Baroque Sculpture, Architecture & Painting: Bernini, Rubens & Van Dyck

Baroque to Neoclassical, Week 2

Gian Lorenzo Bernini (1598-1680)

- Hugely influential. Equivalent of Rubens in paintings, Bernini was the visual embodiment of the artist style in 17th century.

- Sculptor, architect, painter, theatre designer and playwright.

- Dominated the artist scene in Rome. Thanks in large to the support of succession of Popes and Cardinals who commissioned him.

- Bernini came from the south of Italy, Naples. He came to Rome at an early age. He expresses self dramatisation in his self portrait.

- Soon after he arrived in Rome, he came to the attention of Cardinal Scipione Borghese. Very active as a patron of the arts and commissioned a series of statues. Bernini enjoyed phenomenal success in Rome.

Bust of Scipione Borghese (1632). Bernini seems to model the marble rather than carve it. Softness of the features and plumpness of the carved skin. Creates an illusion of individual textures in his sculpture. Achieves a sense of momentariness.

Bernini, Bust of Scipione Borghese, 1632, Galleria Borghese, Rome

David (1623-4), moment of action, mid-battle, energetic contortion. Untraditional in sculpture, David’s limbs are outstretched way beyond the confines of the block of marble. Michelangelo’s David was still confined within the block of marble. Whereas in Bernini’s, there is no sense of the shape of the block. Less like carving out of a block of stone, more like sculpting out of wax. Uses the marble in a much more mailable way. Very dramatic piece, unlike Michelangelo’s calm, serene sculpture. Bernini’s is much more 360, and has an arch viewpoint.

Apollo and Daphne (1622-5), split second, frozen moment. 360. Sense of movement, and motion, wonderful effect of forms on the edge of change, metamorphosis. Michelangelo trying to make something timeless whereas Bernini is trying to capture something in motion.

Bernini, Apollo and Daphne, 1622-5, Galleria Borghese, Rome

Longinus (1629-38), St. Peter’s Basilica. Colossal statue. One of four at the crossing under the dome of St. Peter's. Several times larger than life. Longinus was a Roman centurion at Christ’s crucifixion. To make sure Christ was dead he speared him, and was at that moment converted on the spot. The sculpture is the moment of realisation. Outstretched movement, nothing that Michelangelo would have achieved. Sense of a particular moment, expressed further by the agitation of the drapery, caught up in the wind. Enjoyment of different coloured marbles (behind Longinus), suggesting textures and colours. A setting for his white marble figure.

Bernini, Longinus (1629-38), Galleria Borghese, Rome

Masterpiece of his central career, the Ecstasy of St. Teresa (late 1640s), Cornaro Chapel. St. Teresa had lived in second half of 16th century, she was a Spanish nun and mystic. She had visions of being embraced by Christ, in this case by an angel. She recorded her mystic visions, these visions were more real than reality. Visited by this angel with an arrow with a burning tip, repeatedly thrust the arrow into her side, which produced pain and pleasure. Swooning in ecstasy. Two figures in the centre of a large composition. Statue in the middle, immediately above the altar. The composition is like a stage. This stage analogy made more pronounced by the sculpted theatre boxes on the lateral walls, as though the scene on stage is being watched. In these boxes, seated figures appear to be talking and gesturing to each other. The sculptural group are illuminated by real light, that shines down onto golden metal rays above the statue, symbolising the divine presence. Above, frescoed paintings of angelic glory.

Bernini, Ecstasy of St. Teresa, c. 1648, Cornaro Chapel, Rome

In the Ecstasy of St Teresa there is a contrast of style. Abundant folds of drapery. Dimpled face of the angel, Teresa swooning in ecstasy. Bernini was a devout Catholic, self identification with her religious experience. He was extremely successful in portraying a religious experience as well as physical experience. Shows Bernini’s virtuocity at transforming marble. Again Bernini uses other coloured marbles behind the figures. Quintessentially baroque. Multimedia effect. Very expensive. Architecture in motion. In Classical architecture pediments are triangular, rectilinear, stabilising. In Baroque architecture the pediment is broken, it reflects the ecstasy of the subject matter. Convex curve of the pediment. Undulating movement. Strong effect of ebb and flow in the architectural design.

