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418 ave you ever heard of the Baroque period or the term Baroque art? Did you read the book or see the movie The Three Musketeers that took place during this time? What do you know about Rembrandt? By the start of the seventeenth century, the Catholic Church was answering the challenge of the Protestant Reformation with a reform movement called the Counter-Reformation. Artists were encouraged to portray religious subjects with realism and emotion. This resulted in a new art style—Baroque. The Baroque style originated in Rome and spread across Europe, resulting in paintings, sculptures, and buildings with overwhelming emotional impact. 19 Baroque Art Read to Find Out As you read this chapter, learn about Baroque art in Italy, Flanders, the Netherlands, and Spain. Read to find out about Dutch art and genre painting. Read further to learn about Spanish artists and their preference for religious subject matter. Focus Activity Respond to the artworks you see in this chapter. Look at Judith Leyster’s painting in Figure 19.1. What adjectives would you use to describe the emotional impact of this painting? How do light, contrast, and composition help create drama or emotional impact? What qualities draw you into the painting? What elements and princi- ples of art are used to make you feel as if you are in the same room with the young musician? Do you feel like an eyewitness to the moment? Why? Write down your response. Using the Time Line The Time Line introduces you to some of the important events and other artworks of the Baroque era that you will study in this chapter. What adjectives would you use to describe the emotional impact created by these works? H 1623 Bernini’s David emphasizes movement 1596 Shakespeare writes Romeo and Juliet 1599 The Globe Theatre is built in London 1601 Caravaggio illuminates his figures in light c. 1575 Il Gesù is an early example of the new Baroque style in church architecture 1600–1700 The Baroque Period 1609 Galileo perfects the telescope 1550 1600

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Page 1: Baroque Art - glencoe.com

418

ave you ever heard of the Baroque period or the term Baroque art?Did you read the book or see the movie The Three Musketeers that

took place during this time? What do you know about Rembrandt? By thestart of the seventeenth century, the Catholic Church was answering thechallenge of the Protestant Reformation with a reform movement called theCounter-Reformation. Artists were encouraged to portray religious subjectswith realism and emotion. This resulted in a new art style—Baroque. TheBaroque style originated in Rome and spread across Europe, resulting inpaintings, sculptures, and buildings with overwhelming emotional impact.

19Baroque Art

Read to Find Out As you read this chapter, learn about Baroque artin Italy, Flanders, the Netherlands, and Spain. Read to find out aboutDutch art and genre painting. Read further to learn about Spanishartists and their preference for religious subject matter.

Focus Activity Respond to the artworks you see in this chapter. Lookat Judith Leyster’s painting in Figure 19.1. What adjectives would youuse to describe the emotional impact of this painting? How do light,contrast, and composition help create drama or emotional impact?What qualities draw you into the painting? What elements and princi-ples of art are used to make you feel as if you are in the same roomwith the young musician? Do you feel like an eyewitness to themoment? Why? Write down your response.

Using the Time Line The Time Line introduces you to some of theimportant events and other artworks of the Baroque era that you willstudy in this chapter. What adjectives would you use to describe theemotional impact created by these works?

H

1623Bernini’s Davidemphasizesmovement

1596Shakespeare writesRomeo and Juliet

1599The GlobeTheatre is builtin London

1601Caravaggio illuminateshis figures in light

c. 1575Il Gesù is an earlyexample of the newBaroque style inchurch architecture

1600–1700The Baroque Period

1609Galileo perfects the telescope

1550 1600

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■ FIGURE 19.1 Judith Leyster. Boy Playing the Flute. c.1600–1660. Oil on canvas. 73 � 62 cm (283⁄4 � 241⁄2).

National Museum, Stockholm, Sweden. Erich Lessing/ Art Resource, NY.

419

1630–35Leyster paints Boy Playing theFlute (Detail)

1665–76San Carlo alle QuattroFontane illustrates themature Baroque style in architecture

1642Rembrandt paintsThe Night Watch

1656Velázquez paintsLas Meninas(Detail) Refer to the Time Line

on page H11 in yourArt Handbook for moreabout this period.

1666The Great Fire of London

1600–1700The Baroque Period continues

1650 1700

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Vocabulary■ Counter-Reformation■ Baroque art■ façade■ chiaroscuro

Artists to Meet■ Francesco Borromini■ Gianlorenzo Bernini■ Michelangelo da Caravaggio■ Artemisia Gentileschi■ Peter Paul Rubens

DiscoverAfter completing this lesson,

you will be able to:■ Explain what the Counter-

Reformation was and discuss therole art played in this movement.

■ Describe the qualities Baroquearchitects and sculptors soughtin their work.

■ Discuss the styles and innova-tions of Baroque artists, includ-ing Caravaggio, Gentileschi, and Rubens.

he Counter-Reformation was an effort by the Catholic Church to lurepeople back and to regain its former power. Art played a major role in

this movement to stamp out heresy and encourage people to return to theChurch. Artists and architects were called to Rome to create works that wouldrestore religious spirit and make the city the most beautiful in the Christianworld. A style emerged that had dramatic flair and dynamic movement. It wasBaroque art, a style characterized by movement, vivid contrast, and emotionalintensity. Once again, Rome became the center of the art world, just as it hadbeen during the height of the Renaissance a century earlier.

A New Style in Church ArchitectureIn architecture, the Counter-Reformation brought about a revival of

church building and remodeling. One of these new Roman churches, IlGesú (Figure 19.2), was among the first to use features that signaled thebirth of the new art style. The huge, sculptured scrolls at each side of theupper story are a Baroque innovation. They are used here to unite the sidesections of the wide façade, or front of the building, to the central portion.This sculptural quality on buildings such as Il Gesú was an important fea-ture of the Baroque architectural style. Over the next hundred years, thisstyle spread across a large part of Europe.

Baroque Art of Italy and Flanders

420

■ FIGURE 19.2 Thischurch was an earlyexample of the newBaroque style. Point to afeature on this buildingthat marks it as uniquelyBaroque.

Gíacomo della Porta. Il Gesú,Rome, Italy. c. 1575.

LESSON ONE

T

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Francesco Borromini (1599–1667)

An excellent example of the matureBaroque style in architecture is a tinyRoman church designed by the architectFrancesco Borromini (fran-chess-koh bore-oh-mee-nee).

San Carlo alle Quattro Fontane■ FIGURE 19.3

The church that made Borromini famousworldwide was San Carlo alle Quattro

Chapter 19 Baroque Art 421

■ FIGURE 19.3 This building issaid to produce an effect of move-ment. How is this effect achieved?

Francesco Borromini. San Carlo alle QuattroFontane, Rome, Italy. 1665–76.

Fontane (Figure 19.3). The façade of thischurch is a continuous flow of concave andconvex surfaces. This makes the buildingseem elastic and pulled out of shape.

