THE CHAPTER 13 BAROQUE
CHAPTER 14 THE CLASSICISM
Jacques rouveyrol
CHAPTER 13 THE BAROQUE
In Italy, at the end of the sixteenth century, three trends have emerged:
1.The naturalism of Caravaggio.
A painting that moves away from the ideal, which comes from the fact, the brute fact. The Martyrdom of Saint Matthew is as a news story: a murder. In a flash that leaves no noticeable as the action unfolds and emerges a background of complete darkness.
2. The classicism of Guido Reni .
An open universe and set bathed in light "universal" and empreinnt ideal, in the continuity of Renaissance classicism.
3. The Baroque of Bernini and Pietro da Cortona.
I. CHARACTER FIRST: DISCONTINUITY .
1. Painting.
Caravaggio, so this is the painting of brute fact, without past, without future, without context, seized in a flash of bright light. Thus St. Paul receives he violently in the face of God's revelation and his mount choit abruptly.
2. Sculpture.
Bernini sculpted the unique moment of the ecstasy of St. Theresa: the intangible point of the meeting between time and eternity. No past, no future. Instant brutal where the body of the Saint (borne by a cloud ... You "sculpt" a cloud!) Are losing weight and becomes lighter than air.
3. Architecture.
Classical architecture was to take the unit out first. It was in that endeavor retail Pietro da Cortona and Bernini. The facade of the church hide the body of the building and dome. The triple colonnade of St. Peter's Square to receive the basilica forces piece by piece and never in its entirety (a building in the center should obscure the view of the facade of St. Peter's in Rome).
4. Where the historia of Renaissance painting showed, the logical place for an action, only shows the baroque. Bernini captures the elusive time or all at once Apollo catches Daphne, where Daphne is surprised by this touching and it begins the metamorphosis that will make it a bay.
is still the moment of surprise that Bernini fixed in the tombs of Urban VIII and Alexander VII. Both popes were surprised by death, the first blessing, the second in prayer. 5. Timing.
The Counter-Reformation, through the Council of Trent, fixed their arts objectives: (pedagogy and building), their content (mainly religious), they form ( eloquent) . What will characterize the Baroque, it is in the choice of subject, the choice of the moment: a moment of rocking or most significant moment in history. Chick will show where the meeting with Rebecca Eliezer, Solimena (it will show enough "classic" in 1710, this meeting) will determine when where Rebecca agreeing to leave his family to follow and marry Isaac Eliezer accomplished the act by which Israel will be based. Time of the irreversible.
When Caravaggio painted The Calling of St. Matthew (1599), the precise time of this turning point in the life of Matthew is presented. Timing surprise in which and reveals the divinity of the man who has just entered the tavern or the guard (since his gesture of designation is sufficient to produce the "miracle" of the vocation) and reveals same time that the sanctity of another man who hardly expected to be called.
Baccio chooses to show the exact moment Joseph tells his dream to his brothers (Bible, Genesis 37, verses 2-7) . His dream is that he himself is the favorite son of Edejer father, Jacob, binding sheaves in the fields with his brothers and his wreath stands higher than theirs who prostrate themselves before her. The story of this dream is clearly a casus belli inevitable for the brothers who are jealous, subsequently, Joseph persecute. So now where his destiny changed selected by Solimena.
When Bernini sculpts The Blessed Ludovica Albertoni ( 1671-1674) is a very specific moment that still gives a masterly view: that of fact of death. This young woman lying is not a dead , Nor Death , it is what is death, death is actually . Not an allegory, but death lived so to say. 
Balance sheet: The Baroque deconstructs the story: it confines itself to the fact . Baroque deconstructs time : limited to moment . Baroque deconstructs space : back at retail. It introduces the discontinuity in the uniform space of the Renaissance and the logic of representation.
Unrelated, the event is only lived, not thought . Immediate. At the rhetorical eloquence of classicism, between the baroque eloquence copy. It is in fact to convince. Consequence: everything lies in the staging, in the effect.
II. SECOND NATURE: THE EFFECT
1. A "model" realistic "Caravaggio.
The effect is the surprise. An event "takes" the protagonists and the "fate" ("on" plug) of ordinary context. Expresses the bright flash plastically surprise that the bodies and faces are physically. Baroque inherits this "technical". Here in this Supper at Emmaus by Caravaggio (1600-1601), the surprise is the revelation of the divinity of the guest who repeats the Eucharist establishment during the Last Supper . The time is abruptly suspended by the intrusion of eternity (the deity of Christ risen).
was all did earlier in the same vocation Surprise Saint Matthew. It will be that of enlightenment the same St. Matthew in 1602, by Caravaggio for the Roman church of San Luigi dei Francese, each time with this s USPENSION time the fact that isolates and, thus leaving the logic ordinary events, makes it a effect (as we say today " Special").
2. The staging
a. In the statue of The Truth revealed by Time Bernini (1646), effect ("special", "miraculous") is in the fact that the hand that lifts the veil to discover the nakedness of Truth is invisible .
In Santa Teresa, it is in the wind raises clouds and holy, and provides them with grace.