Bernini, Ecstasy of St. Teresa with lateral wall sculptures, c. 1648, Cornaro Chapel, Rome 

Architecture

Sant’Andrea al Quirinale, Rome. Palace of popes in 17th century.

The shape of this church is very different from tradition shapes of churches. Most churches much longer than they are wide. Here it's an oval, and wider than it is long. The oval more dynamic form than the cycle. Oval, creates a sense of movement. The high altar is directly opposite the door. Semi circular portico with papal arms. Clear enjoyment of curving shapes. High altar, curved, broken pediment with a sculpture of St. Andrew, floating up. Untraditionally, the sculpture is not in a niche, St. Andrew sits on a cloud, floating upwards into the dome. Bernini as a sculptor is interesting in suggesting insubstantial substances in sculpture, e.g. Clouds. Traditionally sculpture is about solid immovable forms, Bernini tries to go beyond traditions of sculpture, by sculpting air. He was responsible for sculpting fountains, and sculpted water, another moving, unstable substance.

Plan of Sant’Andrea al Quirinale, Rome

Sant’Andrea al Quirinale façade, 1658-70, Rome

Sant’Andrea al Quirinale altar, Bernini, St Andrew, c. 1660, Rome

Bernini, St Andrew & others, Sant’Andrea al Quirinale, Rome

A lot of Bernini's late career was focused on the form of the basilica of St. Peter. Bramante designed the original plan for St. Peter’s (c. 1505). A centralised plan around a central dome, with an enormous central space. After Bramante’s death, Michelangelo built the dome and changed the design of the basilica. Centralised plan, abandoned for a more tradition plan. Long nave. Allowing for impressive processions.

Bernini responsible for much of the scenography. The Piazza is oval, as opposed to the traditional square. Great arms around the Piazza, practical and symbolic. Arms of the church embracing the faithful and enclose the Piazza. Bernini, made it a dynamic and dramatic design. Piazza, with Bernini colonnade, enormous columns with statues on the skyline. 1660s.

Baldacchino and Cathedra Petri. The baldacchino is a canopy over the high altar, in bronze. Highlights the high altar and provide a focus as the visitor proceeds down the nave. The Cathedra Petri is one of the relics of st. Peter’s, the Throne of Peter. Enormous affair, Bernini surrounds the throne of Peter, with the papal fathers, similar to the rays in the Ecstasy of St. Teresa, here natural light shines on gilded rays. Overwhelmed the viewer with the greatness of the church and the presence of god.

Bernini, Baldacchino, 1634, St. Peter's Basilica 

Bernini, Cathedra Petri, 1666, St. Peter's Basilica 

Baroque architects had a clear enjoyment in undulating forms.

Francesco Borromini 's San Carlo alle Quattro Fontane (1599-1667) has an oval plan, but the naves length here is longer than the width, unlike Bernini’s. Intimate, exciting play of curves and undulating shapes inside the church. Complicated geometry.

Borromini, San Carlo alle Quattro Fontane, 1599-1667

Lecture 2

Peter Paul Rubens (1577-1640)

From Antwerp. Very rich, mercantile city. Strong international contacts. Widely travelled, early career in Italy. Enjoyed huge success from early on. Antwerp was a major city. Southern Netherlands remained resolutely catholic. Rubens was a pious Catholic, created many large-scale religious works for churches. Active in every other kind of painting of the period too, portraits, mythologies, landscapes. Prolific artist with a big workshop. Worked for the most important crown heads in Europe. Including the Queen of France, King of Spain and King of England.

His self portrait portrays his elegance, he was fluent in French and Italian. Courtier diplomat, conveys the colossal energy of his personality. Composition based on diagonals. Looking outwards, making eye contact. Very vigorous handling of paint, swirling rhythms, as seen in Bernini’s work as well. (Compare to bust of Borghese).