The push and pull that results creates astartling pattern of light and shadow acrossthe building. The façade is three-dimensional,almost sculptural. The moldings, sculptures,and niches with small framing columns addthree-dimensional richness and abrupt valuecontrast. Borromini boldly designed thisfaçade to produce an overall effect of move-ment, contrast, and variety.

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Emphasis on Moodand Drama inSculpture

Throughout the Baroque period,sculptors showed the same interest in movement, contrast, and variety as did architects. They placed greatimportance on the feeling expressed in their work and tried to capture the moment of highest drama andexcitement.

Sculptors showed less interest in portraying ideal or realisticbeauty. Drapery, for example, nolonger suggested the body beneath.Instead, it offered artists a chance to show off their skills at complexmodeling and reproducing differenttextures. Deep undercutting wasused to create shadows and sharpcontrasts of light and dark values.Colored marble replaced white marble or somber bronze as thepreferred sculptural medium.

During this time, sculptors cre-ated works that seemed to breakout of and flow from their architec-tural frames. This effect is similar to that found in murals and ceilingpaintings done at the same time(Figure 19.4). The results over-whelm and even confuse theviewer. Sometimes the viewer has trouble seeing where the painting or sculpture ends and reality takes over.

422 Unit Six Art of an Emerging Modern Europe

■ FIGURE 19.4 The artist who painted this ceiling placed a small mark on thefloor beneath it. When people stood on this mark and looked up, they had thebest view of this amazing painting. Can you tell where the building ends and the painting begins? What makes this painting Baroque?

Fra Andrea Pozzo. The Entrance of St. Ignatius into Paradise. 1691–94. Ceiling fresco. Sant’ Ignazio, Rome, Italy.

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Gianlorenzo Bernini (1598–1680)

This merging of Baroque sculpture andarchitecture is seen in Gianlorenzo Bernini’s(jee-ahn-low-ren-zoh bair-nee-nee) altar con-taining the famous Ecstasy of St.Theresa(Figure 19.5). It was dedicated to St. Theresa,a sixteenth-century Spanish saint of theCounter-Reformation. The inspiration for thissculpture is St. Theresa’s vision in which anangel pierced her heart with a fire-tippedgolden arrow symbolizing God’s love.

■ FIGURE 19.5 The figures in thisBaroque work appear to float in space.Which elements and principles of artdid Bernini employ when creating thissculpture?

Gianlorenzo Bernini. The Ecstasy of St. Theresa.1645–52. Marble. Life-size. Cornaro Chapel, SantaMaria della Vittoria, Rome, Italy.

Chapter 19 Baroque Art 423

Bernini’s Use of Space and LightThe angel and the saint are carved in

white marble and placed against a back-ground of golden rays radiating from above.This scene is lit from overhead by a concealedyellow glass window that makes the figuresseem to float in space within a niche of col-ored marble. The figures appear to moveabout freely within that space. This new relationship of space and movement setsBaroque sculpture apart from the sculpture of the previous 200 years.

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David■ FIGURE 19.6

This new relationship between active figures andspace is observed in Bernini’s sculpture David(Figure 19.6). The theme in Bernini’s work is move-ment. David’s body is twisting in space as he preparesto hurl the stone at the mighty giant, Goliath. Thecoiled stance, flexed muscles, and determined expres-sion are clues to his mood and purpose. AlthoughGoliath is not shown, his presence is suggested byDavid’s action and concentration. The dramatic actionof the figure forces you to use your imagination toplace Goliath in that space in front of David.

Baroque PaintingLike Baroque architects and sculptors,

painters of this period used more action intheir works than had their predecessors,and this increased the excitement of theircreations. Furthermore, they used dramaticlighting effects to make vivid contrasts oflight and dark. This magnified the actionand heightened the excitement.

MOLIÈRE. French playwright Molière isknown for his satire. His comedies madefun of the foolishness and false values ofthe society of his time. His work greatlyinfluenced other writers.

SALON SOCIETY. InFrance during the Baroqueperiod, upper class societygathered for games anddiscussions of daily eventsand intellectual ideas.These gatherings, knownas Salons, often includedartists and writers.

GALILEO’S TELESCOPE. This telescopewas perfected by Italian astronomer andmathematician Galileo in 1609. It allowedhim to watch the paths of the planets.

■ FIGURE 19.6 If youcompare this workwith a Renaissancesculpture such asDonatello’s St. George(Figure 16.11a,page 363), you willquickly recognize theBaroque sculptor’s loveof movement withinspace. How was thiswork designed toencourage a viewerto move around itrather than view itfrom one spot?

Gianlorenzo Bernini. David.1623. Marble. Life-size.Galleria Borghese, Rome, Italy.

Personality Research.Write an “I am” poem about Galileo,Molière, or another personality from theperiod. Complete the following linesfrom the point of view of that person:I am a...; I wonder...; I hear...;I see...; I want...; I understand...;I say...; I dream...; I hope...;My name is....

Activity

Baroque PeriodSee more Time & Place events on theTime Line, page H11 in your Art Handbook

c. 1600 1700

424 Unit Six Art of an Emerging Modern Europe

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Michelangelo daCaravaggio (1571–1610)

More than any other artist, Michelangeloda Caravaggio (mee-kel-ahn-jay-low da kar-ah-vah-jyoh) gave Baroque art its unique lookand feel.

Caravaggio chose to study and paint theworld around him instead of reworking thesubjects of Renaissance artists. He made lightan important part of his painting, using it toilluminate his figures and expose their imper-fections. By showing their flaws, he made hisfigures seem more real and more human.

The Conversion of St. Paul■ FIGURE 19.7

Caravaggio’s The Conversion of St. Paul(Figure 19.7) is a fine example of his painting

style. Only St. Paul, his horse, and a single atten-dant are shown. The entire scene is pushed for-ward on the canvas, so you are presented with aclose look. There is no detailed landscape in thebackground to distract your attention from thisscene, only darkness. Instead of stretching backinto the picture, space seems to project outwardfrom the picture plane to include you as an eye-witness to the event.

Controversial Portrayal of Religious Subjects

Caravaggio’s desire to use ordinary peoplein his portrayal of religious subjects met withmixed reactions. Some of his paintings wererefused by church officials who had commis-sioned them. They disliked the fact that Christand the saints were shown in untraditionalways. The people of Caravaggio’s time were

Chapter 19 Baroque Art 425

USING THE ART CRITICISM OPERATIONS

There is something unreal and mysteriousabout this scene.• Description. A powerful light illuminates a

figure on the ground with arms upraised andanother standing figure gripping the bridle ofa horse. The light makes them stand outboldly against the dark background. Like aspotlight, it originates outside the picture.

• Analysis. Caravaggio uses this mysteriouslight to add drama to the scene. This tech-nique is chiaroscuro, the arrangement ofdramatic contrasts of light and dark value. InItalian, chiaro means “bright” and scuromeans “dark.”

