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Skim over Baroque chapter and find an artist and work of this period that can be related to a work we have already studied; find similarities, influences or opposite characteristics. Identify and describe both works in a paragraph on the blog; Originality counts! (hint: go first...)
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In some ways, Gianlorenzo Bernini's "David" echoes the famous "David" of the Renaissance master, Michelangelo Buonarroti. Both clearly draw inspiration from Classical styles, Michelangelo's in particular, with idealized, heroic bodies. Both "Davids" are also portrayed before triumph, neither has claimed victory over Goliath in their individual depiction. Despite these similarities, the two sculptures are in many ways different. Bernini's "David" is bursting with action, the hero is determined and engaging in a strong twisting motion. This gives the artwork a forceful sense of movement and action. On the other hand, Michelangelo's "David" is rather calm. The future-king stands contemplating the battle rather then fighting it, cool and prepared in appearance. Despite some significant similarities between the two "David" sculptures, the Renaissance and Baroque styles of Michelangelo and Bernini create many contrasting differences between the two artworks.
Jacob van Ruisdael’s “The Jewish Cemetery” recalls images of “The Tempest,” by Giorgione. Both pieces depict ruins surrounded by a dramatic landscape, all underneath a tumultuous, storm filled sky. Both artists used the surrounding landscape, primarily the sky, to set the mood of the painting, one of uncertainty and mystery. However, despite these obvious similarities, the two artists differed in the presence of people and the degree of detail. Giorgione’s “The Tempest” has three figures in it, a mother and her child and a soldier. Yet, one does not understand what the relationship between the two is or what their presence can mean. Instead, it is the landscape that is the focus. In Ruisdael’s painting, there are no people, just the tombs of the dead. Ruisdael also used more detail than did Giorgione, likely reminiscent of the northern tradition of depicting textures and detail. In Ruisdael’s, one can nearly see individual leaves and the roughness of the bark while in Giorgione’s, the natural world has been more stylized and simplified. As well, Ruisdael’s sky is more dramatic, with higher contrast of light and dark while Giorgione’s is more vivid, due to the Venetian tradition of bright colors. Thus, one can see that while the landscape paintings of Ruisdael and Giorgine share various similarities, they also reflect the traditions of their own personal regions, that of the Netherlands and Venice.
There are many parallels between Michelangelo's Sistine Chapel ceiling and Annibale Carracci's ceiliing of the gallery Palazzo Farnese in Rome. While Michelangelo painted scenes of the Holy Bible, Carracci was commissioned to paint scenes of Ovid's Metamorphosis. In addition, it can be inferred that Carracci had help from his brother Agostino and cousin Ludovico, while Michelangelo worked alone on the monumental work. A final difference between the works is that while Michelanelo painted fake architecture on the ceiling to separate the various scenes, the gallery ceiling was actually constructed with gold and other precious metals to divide the large space.
The portraiture that is seen in the painting of Louis XIV by Hyacinthe Rigaud draws parallels to the Renaissance portrait of Princess Elizabeth by Levina Bening Teerlinc. Within both works there majesty and elegance can be seen in the intense detail of the clothes and the use of lights and darks where the figures almost withhold a glow or radiance. The wealth that both royal figures represent is shown through the portraits as well, such as the thick red fabric of Elizabeth or the heavy cape of Louis XiV. However, in contrast the two works embody different moods or meaning through the posture and facial expressions of the subjects. For example, Louis XIV definitely gives off a pompous and egotistical mood, whereas Elizabeth is composed with grace and poise. The works, although from different times and therefore express different moods, do have similarities that tie them together.
Gianlorenzo Bernini's marble "David" closely resembles Myron's marble copy of "The Discus Thrower". Both sculptures are twisted in mid-swing, yet, David looks forward at his target while the Discus Thrower looks backwards. Another difference is that the Discus Thrower has an expressionless face suggesting deep thought, while the David has a fierce expression. The David has also been caught mid battle where as the Discus Thrower has more grace and fluidity. Both of their poses mimics a heroic stance and both also use negative space to open up the sculpture to its surroundings.
Both Michelangelo's work in the SIstine Chapel and Annibale Carracci's artwork in the Palazzo Farnese are similar but also different. WHile Michelangelo painted alone, Carracci had help from his brother Agostino and his cousin Ludovico. Also, Michelangelo painted frescoes from the Holy Bible while Carracci painted scenes from Ovid's Metamorphosis. Another difference between the works is that Michelangelo painted with the illusion of marble while Carracci used no illusional techniques. While Carracci's motifs are greatly inspired by Michelangelo's heroic, muscular, and accurate figures, Carracci also had taken great influence from the Venetian painters Titian and Veronese.