Rubens, Self Portrait, 1623, Royal Collection, London

In 1609 a truce was called. The medieval heritage in Netherlands, severely damaged. The truce held for 10 years then there were more wars. In practice the northern Netherlands had broken off from the south.

The first ten years of his career was spent in Italy. Procured a post at the Court of Mantua. Ignudo, c. 1630 after studying Michelangelo’s Sistine Ceiling. Intense study of the Italian Renaissance. Involved in a diplomatic mission in Spain.

Rubens, Ignudo, c. 1630, British Museum, London

Duke of Lerma (1603), dramatic image of the duke on horseback, riding towards us. Looking out at the viewer. Highly flattering. Battle going on in the background, Baroque glorification.

Rubens, Duke of Lerma, 1603, Prado, Madrid

Also spent time in Genoa. Van Dyck also spent years in Genoa.

Rubens, Marchesa Brigida Spinola Doria, 1606. Full length, quintessential Baroque painting, early days. Inspirational on van Dyck. Wonderful creation of fabric, of silk and the light playing over the silk. Enjoying different textures, like Bernini. Looks out at the viewer, half smiling. Effect of spontaneity. Rubens interested in the same transitional effects that Bernini was interested in. (Bernini came after Rubens).

Rubens, Marchesa Brigida Spinola Doria, 1606

Rubens heard about the truce of 1609, and the peace arriving in his home country. Archduke Albert and Archduchess Isabella, responsible for bringing about the truce. Rubens passionate Catholic but also passionate about peace. Very humane personality. No desire to squash Protestant faith, but personally favoured Catholicism.

Rubens, Archduke Albert, 1615

Rubens, Archduchess Isabella, 1615

Got engaged. Self portrait with Isabella Brant (1609-10) informal, outside, honeysuckle bower. Honeysuckle - symbol of love, creepers entwined, as are the couple. Surface is a little hard and shiny, as his career progresses his style becomes more Venetian, softer and brushier.

Rubens, Self portrait with Isabella Brant, 1609-10, Alte Pinakothek, Munich

Old Testament story of Samson and Delilah. Samson was a Herculean figure, superhuman strength. Source of his power was that his hair had never been cut. She was bribed by the philistines to find out the source of his strength and so she cut his hair in order for his powers to be depleted and thus he was defeatable. Lit by candlelight. Much like Caravaggio, whose work he saw in Rome. Also studied antique sculpture and reclining nudes, realistic anatomy. Reference to classical sculpture in background niche. Lots of sources drawn upon to make something exciting and new. Very sensuous. Psychology and sensitivity in Rubens paintings too. What does her expression say?

Rubens, Samson and Delilah, 1610, National Gallery, London

Raising of the Cross (1610-11), triptych in Flemish tradition. Diagonal of Christ being raised on the cross, diagonal of the weeping women, similarly on the right the diagonal of the Roman soldiers. Artistically great, tour de force of drama and colour. But the idea of this isn't effects for their own sake but to engage the viewer. Baroque artists pull out all the stops to engage the spectator.

Rubens, Raising of the Cross, 1610-11, Antwerp Cathedral

One of Rubens biggest decorative commissions was to paint the ceilings of the side aisles of a Jesuit church in Antwerp. But no longer exists as it burnt down. But had a workshop full of small scale oil paintings of the plans for the ceiling. Low viewpoint because they are up on the ceiling, creates great effect of drama. Rather liquid medium here, creating a flowing quality, draperies much like the wind blown drapery seen in the work of Bernini.

Rubens, St. Barbara fleeing her Father, c. 1620, oil-sketch, Dulwich Picture Gallery

Palais de Luxembourg, Paris. Palace of the Queen mother, Mary de Medici. Commissioned a series of huge canvases, depicting the story of her life. Henry IV admiring the portrait of Marie de' Medici shows Henry IV being shown Marie de' Medici's portrait, and the Olympian gods surround him. Real people surrounded by the gods. Biography of Mary de Medici by way of mythological allegory. 25 enormous canvases.