• Interpretation. The figure on the ground isSt. Paul, who, as Saul, was once feared as apersecutor of Christians. The brilliant flashof light reveals St. Paul at the exact momentwhen he hears God’s voice with a messagethat changes his life.

• Judgment. Do you think this artwork is successful in using lightto increase the visual impact of the scene?

LOOKING Closely ➤

■ FIGURE 19.7

Caravaggio. The Conversion of St. Paul. c. 1601. Oilon canvas. Approx. 228.6 � 175.3 cm (90 � 69�).Santa Maria del Popolo, Rome, Italy.

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used to seeing religious figures pictured asmajestic and supernatural beings. OftenCaravaggio’s figures looked like peasants and common beggars.

Caravaggio’s reckless life was as shockingto the public as many of his pictures. Duringthe last decade of his life, he was in constanttrouble with the law because of his brawls,sword fights and violent temper.

Caravaggio’s dynamic style of art and dra-matic use of chiaroscuro, however, helped tochange the course of European painting dur-ing the seventeenth century. Spreading northinto Flanders and Holland, these techniquesand new approaches to religious subject mat-ter provided inspiration for Rubens,Rembrandt, and other artists.

Artemisia Gentileschi(1593–1653)

Artemisia Gentileschi (ar-tay-mee-zee-ah jen-tih-less-key) became the first woman in the his-tory of Western art to have a significant impacton the art of her time. Her debt to Caravaggio isevident in her works. A good example is Judithand Maidservant with the Head of Holofernes(Figure 19.8), painted when she was at thepeak of her career.

Judith and Maidservant with theHead of Holofernes■ FIGURE 19.8

The biblical story of Judith is one of greatheroism. She used her charms to capture thefancy of Holofernes, an important general and an enemy of the Jewish people. WhenHolofernes was asleep in his tent, Judith strucksuddenly, cutting off his head. Gentileschi cap-tures the scene just after this act. Judith standswith the knife still in her hand as her servantplaces the severed head in a sack. A mysteriousnoise has just interrupted them and Judithraises a hand in warning.

The dark, cramped quarters of the tent are aneffective backdrop for the two silent figures illu-minated by the light from a single candle.Judith’s raised hand partially blocks the lightfrom this candle and casts a dark shadow on herface. Her brightly lit profile is thus emphasizedand this adds force to her anxious expression.

Gentileschi’s lifelike treatment of the sub-ject matter, her use of light and dark contrastsfor dramatic effect, and her skill as a forcefulstoryteller are all evidenced in this painting.As did Caravaggio, Gentileschi captured themoment of highest drama and excitement andintensified it for the viewer with chiaroscuro.

Peter Paul Rubens (1577–1640)

Of all the European artists of the seventeenthcentury, Peter Paul Rubens most completelycaptured the dynamic spirit of the Baroquestyle. Returning to his native Antwerp after aneight-year stay in Italy, Rubens created paint-ings that were influenced by Titian, Tintoretto,Michelangelo, and Caravaggio. His works

426 Unit Six Art of an Emerging Modern Europe

■ FIGURE 19.8 A single candle is the only source of light in this scene.How does this work show Caravaggio’s influence on the artist?

Artemisia Gentileschi. Judith and Maidservant with the Head of Holofernes. c. 1625. Oil on canvas. 184.2 � 141.6 cm (72 � 56�). The Detroit Institute of Arts, Detroit, Michigan. Gift of Mr. Leslie H. Green.

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reveal the rich colors of Titian, the dramaticdesign of Tintoretto, and the powerful, twist-ing figures of Michelangelo. Also evident isCaravaggio’s use of light to illuminate themost important parts of his paintings. To allthis, Rubens added the realistic detail favoredby earlier Flemish painters to create works ofgreat dramatic force.

The Raising of the Cross■ FIGURE 19.9

Rubens’s preference for powerful subjectsis evident in his sketch The Raising of theCross (Figure 19.9). The action in this paint-

ing is so intense that it embraces the viewer—you are made to feel as though you are part of it.This is a trademark of the Baroque style. Youwill see it demonstrated in architecture andsculptures as well as in painting.

By avoiding stiff, geometric forms, Rubensgave his pictures a feeling of energy and life.You will rarely find straight contour lines orright angles in a painting by Rubens. Instead,he used curving lines to create a feeling offlowing movement. Then he softened the con-tours of his forms and placed them against aswirling background of color. The effect is oneof violent and continuous motion.

Chapter 19 Baroque Art 427

■ FIGURE 19.9

Peter Paul Rubens. The Raising of the Cross(sketch). 1609–10. Oil on board. 68 � 52 cm (264⁄5 � 201⁄2�). The Louvre, Paris, France.

Like many other Baroqueartists, Rubens makes use of astrong diagonal axis line in thispicture. It follows the verticalsection of the cross through thecenter of the pyramid.

3

Rubens carefully arranged his figuresto form a solid pyramid of twisting,straining bodies.

1

Finding Axis Lines in Art

Notice how the diagonal axisline runs from the lower rightforeground to the upper leftbackground. The axis line notonly organizes the direction ofmovement in the painting, butalso adds to the feeling ofspace. It serves to draw youreye deep into the work.

4

His pyramid tips dangerouslyto the left, and the powerfulfigures seem to push, pull,and strain in an effort torestore balance.

2

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Daniel in the Lions’ Den■ FIGURE 19.10

One of Rubens’s best-known paintingsillustrates the biblical story of Daniel in theLions’ Den (Figure 19.10). The prophet, illu-minated by the light coming in from a holeoverhead, stands out against the dark interiorof the lions’ den. He raises his head and

clenches his hands in an emotional prayer.God’s answer is indicated by the behavior ofthe lions—they pay no attention at all toDaniel. His faith in God has saved him. As inall of Rubens’s works, there is a great deal ofemotion here, but not at the expense of real-ism. The lions are accurately painted andarranged at different angles in natural poses.

428 Unit Six

■ FIGURE 19.10Before paintingthis work, Rubensspent time at anearby zoo, mak-ing chalk drawingsof the lions. Whatdetails make thedepiction of theselions realistic?

Peter Paul Rubens.Daniel in the Lions’ Den. c. 1613. Oil onlinen. 224.3 � 330.4 cm(881⁄4 � 1301⁄8�). NationalGallery of Art,Washington, D.C. Boardof Trustees, Ailsa MellonBruce Fund.

Reviewing Art Facts1. Explain What role was art intended

to play in the Counter-Reformation?2. Identify Name the new art style

exemplified by Il Gesù and San Carloalle Quattro Fontane.

3. Describe What qualities did Baroquesculptors like Bernini feel were mostimportant in their work?

4. Identify Which Italian artist’s revolu-tionary style of painting helpedchange the course of European paint-ing during the seventeenth century?

