Today in class we looked at Baroque art in the Low Countries (Flanders and Holland.) We began in Antwerp, looking at Peter Paul Rubens. Peter Paul Rubens was highly influenced by Caravaggio and was very successful with a large studio of artists working for him. One of the pieces we looked at was his Elevation of the Cross. This altarpiece was very large and depicted the scene of Christ being raised with the cross. The raising of the cross is frozen mid-action, in line with the Baroque ideal of instantaneous motion. The painting also has many powerful diagonals and emphasizes the contrast between light and dark. Thus strong musculature of the figures is similar to those painted in the Sistine Chapel. We then discussed Anthony Van Dyck, who worked in Ruben’s studio as a portrait artist. His portrait Charles I of England Hunting seems casual, casual, but his position on a hill above the viewer and horse bowing his head still give him the feeling of authority over the viewer.

Although I was not in class before break, I have some observations from the class notes. Most recently, we talked about Baroque art in France. One of the most important figures from the lecture was Louis XIV. He created the Palace of Versailles, mostly to display vast wealth and overwhelm the visitor with the king’s power and glory. The palace has a very interesting architecture in that the building goes west to east, making the sun cross the building as it rises then sets. It is interesting as it could appear that the King could be controlling something as big and powerful as the sun. Also discussed was the Portrait of Louis XIV by Rigaud. The many decorations and extravagance in this painting further emphasized the opulence and wealth.

Today we talked about Baroque art in France.

A central figure in today’s lecture was Louis XIV, who is the pinnacle example of the concept of absolute monarchy. In France, the monarchy displayed its power in a similar way to the Catholic Church: By lavish displays of artistic value and luxury.

We discussed the progression of the Palace of Versailles and his reasons for create such a building. The premises cannot be looked at all at once, and that overwhelming sense of power made the visitor of Versailles overwhelmed by the king’s power and glory. The aspect I thought was most interesting about Versailles was the influence of the sun in its architectural and decorative composition. The axis of the building goes west to east, making the sun cross the building as it rises and sets. I think that to take such a magnificent and essential thing as the sun, and in a way control it, or appear to control it by equating the King to it is a very clever way of instilling fear and displaying grandeur. I think this is what absolute monarchy was all about, the assertion that the King was as omnipresent as the sun.

We also talked about the Portrait of Louis XIV by Rigaud. As opulent as the decoration in this painting appears to me today, it is evident that at the time, this opulence was not only intentional and carefully curated, but essential to the Grand Portrait of the Sun King. The blue with gold Fleur de Lis, the expensive Ermin fur, the monumental column and the red fabric, it all says: this is something no one else has. Professor Plesch also pointed out how the pose he is standing in not only makes one feel powerful, but that the diagonals created, imitate the rays of the sun. She also pointed out a connection to Apollo. This reminded me of Nitszche’s the birth of tragedy, and the Apollonian aspect of art. I think it would be a good exercise to apply this dichotomy to other artworks we study, and see if I can distinguish similarities or differences between them.

Today we talked about Rubens, and baroque art in Holland.

Rubens was an artist who got to live the fruits of his own fame. He was recognized during his time for his impressive artistic ability and was not only highly successful but he was also ridiculously influential. He was one of the two defining figures on currents of art during the following period. His story is quite interesting, especially his relationship with Christianity, and how his division between Protestantism and Catholicism is such a representation of his time and Holland at the time.

We talked about the Elevation of the Cross. It is a work that very well reflects the counter-reformation. Everything about its composition, to the tríptico format alludes to the pride of Catholicism and imagery. I can see the influence of the Italian Baroque in the work as well, it feels as though the moment is about to pass the moment you blink. The diagonals in the work create a weird feeling of unbalance between the figures, its movement, and that lack of stillness makes me feel slightly anxious looking at it, like i am living the chaos of the situation.

I think the modernity in Rubens work is also represented in Van Dyck’s portraits. I like his portrait of Charles I because I can tell it was a form of creative innovation. The humble depiction of the king, whilAnd I think that drive to create something new could only have been possible under the influence and apprenticeship of Rubens.

Today we went to the museum to learn about the different kinds of printmaking. We had the chance to look at works in the Colby Museum collection that are representative not only of the different forms of printmaking, but also of the ways in which the style of printmaking changed as new techniques were invented. We learned how to distinguish between etching, dry point and engraving as well as between intaglio and relief printmaking. I thought the most interesting part was the fact that the “new” printmaking techniques tried to imitate and pass off as the old ones, and that it wasn’t until the medium had become more accepted and respected, that new techniques were given the liberty of embracing the uniqueness of the medium, and the more stylized capabilities of the printmaking technique.

Another thing that struck me as interesting was the attempt of hiding the print as a sketch instead of a reproducible work by cutting off the excess paper.

Bernini’s David is my favorite sculpture of David that we have seen thus far. I understand why he saw himself in the same level of mastery as Michelangelo, but I think the comparison takes away from his personal style and accomplishment. The dynamism in the sculpture is hardly replicable, and although the potential for movement is evident in the sculpture in of itself, I liked the comparison to the Discobolus. I think that it helps exemplify both how Bernini’s look at antiquity influenced his work, but also how he took the potential for movement and the action-scene of the athlete one step further. His rendering of facial expression is remarkable, one can see the strain of the movement he is doing as well as the concentration on his target for the shot he is about to take.