Rubens, Henry IV admiring the portrait of Marie de' Medici, c. 1622-25, Louvre

In The Wedding by Proxy of Marie de' Medici to King Henry IV, Rubens celebrates the event, making it more impressive, glorifying the event. The way that the bride and groom are represented with pope in between. Representation of marriage of the virgin. Virgin on one side, Joseph on the other and priest in between. In his painting, Rubens is reminding the spectator of that and relating the earthly marriage to something greater.

Rubens, The Wedding by Proxy of Marie de' Medici to King Henry IV, c. 1622-25, Louvre

Rubens had success in France followed by triumph in England. Countess of Arundel and her Retinue (1620). The earl and his wife had pretty separate existences. Painted in Antwerp. She is seated in the centre, with servants, a dwarf, her dogs, and the English ambassador from The Hague. Group portrait, shown on a terrace, great twisted columns. (Before Bernini's twisted columns of the Baldacchino). Very typical of Rubens. This sort of portrait very influential on court portraits.

Rubens, Countess of Arundel and her Retinue, 1620, Alte Pinakothek, Munich

1628, Rubens arrived in London on a diplomatic mission. Main commission for London, ceiling in Banqueting House, Whitehall. Rubens ceiling was a riot of Baroque colour. Stark contrast between severe white architecture by Inigo Jones and rich, colourful ceiling. This is the only surviving ceiling of Rubens. Typically Baroque in that its a glorification of the Stewart dynasty. In honour of King James. Secular glorification of King James.

Inigo Jones, Banqueting House, Whitehall, 1619-20

Rubens, Ceiling in Banqueting House, Whitehall, 1636

Last ten years of his life spent at home in Antwerp. Big house and garden. Home, studio, and art collection.

Late work by him, Diana and Callisto (1635), from Ovid. Nymph’s of Diana all sworn to chastity. Jupiter seduces her and impregnates her. Rubens deeply inspired by Venetian artists, especially Titian. Rubens depiction is more humane, nymphs are more sympathetic towards Callisto. Rich colours, like Bernini he loves changing elements, water splashing, soft surface. Stark tragedy in Titian’s portrayal.

Rubens, Diana and Callisto, 1635, Prado, Madrid

Titian, Diana and Callisto, 1556-9, National Gallery, London

Château de Steen (1636), wonderful vision of landscape around his chateau. Rubens transfigured landscape with light, and makes it seem very lush and fertile. Get a sense of his generosity and abundance of his personality.

Rubens, Château de Steen, 1636, National Gallery, London

Anthony Van Dyck (1599-1641)

A generation younger than Rubens. Much of his career spent in England. Huge influence on English painting. Very precocious. Quite close in style to Rubens.

Made his first trip to London in 1620, but went to Genoa, Italy almost immediately after.

Arundel (1620), is restrained image of this nobleman. Shown in half length. He was an important character in English culture and art patronage.

Van Dyck, Arundel, 1620-1, Getty Museum, Los Angeles

Marchesa Elena Grimaldi, 1623, composition very closely related to Rubens. Full length, greater elongation than in Rubens. Quintessentially a court painter.

Van Dyck, Marchesa Elena Grimaldi, 1623, National Gallery of Art, Washington DC

Earl of Strafford, 1639, similar to Titian’s Emperor Charles V (1533), full length standing with a dog.

Van Dyck, Earl of Strafford, 1639

Titian, Emperor Charles V, 1533, Prado, Madrid

He paints Charles I on Horseback in 1636. Developing Rubens' idea of the horse coming towards the viewer. Van Dyck glorifies the king with the king on horseback riding through the arch. Steward monarchy displayed on the shield in the foreground.

Van Dyck, Charles I on Horseback, 1636, Royal Collection, London

Rubens, Duke of Lerma, 1603, Prado, Madrid

Van Dyck painted the portrait of King Charles in Three Positions, 1633, and sent it to Bernini to make a bust.

Van Dyck, King Charles in Three Positions, 1633, Royal Collection, London