Art Through the Ages

1
Art Through the Ages

• Chapter 24-C
• Of Popes, Peasants, Monarchs, and Merchants
• Spanish Flemish Baroque

2
Martyrdom of Saint Bartholomew

• Influenced by Caravaggio, Jusepe de Ribera imbued
  his work with both a naturalism and compelling
  drama.
• The brutal theme of martyrdom satisfied
  Counter-Reformation and Spanish taste for the
  representation of courageous resistance to pain.
• shows unidealized, plebeian figures.
• Joséde Ribera, ca. 1639.
• Oil on canvas, approx. 7' 8" X 7' 8".

3
Saint Serapion

• Francisco de Zurbarán was also influenced by
  Caravaggio's naturalism and dramatic lighting
  effects.
• In his painting, he shows the coarse-featured
  saint emerging in bright light from a dark
  background.
• Saint Serapion, a Scottish monk who took part in
  the Third Crusade in 1196, was martyred preaching
  the Gospel to Moslems.
• According to one account of his martyrdom, Saint
  Serapion was tied to a tree, tortured and
  decapitated--although here he is depicted in an
  immaculate white habit, two branches of the tree
  faintly visible in the background.
• Francisco De Zurbarán, 1628.
• Oil on canvas, 47 ½ " x 40 ¾ ".

4
Water Carrier of Seville

• The influence of Caravaggio is also seen in the
  dramatic contrast of darks and lights in Diego
  Velázquez's Water Carrier of Seville, which also
  includes plebeian figures and finely painted,
  naturalistic detail.
• Diego Velázquez, ca. 1619.
• Oil on canvas, 41 ½ " x 31 ½ ".

5
Surrender of Breda
6
Portrait of Philip IV

• Velázquez's Portrait of Philip IV shows the king
  as a military leader.
• Diego Velázquez, (Fraga Philip), 1644.
• Oil on canvas, 51 1/8" x 39 1/8".

7
Las Meninas
8
Elevation of the Cross

• The Flemish painter Peter Paul Rubens synthesized
  in his art a variety of mostly Italian influences
  to create an international Baroque style.
• His various influences are evident in the
  Elevation of the Cross painted for Antwerp
  Cathedral.
• The combination of dynamic diagonals, strong
  modeling in dark and light, and anatomically
  powerful figures involved in violent action
  creates a scene of intense physical and emotional
  drama.
• Peter Paul Rubens,, 1610.
• Oil on canvas, 15' 2" x 11' 2".

9
Arrival of Marie de' Medici at Marseilles

• His largest commission was in 1621 for a series
  of 21 paintings for Marie deMedici, the Queen
  Dowager of France, widow of Henry IV.
• The paintings, describing Marie's life, were for
  her palace in Paris. It was not an easy work. The
  queen was far from being a beauty, her life was
  not full of interesting events, besides she was
  of bad temper
• The rich, decorative splendor of Rubens's
  painting is enlivened by the inclusion of
  allegorical personifications and mythological
  figures
• Peter Paul Rubens, 1622-1625.
• Oil on canvas,
• approx. 5' 1" x 3' 9 ½ ".

10
Allegory of the Outbreak of War

• Rubens himself provides a written explication of
  the content and also reveals his opinions on
  military conflict.
• Peter Paul Rubens, 1638. Oil on canvas, 6' 9" x
  11' 3 7/8".

11
Charles I Dismounted

• Here effectively combined, of the courtier as an
  "honest man" and as a "prince" among men the
  individual matching his persona.
• On the one hand there are the servants, the cane
  standing for government, clothes which are almost
  too sumptuous for a hunt and the proud stance
• on the other, a masterly isolation of the main
  figure silhouetted against a pale sky, and set
  subtly off-centre, as is emphasized by the curve
  of branches
• Anthony Van Dyck, ca. 1635.
• Oil on canvas, approx. 9' x 7'.