The Ecstasy of Saint Teresa is another personal favorite of mine. It is a very theatrical artwork and its interaction with its environment is key to experience the full effect of the “ecstasy”. I wonder if because of this, the sculpture might be considered an installation. The hidden window that makes it glow seems to

La Fronde marked a turbulent period in France from 1648 to 1652, as nobles sought to curb the king’s power, leaving a young Louis deeply affected. This era highlighted the feudal structure of France, where reciprocal obligations tied each layer of society together. To assert control over the nobility, Louis XIV transformed a small hunting lodge into the grand palace of Versailles. Its architecture initially followed Renaissance principles but its immense size leaned more towards the Baroque style. The palace was strategically designed to compel nobles to rotate their residences, ensuring the king’s authority over them. Surrounding the palace were vast French gardens with ornate fountains, emphasizing the grandeur of the complex.

The design of Versailles was centered around a strong axis, symbolizing the sun with Louis XIV as its focal point. This axis led directly to the king’s bedroom, which boasted two salons representing war and peace, serving to glorify his reign. The Hall of Mirrors, adorned with costly Venetian mirrors, further enhanced the opulence of Versailles.

In the artistic realm, Charles le Brun played a significant role in establishing the French Academy of Art and Sculpture, while Claude Lorrain, despite humble beginnings and limited education, became renowned for his landscape paintings. His works, executed during his time in Rome, often depicted similar scenes, showcasing his remarkable talent. Louis XIV’s portrait, another symbol of his power and grandeur, depicted him in a commanding pose, with elaborate decor emphasizing his authority. His life-size depiction, standing on a step, reinforced his dominance, while his proud display of his legs hinted at his renowned dancing abilities.

Within the vastly changing political landscape that is 17th century Europe, between countries choosing (or not) to convert to Protestantism, there exists the Netherlands, a country that, as it stood, does not belong to either group: While northern Holland went for a militaristic form of Catholicism, the south chose Protestantism. This ended up creating a very interesting environment  for the making of artworks in this era. 

No one is more suitable for the explanation of this time than Peter Paul Rubens, who, while he himself is undecided in his religion, had gone through multiple conversion of beliefs (along with his family). Being especially well-versed in language and well-educated, Rubens brought into the art scene a new and fresh perspective, as he also worked as a diplomat. A work that best represents his ability to adapt to the needs of his customers (belief-wise) is The Elevation of the Cross. With the portrayed instantaneous scene of God’s cross being raised, the clear distinction between those who are on Jesus’ side and those who are not, the distinctively Caravaggisti manner of using the contrast between light and dark as tool of expression, we see here a snapshot of both the moment depicted as the intention of the artist, as well as an unintentional snapshot of the time it was created in, and the malleable, unstable nature of the liturgical system. We could also see the influence that Rubens had on his surrounding artists, especially those who were chosen to be his assistants. One of these people was Anthony van Dyke, an artist who would go on to create various portraits for the aristocrats of the time.

Another important figure of this period is Rembrant van Rjin, the creator of The Night Watch and various printings, including The Hundred Guilders. By innovating and trying new techniques of printworks, combining different tools to create a diverse range of texture, he still stood out amongst the wide, saturated stream of ‘Little Masters‘ with their specific specializations.

In today’s class, we focused on Baroque art in France, with the epitome of this style being Louis XIV’s Palace of Versailles. This style of art intertwines and enforces the concepts of absolute monarchy and divine right, which were ideas pioneered by Louis XIV. Louis called himself the “sun king” because his power stretched across the land and was felt by all, just like the sun. The front facade of the palace was original before Louis remolded and expanded it, but the back garden side is entirely different and done in the classical style. This facade hearkens back to Renaissance-style architecture with the three levels each with its own unique characteristics that are able to blend together to create a harmonious facade. It is very symmetrical and balanced, which highlights the classical influence. This symmetry and order extends into the gardens which are thoroughly manicured into elaborate designs with designated paths intersecting through the lawns.

All aspects of the place are meant to glorify Louis, from the layout of the palace to the decorative elements. Louis’ bedroom is in the very center of the palace, and the axis of the complex runs east to west, just like the sun. In the Hall of Mirrors, mirrors are placed exactly opposite giant windows so that the light from the sun reflects and multiplies across the room, overflowing it with light. This was a deliberate design choice meant to demonstrate the power of Louis through the use of sun imagery.

During today’s class, we shifted our focus to baroque art in France. We learned how there was an absolute monarchy existing within France, under King Louis XIV. The king owns his power from God and proclaims himself second in command after God. We learned about the architecture of the massive and spectacular Palace of Versailles. Louis XIV moved the palace from Paris to the suburbs as a result of multiple civil wars in France, and increasing pressure from the nobility of the country. After the nobles and peasants are defeated, Louis XIV abolishes the feudal pyramid that was in place, establishing absolute power. All nobles now have to come to Versailles at some point so that Louis XIV can keep an eye on them. The Palace of Versailles is expanded tremendously under him as well, connecting this to his ideology of power. The sheer size of the palace is representative of baroque art, and is a way to display the king’s power and might across France. The “French Gardens” are gigantic as well, and are displayed right in front of the palace. The sections are designed like garden rooms, but are very controlled. There is a large canal, with all kinds of fountains throughout the garden as well.

Within the Palace of Versailles, is the “Hall of Mirrors,” which was constructed by Jules Hardouin Mansart in 1678. The hallway is filled with tons of gold in between the mirrors and the areas are covered in mirrors that were imported from Venice, which means they are extremely expensive, further emphasizing the king’s power and wealth. There are seventeen windows, each directly opposite from mirrors, so that light is reflected. There are a total of four hundred mirrors, making the light seem infinite. I thoroughly enjoyed learning about this magnificent palace as well as its surroundings that helped emphasize absolutism under King Louis XIV.