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Guided Art Tour: Religious vs. Secular

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Victoria Gutierrez

on 4 January 2013

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Transcript of Guided Art Tour: Religious vs. Secular

Guided Art Tour Baroque & Rococo Art Saint Peter's Secular Religious David The Swing Pilgrimage to Cythera Satyr Crowning a Bacchante Carlo Maderno was commissioned to complete Saint Peter's in Rome by Pope Paul V as "the symbolic seat of the papacy." (293) Maderno's plan for the new Saint Peter's departed from the central plans that had been designed during the Renaissance by Brammante and Michelangelo. Church officials had made the call that suggested a central plan was too closely related to that of the pagan buildings, so they decided that an additional three nave bays be added. Saint Peter's is the most magnificent spaces in the phase of the Earth. The Loves of the Gods This illusionistic ceiling made by Carracci is described by Gardner's Art Through the Ages: A Concise History of Western Art as a "quadro riportato" (transferred frame painting). (298) This new style of painting was originally a rejection of mannerism with a more naturalistic approach. The ceiling consists of several different scenes of The Loves of the Gods from classical mythology. Perspective plays a very important role in this period. In fact, it starts out initially as an effort on reclaiming naturalistic skills and then studying carefully from life and making the art look as life-like as possible. You can clearly see the incredible classicism that Annibale Carracci has brought to his painting. This is a very good illustration of the idea that in some ways Baroque art is a return to the principles of the High Renaissance. This statue is a representation of the Old Testament story of David and Goliath. We do not see Goliath, but it is clear that David sees him as he is aiming the slingshot right at him. As opposed to the idealism in the High Renaissance, we see the realism of David's body and feel the tension and concentration in his face. Unlike Donatello who depicted David after his triumph and Michelangelo who portrayed David before his encounter, Bernini chose to represent the combat itself. He aimed to catch the split-second of maximum action. Bernini's understanding of space is almost as if he is a defining a type of architecture. Gardner's Art Through the Ages: A Concise History of Western Art mentions that "the tension in the young hero's face augments the dramatic impact of Bernini's sculpture." (295) Rococo is the name for one of the great international ornamental styles of the eighteenth century. The patronage and decorative style from the aristocrats during the Rococo era who returned to Paris around 1700 had nothing to do with the church or the king, but reflected purely their pleasures and interests. According to Gardner's Art Through the Ages: A Concise History of Western Art, "In this painting epitomizing Rococo style, pastel colors and soft light complement a sensuous scene in which a young lady flirtatiously kicks off her shoe at a statue of Cupid while her lover watches." (323) Antoine Waiteau was a leading painter of the Rococo movement. According to Gardner's Art Through the Ages: A Concise History of Western Art, "He was largely responsible for creating a specific type of Rococo painting, called a fête galante (French, "amorous festival") painting." (322) Throughout the eighteenth century, and for much of the next century, the Pilgrimage to Cythera seems to have been regarded simply as a depiction of a happy journey to a symbolic island of love. The Satyr Crowning a Bacchante is a projection of sensual intimacy in salons, a sensuous Rococo fantasy. According to Gardner's Art Through the Ages: A Concise History of Western Art, "The erotic playfulness of the sculptors' semihuman satyr and languorous bacchante typifies the Rococo spirit." (324) vs. Works Cited: CLODION, Satyr Crowning a Bacchante, 1770. Terracotta, high. Louvre, Paris. ANTOINE WATTEAU, Pilgrimage to Cythera, 1717. Oil on canvas . Louvre, Paris. JEAN-HONORé FRAGONARD, The Swing, 1766. Oil on canvas, . Wallace Collection, London. ANNIBALE CARRACCI, Loves of the Gods, ceiling frescoes in the gallery, Palazzo Farnese, Rome, Italy, 1597–1601. GIANLORENZO BERNINI, David, 1623. Marble, 5 7 high. Galleria Borghese, Rome. Kleiner. Gardner's Art Through the Ages: A Concise History of Western Art. 2. VitalSource Bookshelf. Wadsworth Publishing Company, 01/2012. Sunday, December 16, 2012. <http://digitalbookshelf.aionline.edu/books/1111904871/outline/1>

CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.
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