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Baroque
Caravaggio v. Michelangelo: What is occurring in the culture that would make an emotional, dramatic appeal interesting to the patrons of the arts?
Caravaggio created his work during the Counter-Reformation, after the Protestant Revolution, unlike Michelangelo. The Catholic Church desired to counteract Protestantism by creating a sparer and more individualistic form of Christianity, while still retaining its power. This is reflected in the art of the period, as Caravaggio's use of tenebrism makes the figure of Saul, and the story of Saul, more important to the picture, rather than simply celebrating the human body like the Renaissance-era artist Michelangelo. The greater interest in the individual explains why Caravaggio created his work to highlight Saul's wrestling with his inner self. This would have been interesting to the patrons of the art than simply depicting his conversion scene as a conversion of light. The focus of Caravaggio is on the human being, and on Saul, while Michelangelo's vision depicts a panorama of humanity, and focuses on the figure of God in the sky. God looks human, but is beautiful and perfect, unlike Caravaggio's struggling Saul, who is very recognizably human and real.
Messiah:" What major cultural events could we say contribute to this rise of the individual?
Although oratorios were not staged like operas, they were composed many individual songs pieces when the singers would take on the roles of different characters. The focus was on the individual singer, not the chorus. Even the "Hallelujah" chorus is a chorus sung in the name of Christ's birth, a specific event in the life of Christ's story, not an abstract idea like a song that is just about the general glory of God. The singers and the music seems emotional than Renaissance music, as it is designed to express joy and celebration and the words and the swells of the music match, rather than simply stand paired against one another. The more personalized nature of oratorio is also due to the fact "Messiah" was also designed to be sung in a concert hall. People came for diversion as well as for the purposes of worship so they wanted to hear about an individual's feelings and see a drama as part of the entertainment.
Baroque Period Annotated Bibliography Chaffee, Kevin. "Baroque sights, sounds at the gallery." The Washington Times, The National Gallery of Art set up a spectacular exhibit of the Baroque period that included scale models of baroque-era churches, palaces, military forts and grand public buildings. They had problems getting nearly 300 guests through the enormous exhibit. The huge exhibit took up the length of two entire corridors on the main and ground floors of the
Such linkages and juxtapositions contributes to the search for hidden meanings, and concentration on Poussin's iconography shows that critics believe there is usually more meaning in the frame than a cursory look would convey. To a degree, this belies Poussin's emphasis on simply reflecting nature, for the hand of the artist is always evident in the way the frame is formed consciously around various symbols and icons as well
E. Jesus Christ, Virgin Mary, St. John the Baptist, are not depicted as ideals, perfect exterior forms but as specific and personal figures who are able to inspire and stir emotions. The viewer is no longer separated from the object of the painting, but becomes closer to it. In this sense, the viewer is able to relate to the experience of the characters. Young Mary is much more than an
CATHOLIC BAROQUE VS. THE PROTESTANT BAROQUE IN NORTHERN EUROPE Catholic Baroque in Italy vs. the Protestant Baroque in Northern Europe The following study compares the theatricality of the Catholic Baroque in Italy to the Protestant Baroque in Northern Europe. The discussion will focus on Caravaggio's "the Crucifixion of Saint Peter" to Rembrandt's "The Return of The Prodigal Son." It also extends to include the way each artist handles the religious subject reflecting
There is a kaleidoscopic plurality of symbols and links among them, but it is easier to decipher the central meaning of the whole: the spiritual supremacy of the pope. Thus a political program was transformed into a beautiful masterpiece." (Findlen) Bernini believed that in architecture the main focus was on the material and the invention, then on the manner in which the parts were ordered and finally on the "perfection
Baroque Art: PETER PAUL RUBENS & CARAVAGGIO The artistic period known as the Renaissance continued without any sharp stylistic changes well into the 17th and 18th centuries; however, the art of this later period is often called Baroque, although there is no single Baroque style or set of stylistic ideals. Yet within the last one hundred years or so, Baroque has taken on the overall designation for the art of the period