There are many similarities between Pontormo's and Caravaggio's entombment. In both of the paintings represent Jesus's followers carrying him after his death and Jesus is given a sense of having physical weight rather than floating. However, in Carravaggii's version of the painting, Jesus's body has much more definition and musculature. Lastly, in Pontormo's entombment pastels are used to depict the clothing of Jesus's father. While in Caravaggio's entombment he uses more vivid rich colors.
In many ways the portrait of Louis XIV by Rigaud is very similar to Bronzino's portrait of A Young Man. Though they are both portraits, the similarities are more than superficial. While the portrait of Louis XIV is full length, Bronzino's piece portrays about half of the man. However, these pieces are more similar then different. They both portray wealthy men, of the upper class. Both of these men are portrayed in a haughty and self aware way. Both the men also fiddle with something. In Bronzino's piece the young man fiddles with a book, inferring his wealth and knowledge. In Rigaud's portrait of Louis XIV, Louis fiddles with his scepter, a symbol of immeasurable power. Both of the men's gazes are directly towards the viewer in a haunting and powerful manner.
In some ways, Michaelangelo's "Pieta" parallels the famous "Saint Teresa of Avila in Ecstasy" by Gianlorenzo Bernini. Bernini’s sculpture shows a cupid-like angel holding an arrow. His delicate touch and lithe figure give him an air of grace. With her head thrown back and eyes closed, Teresa herself collapses, overcome with the feeling of God’s love. Michaelangelo's "Pieta", which depicts the Virgin Mary holding the body of her son Jesus Christ after his death, has been created in many different forms by various painters and sculptors. Of all the great paintings and sculptures on the Pieta, however, the one by Michelangelo stands out from all the rest. These two works were both sculpted delicately and yet powerfully, to capture the intense movements and emotions in both scenes. Despite their conflicting subject matters, these two works both present intensity and grace in a classical way.
"View of Toledo", by El Greco and "The Jewish Cemetary" by Jacob van Ruisdael are similar in several ways. They are both dramatic landscapes with overhanging storm clouds. They also both involve architecture and nature, and the achicecture in both works of art is above the rest of the landscape. Another similarity between the pieces is that they are both painterly since there aren't really distinct lines and things blend together.
Two pieces that are similar are Giovanni Battista Gaulli "The Triumph of Jesus and the fall of the damned" and Correggio's "Assumption of the Virgin.," They are similar since both pieces force you to look up. ANother way there are similar is that both have a golden glow which symbolizes heaven. Both pieces involve painted architecture. The figures in both are hard to distinguish.
Hyacinthe Rigaud's "Louis XIV" oil painting of the Baroque period is comparable to Hans Holbein the Younger's "Henry VII" oil on wood panel from the Renaissance in England. Both works are portraits of powerful rulers dressed in elaborate clothes made from rich fabrics. The painting of Louis is full length and shows him in a pompous pose, holding a scepter. On the other hand, Henry's is only half of his large, 54 inch frame. He looks massive against the plain blue background. Louis does not dominate the entire painting, he is standing in an ornately decorate room, but still seems important. He is a bit idealized and his looking down upon the viewer. Henry is more frontal and less unrealistic for his forty-nine years. Furthermore, Louis' eyes give him more of a human feel while Henry is verny confrontational. While Holbein painted in the Mannerist style, Rigaud painting is definitely Baroque with the magnificent fabrics and colors.
To me, The Surrender at Breda is similar to Perugino's The Delivery of Keys to Saint Peter. In both, the focal point seems to be the transferring of an object from one person to another; also, between these two figures in both works, it is clear that one is bowing in submission to the other. However, Velazquez's painting has a less organized, more painterly background while the figures in the foreground of Perugino's work are much more symmetrical and organized compositionally in comparison to the soldiers at Breda. Finally, both painters position at least one figure with their back to the viewer as if to emphasize the viewer's position and direct their eye to the focal point of the piece.
According to various art historians, Baroque artwork was influenced by various pieces created during the Greek Hellenistic period. In my opinion, this theory is evident when comparing the Baroque piece "David" by Bernini, and the Hellenistic piece "Dying Gaul" from Pergamon. The two are similar because both were created to be seen from multiple views and stressed movement. Also, the statues utilized negative space . Finally, both pieces hold intense emotion.
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