Art history: major periods, movements, and artists

Bernini and Caravaggio

Baroque art was a style that appeared in response to the 16th century Mannerist period and was characterized by religious iconography and figures but with a focus on the pre-Christian religions such as Greek and Roman mythology. The characteristics of Baroque art can be seen in many branches of the art world such as in sculptures, paintings, literature and architecture. The movement started around 1600 in Italy where the Catholic Church was particularly strong and spread throughout most of Europe very quickly. Many of the artworks from this period show the influence of the church on the daily lives of the people and how the artists fought against this. Following this period, the Baroque era is when the taboos of what was and was not appropriate to paint seemed to deteriorate, if not disappear forever, In many works of art at the time, the complete female and male form is depicted, including the vagina, penis, breasts, buttocks and other erogenous zones, once hidden behind clothing. What is more interesting is that during this period it was not only the nude that regained popularity, but the Rubenesque nude, a fully-figured woman with large breasts and imperfect thighs. This made the idea of sexuality come down from the canvas and into the real world. These were real women and thus they possessed all the same things that the women on the street might have which was not an idea that was supported by the rigidity of the Catholic Church. Two specific artists of the Baroque period who showed the influence and rejection of religion through their artwork are Bernini with "Ecstasy of St. Teresa" and Caravaggio with "Crucifixion of St. Peter."

The "Ecstasy of St. Teresa" sculpture made by Bernini is located in the Cornaro Chapel in Rome. It is actually part of a larger set of sculptures located within the chapel. The two central figures are St. Teresa and an angel who has come to her from Heaven. What becomes obvious from just looking at the sculpture is that the angel is holding a spear and looks like it is going to use it to pierce Teresa. This goes along with the story that St. Teresa told of an angel coming down and using his spear to fill her with religious ecstasy. The angel is androgynous looking; it might be male or female because while it does not appear to have breasts, the figure has curly hair which goes down to the neck and presents something of an effeminate appearance. It is swathed in cloth and even though it is holding a weapon, the look on its face is one of serenity and peace. The angel does not have any mean intentions towards the woman from the facial expression and body language that is seen. St. Teresa on the other hand has a very odd expression on her face. While she claimed that the incident with the angel sent her into a feeling of religious ecstasy, the look on her face is more akin to a woman having an orgasm. She cannot even look at the angel because of the strong feelings going through her body. This sexual interpretation is added by the fact that Teresa seems to be sitting up and engulfed in linens as though woken from her bed. The angel stands on top of her like a dominant lover figure. Whether Benini intended this is uncertain, but regardless of intention, the double meaning of religious ecstasy can be seen in this piece. Although she claims that the word of God spoke to her and what she was experiencing was a religious thing, it is possible that the sensual and spiritual are linked.

Caravaggio's "Crucifixion of St. Peter" also was commissioned for a chapel and also can be found in Rome. In the painting, St. Peter is being crucified by Romans, but not feeling as though he deserves to be equaled to Jesus Christ, he asks to be crucified upside down. It is this scene which Caravaggio painted. Peter has his feet bound and the nails are already through his hands and feet. Given that historically this was only done at the place where the crucified person was to hang, it can be reasoned that the other three men in the painting are trying to set his crucifix into the ground. From their body language he must be far heavier than his thin frame would suggest. One man whose face you cannot see struggles to pull the rope which will stand up the crucifix while another man tries to help him by pulling on the wood behind Peter's feet. Lastly, a third person is kneeling with his shoulder blades against the wood, trying to use his leg and upper body strength to lift the crucifix and stand it up. This mad holds a shovel in his right hand; arguably this was used to dig a small hole where the crucifix could be planted. Interestingly, all three men have their faces turned away or bent down so their features are not distinguishable. This can be interpreted as the fact that although these men contributed to Peter's death, they were not really to blame as they were following orders and had no choice, but at the same time they are worthless to God or they have forsaken God because of what they have done and are therefore too ashamed to show themselves. This is made clear by the fact that the only figure whose face you do really see is that of St. Peter. The same holds true for the rest of his body in comparison to his killers. He is very light and clothed in white rags and the painting is made so it looks like there is a light shining on him. But his killers are more or less in shadow, showing that these three presumably young and healthy men have less importance than this frail elderly man who they are killing.