How to recognize Baroque art발음듣기
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How to recognize Baroque art
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[Voiceover] How can you look at a painting or sculpture and know that it was made during the period that we call the Baroque?발음듣기
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Let's start by looking at this very important sculpture by Bernini of the Biblical story of David, who defeats the giant Goliath.발음듣기
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The artist is observing the human body, understands all of the naturalistic lessons that had been gained during the Renaissance, but is putting them towards an intense emotionalism.발음듣기
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[Voiceover] The body itself has broken with the stability that had been so characteristic of the Renaissance.발음듣기
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And so there is this tremendous energy that's not only the result of the representation of his body, but it's the very forms and lines that the artist is creating in stone.발음듣기
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[Voiceover] Well, Michelangelo is largely unwilling to sacrifice the pure, linear qualities of his figure.발음듣기
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Notice the way in which the line of his body is almost unobstructed, whereas Bernini is absolutely willing to cross his body with his arms, with all of those diagonals that energize but also move away from that notion of the ideal.발음듣기
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There's another important aspect that the complexity of Bernini's composition enables, and that is a greater set of contrasts between light and dark.발음듣기
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Michelangelo's David, because he is so planar, the marble is all available to the light, and so you don't get deep shadow.발음듣기
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With Bernini, because the form is crossing itself, you get these contrasts between highlights and shadows that further activate the sculpture.발음듣기
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[Voiceover] This is an amazing painting, and incredibly powerful, very much like Bernini's David.발음듣기
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We're confronted with something very close to us, which here is Saint Peter, who asked to be crucified upside-down, because he said he wasn't worthy to die the way that Christ died.발음듣기
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So the same way that Bernini's David moved into our space, Caravaggio is using foreshortening.발음듣기
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Look at the way that that cross is just being raised up, and we're not sure that the massiveness of Peter and of the lumber is too heavy, whether or not he may fall with a giant thud, that everything feels contingent and in motion.발음듣기
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[Voiceover] And here we have the diagonal of the cross, but also another diagonal formed by the back of the figure who's helping to raise the cross, and the figure underneath who's raising it with his back.발음듣기
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And so we have criss-crossing diagonals, which is also a very common feature of Baroque art.발음듣기
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[Voiceover] It's interesting to compare this to Bernini's sculpture, because Bernini was working in the round.발음듣기
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Here, the artist is creating an illusion of form, of mass, and one of the ways he's able to do that is to create these sharp contrasts between light and shadow, which, just like the Bernini sculpture, is creating a sense of vividness and energy.발음듣기
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So we've got this dark background, and these brilliantly highlighted figures, creating this sense of veracity that we could reach out and touch them.발음듣기
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[Voiceover] The whole thing about Renaissance painting was there was an illusion of space, there was architecture, there was landscape behind the figures, but here, Caravaggio uses darkness so that everything is pushed to the foreground.발음듣기
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Look at how close Peter's feet are, and we can see the nails that have been driven through his feet.발음듣기
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[Voiceover] I'm interested in the way that the center of gravity has been shifted, and is being raised up so that there is this instability.발음듣기
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[Voiceover] A way to drive this point home is just to compare this to a painting by Raphael from the High Renaissance, where we have an emphasis on stability and balance.발음듣기
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The figures in this painting by Raphael are in the shape of a pyramid, which is the most stable of forms.발음듣기
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[Voiceover] And Raphael is enjoying the opportunity to give us as much information as he can, not only about the three figures in the foreground, but about the natural world beyond them, whereas Caravaggio is being much more careful about what we're going to focus on.발음듣기
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[Voiceover] We can certainly see it in the art of Rubens. if we looked at Rubens' raising of the cross, we would see a diagonal, we would see dramatic contrast of light and dark.발음듣기
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[Voiceover] A lot of the characteristics we've been describing, these are characteristics that we associate with Catholic Baroque art, that sought to energize believers.발음듣기
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In Holland, we're looking at paintings that are very different than the altarpieces from Catholic Europe, and that's because we're in a Protestant country, where artists are no longer commissioned to paint altarpieces for the Church.발음듣기
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So let's take something that seems like the opposite of the Baroque art that we've been talking about.발음듣기
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Instead, the artist seems to be in love with the very subtle modulation of light, the very subtle gradations of tone.발음듣기
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The rectangle of the window, of the map on the upper right, the rectangle of the table to the lower right.발음듣기
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But she's moving and resisting the stability and geometry that is set up by the environment around her.발음듣기
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[Voiceover] She's picking up or putting down the pitcher, opening the window, this caught moment in-between.발음듣기
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And even the light has a sense of being in-between, of the light coming in from the outside, of the light in the interior.발음듣기
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And that interest in light is key to Baroque art, whether it's Caravaggio's drama or the subtlety of light in Vermeer.발음듣기
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[Voiceover] This is a painting that is about subtle transition, and whether or not it's the subtle transition of the light, or the subtle transition of her attention from the basin and pitcher to the window.발음듣기
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[Voiceover] We are close to her, we feel as though we could reach out and feel that rug that covers the table.발음듣기
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[Voiceover] Let's move through all of these different types of paintings, how do we recognize the Baroque in 17th century Dutch landscape?발음듣기
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This is still about transition, and look at the way that those clouds cast shadows that create these alternating fields across the land below.발음듣기
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[Voiceover] So, Baroque art is about time, it's about effects of light, whether that's dramatic or more subtle, it's about involving the viewer, of moving into our space, of breaking down the barrier between us and the work of art.발음듣기
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It's about the use of the diagonal, of a sense of energy and drama, sometimes subtle drama, but still drama.발음듣기
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