Practice Chiaroscuro Technique Caravaggio placed hisstamp on Baroque art through his use of dramatic contrastsof light and dark values. This technique is called chiaroscuro,which means “bright and dark” in Italian. The figures inCaravaggio’s work seem to be actors on a brightly lit stage.

Activity Arrange the chairs and desks in the classroom tocreate a “center stage.” Create chiaroscuro by turning offthe lights and shining a bright spotlight on the center stage.Using charcoal, create quick sketches of students serving asmodels in the extreme light. Capture the figures using thetechnique of chiaroscuro. Display your finished work.

LESSON ONE REVIEW

Visit art.glencoe.com for study tools and review activities.

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Vocabulary■ genre

Artists to Meet■ Frans Hals■ Rembrandt van Rijn■ Jan Steen■ Jan Vermeer■ Judith Leyster■ Jan Daviz de Heem

DiscoverAfter completing this lesson,

you will be able to:■ Explain why the Baroque style

had little impact on Dutch art.■ Name several important Dutch

painters and describe the kindsof subject matter for which theyare best known.

n 1648, a treaty with Spain divided the Low Countries into twoparts. Flanders in the south remained Catholic and a territory of

Spain. Holland in the north, which was largely Protestant, finally gainedits independence from Spain.

In Holland, the Baroque style had little impact. Although some featuresappear in Dutch art, the Baroque was limited mainly to Catholic countries,where it was the style of the Counter-Reformation.

Dutch Genre PaintingsReligious sculptures and paintings had little appeal for the Dutch

Protestants. They did not want this art in their churches. This presented a rad-ical shift in focus for artists. Since early Christian times, the art of westernEurope had primarily been religious in nature. Now there was no market forsuch paintings. Instead, Dutch citizens wanted secular artworks that por-trayed their comfortable homes and profitable businesses. Realizing this,Dutch artists began to paint people and places, city squares and streets, thecountryside and the sea. Many of these works were genre paintings, scenesfrom everyday life. The market for portraiture, landscape, still life, and genrepaintings grew to such an extent that artists began to specialize. For instance,some painted only pictures of the sea, while others portrayed views of the cityor interior scenes of carefree groups in taverns and inns.

Frans Hals (c. 1580–1666)

One artist, Frans Hals(frahns hahls), specialized inportraits. He was one of thebusiest and most prosperousportrait painters in Holland.Hals’s The Laughing Cavalierprovides us with a convincingportrait of a cheerful soldierpainted with dazzling vigorand spontaneity. The subjectlooks as if he has just turnedto glance over at the painter.Flashing a mischievous grin,he appears to be saying,“Really, Mr. Hals, aren’t youfinished yet?”

Dutch Art

429

■ FIGURE 19.11 Thisportrait of an elegantlydressed soldier captures asingle moment in time.While he may not be laugh-ing, as indicated by thetitle, the upward turn of hismustache and the twinklein his eye create thatimpression. What do youthink this painting mayhave in common with aphotograph? In what wayis it different from aphotograph?

Frans Hals. The Laughing Cavalier.1624. Oil on canvas. 86 � 69 cm (333⁄4 � 27�). Wallace Collection,London, England. BridgemanArt Library.

LESSON TWO

I

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Other subjects of Hals’s portraits includelaughing soldiers, brawling fish vendors, andhappy merrymakers (Figure 19.12). Hals usedquick, dashing brush strokes to give his worksa fresh, just-finished look. His portraits are sosuccessful in capturing a fleeting expressionthat they look like candid photographs. Hisgenius lies in the illusion that, in an instant, hehas caught a characteristic expression of thesubject and recorded it in paint.

Rembrandt van Rijn(1606–1669)

No discussion of Dutch seventeenth-century art could be complete without men-tion of Rembrandt van Rijn (rem-brant vahn ryne), often called the greatest Dutchpainter of his era. Like other artists of histime, Rembrandt painted portraits, everydayevents, historical subjects, and landscapes.Unlike most artists, though, he refused tospecialize and was skilled enough to succeedin all subjects.

The Night Watch■ FIGURE 19.13

If Rembrandt specialized at all, it was inthe study of light, shadow, and atmosphere.Observe the light in one of his best-knownpaintings, The Night Watch (Figure 19.13),originally titled The Company of CaptainFrans Banning Cocq.

Light can be seen throughout The NightWatch, although it is brightest at the center.There an officer in charge gives instructions tohis aide. The shadow of the officer’s handfalls across the aide’s uniform, telling you thatthe light comes from the left. The light fallsunevenly on the other figures in the picture.Several, including a young woman and adrummer, are brightly illuminated, whereasothers are barely visible. Rembrandt’s skill inhandling light for dramatic effect, so obviousin this painting, was one of his most remark-able accomplishments.

Use your imagination to add movementand sound to this scene. When you do, youwill find that you become a spectator at agrand pictorial symphony. Light flashes acrossthe stage, a musket is loaded, lances clatter,and boots thud softly on hard pavement. Atthe same time, a dog barks at a drummer andinstructions are heard over the murmur of adozen conversations.

Rather than paint a picture showing continuous movement, Rembrandt has frozen time, allowing you to study differentactions and details. The visual symphony

430 Unit Six Art of an Emerging Modern Europe

■ FIGURE 19.12 Merrymakers such as this happy couple were a com-mon subject for Frans Hals. How does a diagonal axis line tie the impor-tant parts of this picture together?

Frans Hals. Young Man and Woman in an Inn. 1623. Oil on canvas. 105.4 � 79.4 cm (411⁄2 � 311⁄4�). The Metropolitan Museum of Art, New York, New York. Bequest ofBenjamin Alman, 1913. (14.40.602).

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before you is not as loud and emotional asone created by Rubens. This melody is quieter and more soothing. The Night Watchholds your attention with highlights and challenges your imagination with hints of half-hidden forms.

Artist in His Studio■ FIGURE 19.14

Early in his career, Rembrandt painted a small picture of an artist in his studio(Figure 19.14). It may be a self-portrait—hepainted more than 90 in his lifetime—or itcould be a picture of one of his first students.In the picture, the artist is not actually workingon his painting, nor is the painting visible toyou. Instead, the artist stands some distanceaway and seems to be studying his work. Thiscould be Rembrandt’s way of saying that art isa deliberate, thoughtful process, requiringmuch more than one’s skill with a brush.

Chapter 19 Baroque Art 431

■ FIGURE 19.13Light is an impor-tant factor in thispicture. Does thislight come from theright or the left?

Rembrandt van Rijn. TheNight Watch (Group por-trait of the Amsterdamwatch under CaptainFrans Banning Cocq).1642. Oil on canvas. 359 � 438 cm (12�2� �

14�7�). Rijksmuseum,Amsterdam, Holland.