At St. Peter's the Chair of St. Peter's Bernini the same is a "scene", a "show" much more than a "monument". Its dimensions, but especially the bronze stucco would make something so crushing the movement, "staging" was not lighten the whole. Angels turn around the Holy Spirit like birds around a sun. Movement, there is very symbolic. It depicts a descent (of the Spirit in matter). Above the Holy Spirit, precisely, then the angels (which have a quasi-material figure), then St. Peter (Spirit descended in a body), and finally the Church Fathers (who only comment on Word that Peter is taking the world by spreading through the Church which is the foundation). Top (Spirit and angels) of gold and stucco (lightness). Down (Peter, the Fathers) Bronze (gravity). It is well down from Heaven on Earth.
Baroque So the theater is . The countless architectural trompe-l'oeil ceilings.
The Canopy of St Peter's Basilica, Bernini's is still symbolic staging if one combines, as it should, the shrines that surround the four pillars which form a frame around it: 1 pillar of the East: Mochi Veronica (which wipes the face of Christ). 2nd pillar of the East: The Empress Helena Bolg (who sought and found the cross). 3rd pillar: Bernini Saint Longinus (who bore the blank of Christ). 4th pillar: Duquesnoy St. Andrew (crucified). Here is a hymn celebrating the memory of the passion and the worship of relics around the tomb of Saint Peter.
The work would be massive if it included a canopy, that is to say, a temporary construction, lightweight, mobile and if the columns would not provide a twisted movement linked to form sepentine.
The St. Peter's Square itself is designed so that the momument the Basilica is only revealed in fragments, gradually at an angle as we always new advances in gantries (a building in the center of the square was hide the view we could have the church as a whole.
b. Borromini staged the facades of its churches by introducing non- decorative overload (often wrongly ascribing to the Baroque in general) but the same movement of the wall. The ripple thus produced reduces the facade of the church.
c. In painting, too, the movement is the rule. The static nature of the classical picture gives weight to the lesson he gives. Table baroque lightened by being dynamic. So The Rape of the Sabines , Rubens. The classical picture is rather horizontal. The lines of force are horizontal too, and vertical. All this gives stability under. The Baroque painting is most often requires that the vertical and travels down. Its lines of force are the diagonal and oblique give others the impression of a drop and force the eyes to a perpetual work in support: to keep the lines they do not fall. The look, exactly, is mobilized .
d. It is the same sculpture. You will appreciate the metamorphosis, that is to say the change ( Bernini Apollo and Daphne but Parodi Clytie transform héliothrope), kidnapping (Rape of the Sabines Girardon, Time ravishing beauty, of Foggini, removing Perseus Andromeda Puget, The Rape of Proserpine, Bernini) that involve the violent movement of separation.
3. The Baroque Christmas.
But nowhere more that in the grand Baroque staging reaches its peak. August 1660: Entry is the king and queen in Paris (See Victor Tapie Baroque and classicism , pp205, 207-214). From 7 to 14 May 1664 are The delights of the enchanted island : Versailles ( Ibid. P221-224). See also the program of these festivities:
http://arsmagnalucis.free.fr/plaisirsile-1664.html . Through these festivals is the glorification of the monarch who is firm (continuation of mannerism). Baroque art is not only serving the Church and the Propagation of the Faith, he is the king's service, and (in the time domain) only in its service. Day 17 August 1661 at Vaux-le-Vicomte, organized by the Superintendent Fouquet for Louis XIV will be worth it to the disgrace, imprisonment and confiscation of property).
4. Versailles.
a. Classical architecture : Le Vau and Jules Hardouin Mansart up a very Italian.
b. Decor Baroque : But Le Brun multilayered paintings to the glory of the sovereign. It will draw up articles of furniture, dishes for the sake of demonstration prestigious.
c. classical gardens designed by Le Nôtre, but for parties Baroque. In addition, a composition made to give an impression of infinity . It's on the horizon that seem only to end the gardens.
There is a fundamental ambiguity in particular in the French Baroque always mixed with classicism. Versailles is the prime example. It's more in Italy and in Eastern Europe that develops a baroque "pure."
5. The expression.
In the work of Le Brun The Family of Darius before Alexander (1660) above, if not all, of many passions codified and illustrated by the author in The Expression of the Passions) are very explicitly staging.
There is a double paradox:
has . The seventeenth century French is the Descartes that is to say, the century of reason. But it is one of the joint study of the passions. Descartes wrote a Treatise on the Passions that Le Brun takes to match the paint ( The Expression of the Passions 1663). John Bulwer wrote in 1664 to turn a Chirologia which codifies all that hands can express. The painters will be attentive to these models and will more clearly the sphere of passion than the dominant reason (which became the subject of neo-classicism in the eighteenth century).
b . The second paradox is the seventeenth s is fundamentally Baroque and, at the same time, France (which now dominates the arts *), which is baroque in the use she makes of the service of power is yet classic in its architecture, his painting, sculpture and teaching **.
_______________________
* Versailles is made to compete with St. Peter's in Rome.
