Italian Painting From The Baroque Era

Louise Marshall argues in her article Manipulating the Sacred: Image and Plague in Renaissance Italy that art created as a response to the Black Death gives researchers a direct access to the perceptions of the public in regards to surviving the outbreak and how they believed they could “articulate and manipulate their situation” during the plague, and after it. She focuses on the art through the relationship between the individual worshipper and the image. Using images of saints such as Saint Sebastian and the Virgin Mary, the art can be seen as not only an indicator of religious devotion during a dire time or as a record of that particular time’s artistic style, but also as a conversation between the people and the saint that was, in a way, supported and permitted by the Church. Marshall gives an interesting perspective into how the public viewed the art; showing the attitudes in relation to the pestilence as well as the idea of art as a form of propaganda towards which saints would be the best to pray to for mercy and aid. However, if Marshall is correct about how these images operated for the public, then the public were able to have some influence over their situation and the images could also be seen as messages of hope. The idea that an image can be transformed or adapted into any situation is, while believable, still a confusing practice. The Church developed the image of the Virgin Mary as motherly and pure. Changing her image to emphasize attributes of authority and autonomy also changes how the Church would act and worship her. Would this change the foundation of the Church’s saintly principles? Wouldn’t changing the background and characteristics of a religious deity also affect the foundations of the Church’s support? Marshall has successfully achieved the purpose of the article in demonstrating the relevance of art as a historical source of the Black Death but also to psychological effects on the public.

The Baroque era spans a period of 150 years. During this time, baroque art had four distinct styles. I plan to focus on the Italian Baroque and the Protestant Baroque styles. While these styles share some similarities, they are also very different. The Italian Baroque style is often ornate and focused on religion with an emphasis on the need for the church’s guidance. The Protestant Baroque style is plain with no obvious religious messages and less need for guidance from the church. Both styles contain many amazing pieces of artwork, but I plan to focus on Bernini’s Baldacchino and Vermeer’s Woman Holding a Balance.

This paper will compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

The era known as the Baroque period includes the seventeenth and most of the eighteenth centuries in Europe. The Baroque style was a style in which the art and artists of the time focused upon details and intricate designs. Their art often appeals to the mind by way of the heart. During this time the portraits began to portray modern life, and artists turned their backs on classical tradition. Much of the art shows great energy and feeling, and a dramatic use of light, scale, and balance (Preble 302). Buildings were more elaborate and ornately decorated. These works of art created history and altered the progress of Western Civilization. Architecture such as the palace of Versailles, and artists like

The painting The Holy Family with Saints Anne and John the Baptist, 1592 (oil on canvas) was created by Italian painter Sofonisba Anguissola (c.1532-1625). It is currently held at the Collection of the Lowe Art Museum, University of Miami, as a gift from Mrs. Forbes Hawkes and Bridgeman Images. This painting is among the unique pious narrative paintings by Anguissola. “The Holy Family” is the last dated painting by the artist. It was executed when she had just returned to Italy after spending 14 years working for King Philip II at the Spanish court. By this time, she had already married to a Genoese ship captain. Her various visits to court and her personal contacts with great painter at that time largely inspired herself. Through these contacts, she successfully stayed in touch with current developments in art. By closely observing this masterpiece, I argue that the artist perfectly sustain the beauty of counter-reformation arts in her work by use of light and shadow, delicate brushwork and accurate proportions of each subjects.

Christian art throughout the Italian Renaissance period reveals an interest in the individual’s experience of the world. The two artists, Giotto di Bondone and Filippo Lippi reflect this interest through their artworks.