■ FIGURE 19.14 Notice that, although the painting on it is notvisible, the artist’s easel stands in the foreground. What do youthink the artist shown in the painting is doing? What idea ormessage do you receive from this work?

Rembrandt van Rijn. Artist in His Studio. c. 1627. Oil on panel. 24.8 � 31.7 cm (93⁄4 � 121⁄2�). Courtesy of Museum of Fine Arts, Boston, Massachusetts. The ZoeOliver Sherman Collection. Given in memory of Lillie Oliver Poor.

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The Mill■ FIGURE 19.15

Few artists have been as successful asRembrandt in arousing the viewer’s curiosityand rewarding it with a warm and comfort-able feeling. Nowhere is this more evidentthan in his painting The Mill (Figure 19.15).This is his largest and probably most famouslandscape.

Deeply saddened by the death of his wife.Saskia, in 1642, Rembrandt took long walks in the country where the peace and quiethelped him overome his grief. It was during thisperiod that he painted this haunting landscape.

Here darkness advances to envelop a drowsyworld. In the shadows, half-hidden figures canbe seen moving slowly as though weary from along day’s activity. The only sounds are theoccasional creaking of the old mill, the muffledvoice of a mother talking to her child, and thegentle splash of oars as a boat glides into thepicture at the far right. Peaceful and still, thepicture expresses an overpowering feeling of

solitude and loneliness. This feeling is traced tothe solitary windmill outlined dramaticallyagainst the fading sunset. The great sweep ofthe sky seems to overwhelm the windmill, further emphasizing its isolation. Perhaps, withthis painting, Rembrandt expresses his ownsense of isolation and loneliness at the loss ofhis beloved wife.

Jan Steen (1626–1679)

During the same period in which Hals andRembrandt were working, a group of artistsdoing only genre paintings supplied the Dutchwith pictures for their fashionable homes.These artists are now called the Little DutchMasters. This name is not intended to implythat the artists lacked skill or sensitivity.Indeed, one of the greatest painters of theperiod, Jan Vermeer, is often associated withthis group. Before discussing Vermeer, let’sexamine a painting by another Little DutchMaster, Jan Steen (yahn styn).

432 Unit Six Art of an Emerging Modern Europe

■ FIGURE 19.15 Noticehow Rembrandt hasmade the mill the focalpoint in this painting.How many people canyou identify? How doescontrast of value add tothe emotional impact ofthis painting?

Rembrandt van Rijn. The Mill. 1645/1648. Oil on canvas. 87.6 � 105.6 cm (341⁄2 � 415⁄8�).National Gallery of Art,Washington, D.C. Board ofTrustees, Widener Collection.

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St. Nicholas’ Day■ FIGURE 19.16

Steen’s painting St. Nicholas’ Day(Figure 19.16) tells a simple storyinvolving common people and famil-iar events. It is the Christmas season,and St. Nicholas has just visited thechildren in this Dutch family. At theright, a young man holding a babypoints up to something outside thepicture. The child beside him looksupward, his mouth open in wonder.You can almost hear the man saying,“Look out the window! Isn’t that St. Nicholas?”

This is not a joyous occasion foreveryone in Steen’s picture. The boyat the far left has just discovered that his shoe is not filled with gifts.Instead, it contains a switch. Thismeans he did not behave well duringthe year and now must suffer the con-sequences. A child in the center of thepicture smiles at you and points to the shoe’s disappointing contents.This child makes you feel like a welcomed guest.

Steen uses diagonal lines to leadyou into and around his picture. Thelong cake at the lower left guides youinto the work, and the diagonal linesof the table, chair, and canopy directyour attention to the crying boy at the left. Jan Steen recognized a good story—and knew how to tell it.

Jan Vermeer (1632–1675)

With Jan Vermeer (yahn vair-meer), Dutch genre painting reached its peak. Formore than 200 years, however, Vermeer was all but forgotten, until his genius was recognized during the second half of the nineteenth century.

Fewer than 40 pictures are known to havebeen painted by Vermeer. Of these, most illustrate events taking place in the sameroom. Because so many of his paintings show inside scenes, Vermeer is often thought

of as a painter of interiors. Even though thereare people in his paintings, they seem to beless important than the organization of thecomposition and the effect of light on colorsand textures.

The Love Letter■ FIGURE 19.17

The Love Letter (Figure 19.17, page 434)demonstrates Vermeer’s mastery as an artist.He has taken an ordinary event and trans-formed it into a timeless masterpiece of perfectpoise and serenity. Everything seems frozen forjust a moment as if under some magic spell.

Chapter 19 Baroque Art 433

■ FIGURE 19.16 This scene tells a complex story, with several important charac-ters. Point to the diagonal lines in this work. Where do they direct your attention?

Jan Steen. St. Nicholas’ Day. c. 1660 –65. Oil on canvas. 82 � 70 cm (321⁄4 � 273⁄4�). Rijksmuseum,Amsterdam, Holland.

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434 Unit Six Art of an Emerging Modern Europe

The black andwhite floor tileslead your eyeinto this room,where you seetwo women.

1 ➤

The clothes ofthe standingwoman suggestshe is a servant.A basket oflaundry rests onthe floor besideher. She hasjust handed aletter to theseated woman.

2 ➤➤

This woman is richlydressed and, until thismoment, has been amus-ing herself by playing thelute. The facial expressionand exchange of glancestell you that this is no ordi-nary letter. The youngwoman holds the lettercarefully but avoids look-ing at it. Instead, sheglances shyly up at theface of the servant girl.

3➤

Words are unnecessary, a reassuring smilefrom the servant girl is enough to tell theyoung woman that it is indeed a very specialletter, no doubt from a special young man.

4

The landscapeon the wallcurves to repeatthe diagonalsweep of thecurtain abovethe door. In this way, it con-nects the fore-ground and thebackground.

7

The two figures seem to be surrounded bylight and air. This contributes to a feelingof space, which is increased by placing theviewer in the darkened closet.

5

ou are made to feel that you are actually in the painting, standing ina darkened room that looks very much like a closet. The doorway ofthis closet acts as a frame for the scene in the next room. Thus, the fore-ground is an introduction to the story unfolding deeper in the work.

YStorytelling in Art

■ FIGURE 19.17 Jan Vermeer. The Love Letter. 1666. Oil on canvas. 44 � 39 cm

(173⁄8 � 151⁄4�). Rijksmuseum, Amsterdam, Holland.

The marine painting shows ships at sea. Itmay suggest that the letter is from someoneat sea or someone who has been transportedafar by sea.

6

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Judith Leyster (1609–1660)

In 1893, officials at the great Louvremuseum in Paris were surprised when theycleaned a work long thought to have beenpainted by Frans Hals (Figure 19.18). Theydiscovered that the signature on the paintingbelonged to a woman—Judith Leyster (lie-stir).

