and Gigue in D, (c.1680), published (Early 20th century.).
 BAROQUE

Music
Antonio Vivaldi
• Venetian composer, and violinist.
• Composed many instrumental concertos, for violin
and variety of other musical instruments, as well as
sacred choral works and more than 50 operas.
 BAROQUE

Music
Concerto No. 1 in E major, La primavera (Spring)
Allegro
• “Spring has arrived with joy. Welcomed by the birds
with happy songs. And the brooks, amidst gentle
breezes. Murmur sweetly as they flow.
• The sky is caped in black, and Thunder and
lightning herald a storm. When they fall silent, the
birds. Take up again their delightful songs.”
Antonio Lucio Vivaldi, Four Seasons, (c.1720), published (1725).
 BAROQUE

Music
Concerto No. 2 in G minor, L'estate (Summer)
Storm
• “Alas, his fears come true:
There is thunder and lightning in the heavens
And the hail cuts down the tall ears of grain.”
• 2019 French movie Portrait of A Girl on Fire, and a
1990’s 3D electric fan advertisement features the
composition.
Antonio Lucio Vivaldi, Four Seasons, (c.1720), published (1725).
 BAROQUE

Music
Antonio Stradivari
• Italian luthier, and craftsman of string instruments.
• Luthier comes from for lute.
• Stradivari created the violin,it used to be fiddle in
Early Middle Ages.
 BAROQUE

Music
Violin
• Sometimes called fiddle, the smallest member of
string family.
• Comes from Middle Age Latin word vitula meaning
stringed instrument.
• First makers of violins took ideas from the rebec,
the Renaissance fiddle, and the lira da braccio.
Antonio Stradivari crafted and mastered violin-making.
 BAROQUE

Dance (Ballet)
• King Louis XIV popularized and standardized ballet,
making France the new center of the art form;
• The Sun King (Le Roi Soleil) appeared as Apollo in
Le Ballet de la Nuit (Ballet of the Night), in his
debut at the age of 14, that lasted for 13 hours to
perform, held at February 23, 1653, at the Salle
du Petit-Bourbon in Paris.
Costume of Apollon Costume of the lute player Costume of the soldier
 BAROQUE

Dance (Ballet)
Pierre Beauchamp
• French dancer.
• Contributed to development of ballet with 5 basic
feet positions.
• Became l’Académie Royale de Musique et de
Danse director.
• Credited with developing new and technically
difficult steps, ptour en l’air– turning jump.
 BAROQUE

Dance (Ballet)
5 Basic Ballet Positions
• Sun King hired professional artists to produce ballet
and opera at court.
• Ballet attracted large public audiences.
Tour en l'air - A turn in the air, executed as the dancer jumps with the body held vertically
straight. Males perform single, double or triple tours.
 BAROQUE

Literature
Mood darkened when Virgin Queen Elizabeth I died.
Heavily uses literary techniques such as metaphors,
symbols, and hyperbole.
Roman Catholic Church heavily regulates art that it
produced religious themes.
Era of rise of the novels.
Purpose of a literary work was to move the reader
and to evoke strong emotions in audience.
 BAROQUE

Literature
Miguel de Cervantes Saavedra
• Spanish writer.
• Greatest writer in Spanish language, most
important and celebrated figure in Spanish
literature.
• One of world's pre-eminent novelists..
 BAROQUE

Literature
Don Quixote
• Published in 2 parts (1605 and 1615), one of
most widely read classics of Western literature.
• Ffirst modern novel, and one of the pinnacles of
literature.
Miguel de Cervantes Saavedra, Don Quixote, (1605). Habsburg Spain: Francisco De Robles.
 BAROQUE

Literature
Aphra Ben
• English playwright, poet, translator and fiction
writer. As one of the first English women to earn
her living by her writing,
 BAROQUE

Literature
Oroonoko
• Known as Royal Slave.
• Told from a female narrator perspective, possibly
Behn herself. Narrator claims he knows Oroonoko
during his captivity in Suriname, South America.
Suriname was British colony when it was written.
Aphra Behn, Oroonoko, (1688). England: Will. Canning.
 BAROQUE

Literature
Daniel Defoe
• Prolific English trader, writer, journalist, pamphleteer
and spy, producing more than 300 hundred works.
• One of earliest proponents of English novel.
 BAROQUE

Literature
Robinson Crusoe
• Young and impulsive wanderer, defied his parents
and went to sea.
• Involved in series of violent sea storms and was
warned by the captain that he should not be
seafaring.
• Themes are society, individuality, and isolation.
Daniel Defoe, Robinson Crusoe, (1719). United Kingdom: William Taylor.
How France Became the Fashion Capital Of The World?

• Chanel, Dior, Saint Laurent, Hermes, Louis Vuitton…the list is

extensive and ever-expanding. French designers have long created
the most renowned and coveted fashion brands in the world.
Stylistically innovative and technically exceptional, the outstanding
reputation of the French clothing industry can be traced as far back
as the 17th century, and it is a reputation that has only continued
to strengthen since.