The great thing about art, is that there are multiple portrayals of one idea but, the artist’s own personal style allows one to feel something that another may not. Early Renaissance painters, Giotto di Bondone and Duccio di Buoninsegna established their own unique style to depict a biblical scene known as, The Betrayal of Christ. Through a close analysis of each artist’s representation of, The Betrayal of Christ, one is able to compare and contrast the artists own understanding of the scene through their attention to detail, character, and space throughout the painting. When examining these two works, one will have a stronger emotional response towards Giotto’s interpretation rather Duccio’s, due to his methods of handling organization, figures, and space.

inspired not only by paintings in Rome (the main center of innovative ideas), but also by

The art piece demonstrates what is going on in society at this time period by portraying what the Catholic Church should be focussing on spiritually during the Renaissance as in redemption towards reaching heaven rather than fighting over authority of the papacy. During the Renaissance, popes abandoned their duties and became involved in other occupations opposing the correct conduct and behavior of a pope. With the papacy being corrupted with nepotism and becoming involved in violence and breaking the oath of living out the virtues and a pure life, the church was derived from its mission of informing humanity of their chance of redemption. This art piece foreshadows the consequence,taught by the church, of all the sins ever committed, which

The artistic theme in which an artist depicts the Virgin Mary with Jesus Christ as a child is known as the ‘Madonna and Child’. This depiction has its roots in Early Christian art due to the iconic roles that Christ and Mary play in the Christian religion (Dunkerton 37). The ‘Madonna and Child’ has had a place in many of the early periods and traditions of art. Religious themes were able to command such a strong presence in the history of art due to their role as devotional aides in churches and other religious buildings (Dunkerton 27). Religious art was well maintained by religious orders and churches, and many patrons throughout early history were tied to the Catholic Church. In the 1400s, religious artwork continued to play a prominent

Michelangelo Caravaggio, the great Baroque painter of the seventeenth century, was always an artist under scrutiny. His style, the subject matter of his paintings, and how he chose to depict his subjects, was often criticized and rejected by his patrons. In a journal article written by Troy Thomas, entitled "Expressive Aspects of Caravaggio's First Inspiration of Saint Matthew", these rejected paintings are discussed. The article focuses on the themes of these rejected works, but namely Inspiration of St. Matthew, and uses these themes to prove the work's validity. This painting is compared and contrasted to other similar, accepted works of the time as well, to help show that the work was not done in bad taste.

The painting was painted for a Roman Catholic Cathedral in his homeland. This composition is arranged along a diagonal anchored at the bottom of the right by a very muscular figure. This painting is a realism, and an action and drama picture (Frank 2011). In this painting it is showing soldier lifting Christ body on the cross.

Other possible subjects aspiring painters could emblematize in baroque paintings include the actual implementation of solutions to social dilemmas or the "signs of the times". Moreover, depictions of reformed persons who terminated illegal drugs into their systems, children enjoying genuine moments of whimsical entertainment, ministers various faiths posing together with harmonious unity, freed prisoners of war shouting with jubilation and families who are simultaneous expressing joy because of the extermination of murder, abuse and terrorism are indeed a welcome development in modern baroque paintings. Research should be done on whether more shades of light can be embossed upon baroque paintings. Lastly, Christian artists should be positive

The use of ornamentation in Baroque music was a creative, and sometimes improvised outlet for period musicians that spurred from human instinct to manipulate melodic material. This urge to change melodic material by altering the rhythm, or melody can be seen throughout history. Music including Gregorian chant, which predates the Baroque era, contains some elements of ornamentation. It can be seen throughout the Baroque, Classical era, and even in modern music. Although improvisation has been repressed by modern conventions of performance, it shows itself in the style of improvised jazz and avant-garde free improvisation. Performers use improvisation as a means of self-expression and a way to express composer intent. During the Baroque era, there were many different styles and methods of ornamentation depending on location, style, date, and composer of a piece of music. Understanding the historical developments of the Baroque era and the development of ornamentation can help modern performers of Baroque music better understand how to play a more historically accurate performance.

A bust of Saint Lawrence from Borgo San Lorenzo, a region just north of Florence, was recently attributed to the famous Florence sculptor, Donatello (Povoledo par. 4). It was sculpted during the Renaissance, circa 1440, and it demonstrates characteristics similar to that found in classical art (Povoledo par. 4). The bust appears is and almost paradoxically idealistic; it is viewable from multiple angles and is composed of terra-cotta. By the depiction of Saint Lawrence, the patron saint of librarians for the Catholic Church, it constructs a religious theme (“St. Laurence Martyr” par. 17). Hence, the bust of Saint Lawrence serves as an illustration that the Renaissance was the revival of the artistic techniques of the Classical.