It was soon discovered that there was littlewritten information available on JudithLeyster. At first, some historians consideredher to be just an imitator of Hals. In the yearssince, however, Leyster has been recognizedas a unique and talented artist whose workhad its own impact on Dutch art of the seven-teenth century.

Women artists at the time were expected topaint delicate still lifes. Leyster did paint stilllifes, but chose in addition to do genre sub-jects and portraits.

Influences on Leyster’s ArtA serious student of art, Leyster studied

the works of others and skillfully applied whatshe learned to her own painting. From artistswho had visited Italy, she learned aboutCaravaggio’s dramatic use of light and dark.This sparked her own interest in the effects oflight on her subjects under varying conditions.

Leyster also learned from the picturespainted by her fellow Dutch artists. Not onlywas she familiar with Hals’s work, but shewas also his friend. It is clear that she sawmuch to be learned from his remarkablebrushwork. The influence of Hals on Leyster’sstyle was not far-reaching, though. Themajority of her works give less an impressionof the fleeting moment and more the feelingthat care and time have been taken to achievean overall elegant effect.

Chapter 19 Baroque Art 435

■ FIGURE 19.18 Judith Leyster was notonly influenced by the work of Frans Hals,she was a close friend— until Hals coaxedone of her students to study with him.What similarities do you see in the workof these two artists?

Judith Leyster. Merry Company. 1630. Oil on canvas. 68 � 57 cm (263⁄4 � 221⁄2�). The Louvre, Paris, France.

Go to Web Links atart.glencoe.com to find outmore about Judith Leyster andwomen artists of this time.

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Still Life■ FIGURE 19.19

Another type of painting intended to satisfythe tastes of the Dutch people were still-lifepictures. They were usually small enough tohang inside the home, where they werecounted among the family’s prized domesticpossessions. The Dutch affection for paintingsof this kind can be best appreciated by exam-ining a picture by one of Holland’s greateststill-life painters, Jan Davidsz de Heem(Figure 19.20). This work presents viewerswith a lavish variety of foods, ornate utensils,and a pair of parrots near or around a sumptu-ously laid table.

The dazzling colors, ornate forms, and richtextures combine to create a visual feast.Although the objects look as if they have beenarranged in a haphazard fashion, they werein fact composed with great care to help directyour eye through the picture. Start with theobjects at the lower right corner. You willfind your eye curving upward to form anaxis line in the shape of a large S. This axisline guides you through the center of thetable to the first brightly colored parrot andthen on to the second bird at the top centerof the composition.

436 Unit Six

■ FIGURE 19.19 Notice that the objects in this picture areplaced close to the viewer. Why do you think this was done?How has the artist used value to enhance the three-dimensionalappearance of the objects shown in this painting?

Jan Davidsz de Heem. Still Life with Parrots. Late 1640s. Oil on canvas. 150.5 �117.5 cm (591⁄4 � 461⁄4�). Bequest of John Ringling, Collection of The John andMable Ringling Museum of Art, The State Art Museum of Florida.

Reviewing Art Facts1. Explain Why did the highly religious

Baroque style have little impact inHolland?

2. Define What is genre painting?3. Describe What type of picture did

Frans Hals prefer to paint?4. Explain How did Rembrandt succeed

in arousing the viewer’s curiosity?

Art in the Real World Genre paintings. These paintingsshow scenes from everyday life. They include portraiture,landscape, and still life. They provide us with a wonderfullook at the people, their dress, and their customs duringthis period.

Activity Take a digital camera or sketchbook into yourneighborhood or community and capture the “genre” ofyour time and place. Using available art materials, create apainting that expresses your interpretation of a scene fromeveryday life in your community. Arrange for a display ofthe classroom’s works at a local public building.

LESSON TWO REVIEW

Visit art.glencoe.com for study tools and review activities.

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Vocabulary■ prodigal

Artists to Meet■ Jusepe de Ribera■ Diego Velázquez■ Bartolomé Esteban Murillo

DiscoverAfter completing this lesson,

you will be able to:■ Identify the most common sub-

jects of Spanish paintings duringthe seventeenth century.

■ Describe the style and the mostimportant works of Jusepe deRibera, Diego Velázquez, andBartolomé Esteban Murillo.

hile Dutch artists painted portraits, landscapes, and genre subjects,Spanish artists continued to paint saints, crucifixions, and martyr-

doms. Religious subjects always interested Spanish artists more than othersubjects. The seventeenth century brought a slight change, however.Artists at this time often used the same religious subjects as El Greco did,but their works had a more realistic look.

Jusepe de Ribera (1591–1652)

One of the first Spanish painters to show greater realism in his workswas Jusepe de Ribera (zhoo-say-pay day ree-bay-rah).

In his painting The Blind Old Beggar (Figure 19.20), Ribera usedCaravaggio’s dramatic lighting and realism to paint an old man and ayoung boy standing together in the shadows. Their faces stand out clearlyagainst a dark background.

A light originating outside the painting illuminates these faces andallows you to see every detail. The wrinkles, creases, and rough beard of

the old man’s face contrast with the smooth freshness of theboy’s. The old man’s unseeing eyes are tightly closed, but thelively eyes of the boy stare directly at the viewer.

The figures in this work may be the main characters from theautobiography of a penniless wanderer named Lazarillo deTormes. When he was a boy, Lazarillo was given to a blind man.The child was to act as the man’s guide and, in return, was tobe fed and cared for. The relationship between the crafty, oftencruel old man and the innocent boy was unhappy from thebeginning. Gradually the boy became just as shrewd and hard-ened as his master. Nothing could shock or surprise or frightenLazarillo, and the same could be said for the boy who staresboldly from the shadows of Ribera’s painting.

Baroque painters such as Rubens liked to paint large, compli-cated pictures filled with masses of active people. Ribera’s paint-ings, however, were much simpler. He preferred to paint a singletree rather than a forest, one or two figures instead of a crowd.He also avoided excitement and action in favor of calmness inmost of his works.

Diego Velázquez (1599–1660)

Diego Velázquez (dee-ay-goh vay-lahs-kess) was born in Sevilleto a noble family. Since it was considered improper at that time fora nobleman to earn his living as a common artist, Velázquez couldonly pursue a career as a painter if he found a position at theroyal court.

Spanish Art

437

LESSON THREE

W

■ FIGURE 19.20 The light here highlights thedetails in the faces of both figures, and illuminatesthe cup the beggar holds out to passersby. Point out specific details that indicate the influence ofCaravaggio on this painter’s style.

Jusepe de Ribera. The Blind Old Beggar. c. 1632. Oil on canvas. 124.5 � 101.7 cm (49 � 401⁄16�). Allen Memorial Art Museum,Oberlin College, Oberlin, Ohio. R. T. Miller Jr. Fund, 55.9.

