BAROQUE ART

IN E U R O P E
By Sabrina Sosa
Baroque era

The period from 1585 to 1700/1730

The word BAROQUE derives from the

Portuguese and Spanish words for a large,
rregularly-shaped pearl - barroco and
barrueco. In art criticism the word Baroque
has come to describe anything irregular,
bizarre, or otherwise departing from rules
and proportions established during the
Renaissance.
T h e C h u r c h in
c ris is
Martin Luther focused his critique on
the Church's greed and abuse of
power;and the Church responded in
two ways:
internally adressing issues
of corruption,
defending the doctrines
T h e C h urc h e m e rg e d f ro m t h e
c ris is
Keen to rebuild Rome as a holy city, the
Papacy embarked on extensive bulding and
decoraton campaigns aimed at highlighting its
ancient origins, its belifs and its divinely-
sanctioned authority.
 T h e religious p o w e r o f
a r t
The Church argued that the visual arts
played a key role in guiding the faith. They
were as important as the written and
spoken word. In order to be effective in its
pastoral role, religious art had to be clear,
persuasive and powerful. This emphasis
on religious art prompted artists to
experiment with new and more direct
means of engaging the viewer.
Caravaggio,"The flagellation
of Christ"
T h e church and the
b aro
The q u e style flourished thanks to the
Baroque
patronage of the Roman Catholic Church.
Baroque employed painting, sculpture,
architecture and the decorative arts along with
music and poetry to appeal to all of the
senses. Seeking a combined effect, these
'total works of art' were intended both to
impress and move their viewer. Baroque
religious objects not only inspired devotion,
they also brought honour to those who
commissioned them as well as the craftsmen
and artists who created them.
 Barroque´s characteristics

emotional intensity
a moment in time
dynamism
diagonals
energy/movement
involving/close
real/not idealized
interrupted contours
Judith Leyster,
"Self-portrait"
effects of light
directed focus
 Baroque's sculpture

The Ecstasy of Saint Teresa (L'Estasi di Santa

Teresa), located in the Cornaro Chapel of the
church of Santa Maria della Vittoria. It is regarded
as one of the most important examples of the
Counter-Reformation style of Baroque sculpture,
designed to convey spiritual aspects of the
Catholic faith. The work depicts an episode of
"religious ecstasy" in the life of the cloistered
Spanish mystic and Carmelite nun - Teresa of

Bernini, "The Ecstasy of Avila (1515-1582).

St. Theresa"
 Ecstasy of Saint Teresa

Bernini designed the chapel as a theatre for his

sculpture. The latter is set in a niche above and behind
the altar, flanked by pairs of marble columns. It is
theatrically illuminated by beams of natural light from a
hidden window overhead. This natural light mingles
with and reflects off a sheaf of vertical gilt bronze
shafts behind the sculpture, sculpted to resemble the
rays of the sun. High above, the ceiling of the Chapel is
frescoed with trompe l’oeil images of a sky filled with
cherubs.
The sculpture of Saint Teresa actually consists of two
lying onsculpted
figures, a cloud,in and
whiteanmarble:
angel Teresa
standing above
herself, shown
St."The Ecstasy of
Bernini, her,
Theresa"
holding a golden spear pointed at Teresa's
LET'S SEE HOW MUCH
Y O U KNOW......

The Baroque reached its zenith during …..

a) The Protestant Reformation

b) The Catholic Reformation

c) The reign of Victoria

Bernini, "The Ecstasy of

Beata Ludovica Alvebertoni"