** The French classicism stands officially against the Italian Baroque.
CHAPTER 14 classicism.
The whole of Europe is baroque: Spain, Italy, Flanders, Germany. France is a classic.
The whole of Europe is baroque: Spain, Italy, Flanders, Germany. France is a classic.
a. In 1648 the foundation held the Royal Academy of Painting by Mazarin at the instigation of Charles Le Brun and Philippe de Champaigne. In 1663 Colbert established the Academy under the State control and Le Brun became its director.
The role of the Academy is to say Rule how a table must be painted. This is to ensure, too, control of artistic production and, consequently, its ideological content.
In this context, Félibien establishes the hierarchy of pictorial genres. One kind is the less noble (ad'autant less artistic value and market value) that is further from the Spirit to go into the matter. The history painting (religious, mythological or actual history) because it deals with the highest shares (those of gods and heroes) is the superior kind. Then genre scenes (reflection of ordinary human activities) and the portrait (human figure but recalling the death he tries to deny it). Followed the animal portrait (we descended from man to animals), the landscape (one notch lower: the plant) and stills (raw material as lifeless soulless).
b. architecture (well represented by Le Vau) is a rigorous classicism.
c. The garden is like the Renaissance, "French, classic, accordingly: balanced, orderly. However, if the garden reborn is measured (size "reasonable") and generally closed, the garden of Le Notre (Vaux-le-Vicomte and Versailles) is baroque in this, firstly, it is built on a effect : give an impression of infinity, we have seen (it stretches to the horizon) and, secondly, it is the place where the parties 'special effects' are the rule.
d. sculpture, most often (Girardon Coysevox) respects the canons of classicism (the old model).
It may be baroque, especially when the destination is an Italian church (eg Puget).
e. Classicism in French painting by Nicolas Poussin washed away, resulting in the renunciation of the effect, finding a stable composition (1)
... ................;;;;;;;;;;;................. (1)
This stability through the use of horizontal and vertical, the refusal of the oblique, as a result. And often by the triangular composition of the groups (above the Holy Family 1628-1630), the base of the triangle (like the pyramid) in a figure unlikely to be "reversed".
At the same time, the moment favored by the baroque spirit, he prefers times of historia (2). A expression of passion, he opposes the exposure of their mastery (3)
;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;; (2) Chick Death of Germanicus 1627 
............................. ...;;;;;;;.... (3) Poussin Et in Arcadia Ego 1637-1639 Remain a moment on this latest work. Shepherds lean, astonished, on a tomb and there read this phrase: "Et in Arcadia Ego " . We can understand, as long as you relate the "and" the "ego": " I too in Arcadia, I was . It is then in nostalgia for a lost paradise (paradise if you will, because before that Virgil gives him in his Eclogues this feature in the original peopling of humanity shepherds not yet corrupted by civilization, Arcadia was a particularly inhospitable Greek soil. See in this regard Polybius and Ovid).
However, this translation is not acceptable and grammatically, "and" can properly refer only to "Arcadia." What gives " And in Arcadia, I too am ", where "me", as shown in the shadow of arms sickle shepherd who identifies the entry refers death. In other words: " in the paradise or rather that was Arcadia, my death, I was not missing . "This is confirmed by a legend: according to the poem Sannazaro, in Arcadia Tomb, the tomb of Phyllis (beauty hostile to love) is so famous that the shepherds come from everywhere to revere. This is not a nostalgic passion that this painting implements, but a reminder of the reason , no (no more beauty) escapes death. It is a memento mori in the tradition of the seventeenth century Dutch.
When the same Chick puts enscène The Abduction of the Sabine twice in 1633-1635 and 1638-1639, it seems like a rush, a tumult. However, rigorous architecture ("Rome") oversees and announces the triumph of order and rule.
In Landscape with Orpheus and Eurydice , 1648, the theme is probably baroque, as is death that occurs and so sudden . But nothing disturbs the harmony of the moment. Orpheus's lyre is only a fisherman noticed the event.
In Birth of Bacchus (1657), always Poussin, Echo and Narcissus is'm there completely dead, the serenity of the moment is not affected in any way.
f. Classicism finally invents the historic landscape. Chick is the undisputed master. Landscapes where large factories appear (architectures mostly Greco-Roman or even reviving that appear in the bottom or on the heights of the landscape as to give nature a priori wild the binding rule of civilized architecture ) and where a scene history (mythological, biblical): Landscape with Orpheus and Eurydice (1648), Landscape with Saint Matthew and the Angel (1645), Diogenes throwing his bowl (1648), Landscape with the Funeral of Phocion (1648), Landscape with Polyphemus (1648), etc..
In summary, few things in the XVII ° s differ, it seems, the baroque classicism.
- The subjects are the same, yet admits that the baroque genre scenes that classicism excludes.
- The Coding passions works identically. Just a side passion is staged and is eloquent on the other it is under the control of reason.
- A history painting, classicism Assistant also the historic landscape
-The Baroque and Classical forms what has been agreed call the Grand Style.
0 comments:
Post a Comment