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438 Unit Six Art of an Emerging Modern Europe

■ FIGURE 19.21a Diagram of the viewer’s position before

The Surrender of Breda.

The two commanders are the maincharacters in this scene. They areplaced directly in the center.

1

The figures at the far left and far right both staredirectly at you. Their gaze, coming from differentplaces in the picture, pinpoints your position infront of the painting, as shown in the diagram(Figure 19.21a). From this position, you canobserve the meeting of the two rival commanders.

2

The key to the city is beingpassed from one comman-der to the other. Velázquezsilhouetted the key againsta light background to placeemphasis on it.

3

The position of a horseleads your eye deeperinto the painting, to thepoint where you see thelances and the flag of theSpanish army. The sol-diers of this army proudlyhold their lances erect;they are the victors.

4

The defeated Dutch sol-diers hold their lances care-lessly. Smoke rises from thecaptured city in the back-ground. The angle of thissmoke repeats the diagonalmovement of the Spanishflag on the right and unitesthe triumphant army withthe city it has conquered.

5

elázquez composed the figures in The Surrenderof Breda (Figure 19.21b) so that they can be seenbest when you are looking straight ahead at the cen-ter of the painting. How did he arrange the figuresto establish this position for the viewer?

VThe Viewer’s Position in Art

FigureOne

FigureTwo

MainCharacters

Viewer

■ FIGURE 19.21b

Diego Velázquez. The Surrender of Breda. 1634–35. Oil on canvas. 3.07 � 3.65 m (10�1� � 12�). The Prado, Madrid, Spain.

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With this in mind, the young artist went toMadrid, where his talent was soon recog-nized, and he was asked to paint a portrait ofthe king, Philip IV. When it was finished,Philip was so pleased that he said no one butVelázquez would ever again paint his picture.In all, Velázquez painted Philip 34 times. Noother artist ever painted a king so often.

Velázquez’s painting The Surrender of Breda(Figure 19.21) celebrated the Spanish victoryover the Dutch city of Breda. The picture, thelargest the artist ever created, shows the momentwhen the commander of the Spanish armyreceives the key to the conquered city.

Las Meninas■ FIGURE 19.22

Later in his career, Velázquez painted one of his best-known works, LasMeninas, or The Maids of Honor(Figure 19.22). Here he shows theyoung daughter of the king surroundedby ladies-in-waiting, attendants, and adog. The artist also shows himselfstanding at his easel. Farther back inthe picture, the faces of the king andqueen are reflected in a mirror.

Velázquez’s use of a mirror in thisway may remind you of Jan van Eyck’spicture of Giovanni Arnolfini and hisbride (Figure 17.4, page 383). It isquite possible that Velázquez wasinfluenced by van Eyck’s painting,since it was part of the Spanish royalcollection at that time.

What is happening in this picture?The princess may have just entered a room in which the artist is painting a portrait of the king and queen. Or, the artist may be trying to paint theprincess while the king and queenwatch; but the princess, tired of posing,turns her back to him. Generations of curious viewers have tried to discoverwhat is happening in this picture—but isit really so important? If one sees thepainting as simply a picture of everydaylife at the palace, it is still interesting.The scene is peaceful, quiet, and natural.

One of the most striking things aboutVelázquez’s painting is the way he creates theillusion of space. You see the scene stretched outbefore you and, by looking in the mirror, yousee the scene continuing behind you, as well.

Velázquez also suggests the world beyondthe room, which he allows you to glimpsethrough an open door. Light from a windowilluminates the foreground, while the back-ground is veiled in soft shadows. You not onlysee space here—you can almost feel it. If youcould enter that room, you would first passthrough the bright, warm sunlight in the fore-ground and, with each step, move deeper anddeeper into the shadowy coolness of the inte-rior. If you wished, you could walk through theopen door, up the steps, and out of the room.

Chapter 19 Baroque Art 439

■ FIGURE 19.22 Notice the light from the open door at the back of theroom. From which direction does additional light come?

Diego Velázquez. Las Meninas (The Maids of Honor). 1656. Oil on canvas. 3.18 � 2.76 m (10�5� � 9�).The Prado, Madrid, Spain.

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Bartolomé EstebanMurillo (1617–1682)

While Velázquez was working at the royalcourt in Madrid, another artist, BartoloméEsteban Murillo (bar-toh-loh-may ess-tay-bahnmoo-ree-yoh), was building a reputation forhimself in Seville.

Many of Murillo’s paintings were donefor monasteries and convents. One of thesetells the familiar story of The Prodigal Son

440 Unit Six

■ FIGURE 19.23 The central figures in this workare clearly the father and the son. How did the artistuse light and position to identify the central figures?

Bartolomé Esteban Murillo. The Return of the Prodigal Son.1667–70. Oil on canvas. 236.3 � 261.0 cm (93 � 1023⁄4�). NationalGallery of Art, Washington, D.C. Board of Trustees, Gift of theAvalon Foundation.

Visit art.glencoe.com for study tools and review activities.

Reviewing Art Facts1. Describe How did the subject matter

of Spanish Baroque painters differfrom that of Dutch Baroque artists?

2. Explain Tell how Caravaggio’s styleinfluenced Jusepe de Ribera.

3. Examine How did Velázquez use lineto express the pride of the victors inFigure 19.21, page 438?

4. Identify List three ways Velázquezused space to intrigue the viewer inLas Meninas (Figure 19.22, page 439).

Communicating Ideas Study the work of Velázquez inFigure 19.21b, and then study the diagram of the work inFigure 19.21a. The artist must always consider the viewer’sposition when creating a work of art. Changing the viewer’sposition can completely change the character and messageof the painting.

Activity Artists in different time periods also consideredthe viewer’s position. Create diagrams showing the positionof the viewer in the artworks in Figures 16.21a, 16.21b,18.1, 19.4, and 19.7. Which viewer’s position do you thinkis most effective? Which is least effective?

LESSON THREE REVIEW

(Figure 19.23). You see the father welcomingthe prodigal, or recklessly wasteful son; the calfto be prepared for the celebration feast; and ser-vants bringing a ring, shoes, and new garments.Notice the contrast between excited and calmfeelings in the picture. You see a little dog bark-ing excitedly and servants conversing in anearnest manner. Yet, the tone of the reunionbetween father and son is tender and quiet.

Murillo avoided sharp lines and color con-trasts in order to keep his composition simpleand harmonious. In this way, the viewerwould not be distracted from observing thejoy associated with the son’s return.

The subject of The Return of the Prodigal Sonreflects the attitude of the Catholic Church dur-ing this period of the Counter-Reformation. Likethe forgiving father, it welcomed back thosewho had followed Martin Luther and otherProtestant reformers. Many did return, butothers did not.

