In today’s lecture, we discussed the Baroque period, focusing particularly on the works of Gianlorenzo Bernini in Italy and other artists in Spain. Gianlorenzo Bernini was one of the central figures we focused on from Baroque Italy, known for his mastery of sculpture and architecture. His works, such as “David” and “The Ecstasy of St. Teresa,” reflect the Baroque element for capturing dynamic movement and intense emotions. “David,” commissioned by Cardinal Scipione Borghese, showcases Bernini’s ability to express life using marble as a medium, portraying David from the moment where he slung the stone at Goliath with remarkable. Similarly, “The Ecstasy of St. Teresa” in the private chapel of Cardinal Federico Cornaro captivates viewers with the way it blurs the lines between the divine and the earthly, and draws the observer into the mystical experience of St. Teresa’s vision.
Moving to Spain, we discussed artists like Juan Sánchez Cotán, Jusepe de Ribera, Francisco de Zurbarán, and Diego Velázquez, and how each contributed to the rich tapestry of Baroque art in the Iberian Peninsula. Sánchez Cotán’s “Quince, Cabbage, Melon, and Cucumber” shows the Spanish Baroque’s emphasis on simplicity and realism, while Ribera’s “The Club-Footed Boy” captures themes of poverty and compassion, which were important themes during the Counter-Reformation. Among the Spanish masters, Diego Velázquez stands out with his art piece, “Las Meninas.” We discussed how Velázquez’s inlcuded himself within the painting, along with subtle references to the act of painting itself, which invites us to ponder the relationship between the artist, the subject, and the viewer. I remember how I was confused how linear perspective tied into this painting and we spent some time discussing how Velázquez wasn’t painting the couple reflected in the mirror. It seemed as if the artist wanted us to think we were the muse?