Today’s class focused on Baroque Art in Italy and Spain.
We covered several Bernini works: David, The Ecstasy of St. Teresa, Baldacchino, and the Piazza before St. Peters. I particularly loved the connection that prof made between the usage of coextensive space and the rise of Catholic Mysticism and the practices encouraged by Ignatius of Loyola. In the Jesuit order, practices of imagination (stepping into and interacting with biblical scenes) were essential to the Counter-Reformation. This, therefore, made images (inner and outer) absolutely essential to Bernini’s art.
We then looked at Gauli’s Triumph in the Name of Jesus, as well as the accompanying sculptures by Antonio Raggi. Raggi also did the sculptures in Borromini’s San Carlo alle Quattro Fontane, whose sculptures (similarly to Bernini’s St. Teresa) appear to be performers on the stage within their niches.
We then looked at Cotan’s Quince, Cabbage, Melon, and Cu cumber. Cotan uses a very Caravaggio-esque form of directional light, which may either be a coincidence or an act of inspiration, as Spain and Italy had a connection through Spain’s occupation of Naples.
Next was Ribera’s The Club Footed Boy, who depicted a beggar with the importance of a king with his elevated posture, confident pose, and the carrying of a walking-stick that highly represents how a musketeer would brandish his weapon. Prof. Plesch mentioned how The Christian Democratus may have influenced how Ribera chose to depict the boy, as his cheerful expression makes the piece seem to be a celebration of his status as a beggar.
We then looked at Zuraban’s St. Serapion, where the black background seems to project the subject into our space. It also contains a cartillino label with a startling 3-D effect.
Finally, we looked at Velazquez’s Las Meninas. I particularly enjoyed the paradoxical composition/perspective in this painting, as well as how Velazquez has painted himself– he has the cross of Santiago painted on his garb, as well as the keys to the royal bedchamber at his side– all symbols of status. Prof. Plesch described this work as a “painting about painting”, which I thought very fitting.