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The Cultural movement of Baroque was that of Absolutism? and the [Church in Counter-Reformation]?. The [Continental Monarchies]? had not been defeated as in England and the Monarchs? needed to display their power and authority in churches and state buildings using some sort of propaganda. Baroque painting theatrically emerged giving the [didactic lesson]? with none of the disturbing angst of Mannerism. Baroque painting featured an awesome-ness through sheer depth. Whereas Classicism had order dominating energy, Baroque's energy and overkill dominated the order while maintaining the absence of the unessential. Tittian?'s Donne? was light and rich in color with a painterly style that was more concerned with color creating a decorative picture. Carrache?'s [Domine, quo vadis]?? was upbeat and optimistic with none of the spiritual questioning but yet giving a lesson that one should follow the church. His [Coronation of a Virgin]? warmly showed a massive form of figures in a straightforward and rich fashion. Reni?'s [Rape of Europe]? gets back to a Rapheal?-like mythicalism?, but it looks much like a decoration, not a painting. Carravaggio? represents the oppressed side of the Baroque. His [Paul and Matthew]? lack the idealization of the human form. While introducing chiaroscuro?, the use of light with dramatic, emotional effect in painting, his religious intensity moves inward, letting the light convey the visual image of God. Even though his painting is too powerful for idealists, he retains the patronization of the rich [church aristocracy]?. Carravaggio?'s emotion is a gut-check because it comes from the bottom-up, not the top-down. Baroque also introduced the concept of the sublime and infinity?. The sublime was the awesome and overpowering force of the king or the church. The kings needed this power through suggestion as a part of their propaganda to keep the masses quiet. As the fields of mathematics and astronomy began to show that there might not be an end to our universe, Baroque painting featured infinity?, with skies and landscapes disappearing into nowhere. The decorative Rubens? was the prototypical artist patronized by [Marie de Medici]? and much in demand. His light brought intensity to the painting and he reinforced the gender power of the Baroque (male over female). Poussin?'s [history paintings]? had purpose. The [didactic lesson]?s of the evils of the mob and the dangers of democracy were represented as historic truths as he showed the countryside in a calm and nostalgic state. Claude?'s happy village scenes would prompt [French aristocrats]? to build [faux villages]? that looked like Claude?'s paintings. [Le Nain]? showed that even a peasant family has enough to feed the beggar, therefore, poverty does not exist. |
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