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Materials• Small piece of cardboard or mat board• Scissors, ruler, and pencil• White drawing paper, 9 � 12 inches• Tempera or acrylic paint• Brushes, mixing tray, and paint cloth• Water container

Complete a painting that records, in repeated over-lapping shapes and gradual changes in intensity, themovement of a falling, bouncing object as it turns andtwists along an axis line through space. Select two com-plementary hues to obtain a range of color intensities.

Describe Is the object in your painting easily identi-fied? Did you show that it has bounced on the floor atleast twice? Did you use two complementary colors?

Analyze Can you trace the movement of your shapealong an axis line? Do repeated, overlapping shapes andgradual changes of intensity add to the illusion of a fallingobject twisting, turning, and bouncing through space?

Interpret What adjective best describes the move-ments of the object pictured in your painting? Is theidea of a falling, bouncing object clearly suggested?

Judge Which theory of art, formalism or emotionalism,would you use to determine the success of your paint-ing? Using that theory, is your painting successful?

441

Examining Your Work

Painting a Shape Moving in Space

■ FIGURE 19.24 Student Work

InspirationStudy Peter Paul Rubens’s The Raising of the Cross

(Figure 19.9, page 427). Can you trace your fingeralong the axis line in this picture? Explain how thisline helps organize the placement of shapes and con-tributes to the illusion of movement.

Process1. On the piece of cardboard, draw the outline of a

small, simple object such as a key, large coin, or eraser. Cut this shape out with scissors.

2. With the ruler and pencil, make a straight, horizon-tal line about one-half inch from the bottom of the sheet of white drawing paper positioned length-wise. This line can represent a tabletop or the floor.

3. Position your cardboard shape at the top left corner ofyour paper and trace around it with the pencil. Drawthe same shape near the lower right corner of thepaper so that it appears to rest on the horizontal line.

4. Imagine that the object you have drawn is made ofrubber. The two drawings represent the first andlast positions of this object. It has been dropped,strikes the floor, and bounces through space. Toshow movement, lightly draw an axis line from theobject at the top to the one at the bottom.

5. Using your cardboard shape as a pattern, completea series of overlapping drawings showing yourobject as it twists, turns, and bounces throughspace along the axis line.

6. Select two complementary colors of tempera oracrylic and paint the shapes you have created. Use gradations of intensity to show movement.

For more studio lessons and student artworks, see art.glencoe.com.

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A female painter defied society to pursue her art.

I t was very challenging for a womanto become a painter in seventeenth-

century Italy. Women of the timecould not participate in the traditionalapprenticeship for artists. Females who did manage to learn their crafthad difficulty earning money fromtheir work.

Elizabeth Sirani (1638–1665) was animpressive exception. Instead of learn-ing to paint in a school, she learnedfrom her father, artist GiovanniAndrea Sirani. At first, even Giovannidid not want to take her on as a pupil.However, he soon discovered that Elizabeth not only painted well, shepainted fast. In the beginning, the public doubted that a woman couldproduce skillful art so quickly. Rumorsstarted that her pictures were actuallypainted by her father. To prove herauthenticity as an artist, Elizabeth completed a painting in front of an audience of dignitaries.

Despite skeptics, Sirani earned muchrespect as an artist. She was one of thefew women who painted large-scale historical, religious, and mythologicalscenes. Her work most often featuredfemale subjects, such as Mary Magda-lene, Salome, and Portia. As a woman,Sirani found it easier to hire femalemodels than male models.

To share her knowledge, Sirani openedan art school for women, helping hertwo sisters, among others, to becomeprofessional artists. Sirani paid a price forher dedication and hard work. She diedat the young age of 27. However, she leftbehind a large and enduring legacy ofnearly 190 paintings.

442 Chapter 19 Baroque Art

TIME to Connect

Study Elizabeth Sirani’s Virgin and Child on thispage and Raphael’s The Alba Madonna onpage 373 (Figure 16.24).

• Compare and contrast the two versions ofthe same subject. Consider technique, suchas the use of color and light and shadow.Also think about the elements of the paintings, such as the background, people in the scene, and their the arrangement onthe canvas.

• How do these details contribute to theaesthetic appeal of each painting? Explainyour answer.

TH

E N

ATIO

NA

L M

US

EU

M O

F W

OM

EN

IN T

HE

AR

TS

Elizabeth Sirani. Virgin and Child. 1663.This painting appeared on a U.S.postage stamp in 1994. It was the first time a historical work by a femaleartist was shown on a Christmas stamp.

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Standardized Test PracticeStandardized Test Practice

19 REVIEW

Reviewing the FactsLesson One1. What was the Counter-Reformation?2. How do Baroque artworks suggest a sense of

movement or stillness?3. How did Caravaggio paint his figures to remind

the viewer that they were not supernatural beings?Lesson Two4. While artists in the Catholic countries were paint-

ing religious subjects, what were the DutchProtestants painting?

5. What kind of subject matter did Vermeer gener-ally paint?

6. Where has Vermeer placed the viewer in hispainting The Love Letter (Figure 19.17, page 434)?

7. How does Judith Leyster capture the moment inMerry Company (Figure 19.18, page 435)?

Lesson Three8. What purpose is served by the two side figures

that stare out at the viewer in Velázquez’s paintingThe Surrender of Breda (Figure 19.21, page 438)?

9. What freedoms were artists experiencing by theend of the seventeenth century?

Thinking CriticallyANALYZE. Look closely at the lighting in Rembrandt’sThe Night Watch (Figure 19.13, page 431). Turn yourbook upside down and squint at the painting soeverything except the light areas are blocked out.Trace along the light areas with your finger. Nowturn the book right side up and, on a sheet of paper,draw a rectangle the same size as the illustration inthe book. Then diagram the location of the lightareas in the painting.

Work in groups with half the groupworking as art critics while the other half asart historians. Choose one artwork in thischapter to analyze using the steps of artcriticism. Use online resources to critiquethe work. Although you use the same foursteps, each group will use different sourcesand criteria when reviewing the artwork.Share the results, then discuss thesimilarities and differences that arise. Keepnotes from this exercise in your portfolio.

I A poor man had a son who was filled withthe desire to see faraway places. He askedhis father if he could sell their cow inorder to finance his journey. His fatheragreed, and the boy left.

II Soon the boy ran out of money. He hadnothing to eat, nor any place to sleep. Hefeared returning home, for he expected hisfather to be angry. When he returned, how-ever, his father was delighted to see him.

III “Father, can you forgive me?” asked theboy. “I have done wrong.”

“I expect your experience has taught youmuch,” the father replied. “Hence, there isnothing to forgive.”

1. Based on the passage, a parable might beBEST defined as a literary work that

entertains.

teaches a moral.

2. Which part of the parable most closelyreflects the content of Figure 19.23?

Part III

Part I

443

The parable below relates to the painting in Figure 19.23.Read the parable, and then answer the questions.

happened before.

ends happily.

Part II

All parts