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Art Appreciation - Baroque - Seventeenth Century
Used to describe the art, sculpture and architecture was the term Baroque of the seventeenth century. During the Baroque period, the arts created a feeling of movement, energy and tension. An infinite amount of space along with strong contrasts of light and shadow are evident. Also spirituality and realism are usually present (The Baroque Period of Art, n.d.). This article examines three different artists’ from the Baroque period and their paintings along with what was happening during this time period that inspired each of their paintings. A comparison and contrast of these paintings and their aesthetic qualities and symbolic significance, as well as the artists’ point of view.
The first artist is Annibale Carracci and his painting Landscape with Flight into Egypt , c. 1603. This painting is oil on canvas 48 ¼ X 98 ½ in. This is an Italian setting, a pastoral world depicting that people can live free of both the corruption and decadence of city and court life, a middle ground between civilization and wilderness (A World of Art, p. 474). This painting has a religious theme with a family, a father with the mule, and a mother holding her child walking along a peaceful river. This is a restful setting with gentle undulating planes that extend to the distant horizon. Floating on the peaceful river, a boat – a symbol of life – create an unusual atmosphere, based on the effect of repetition. This was a constant feature of Italian landscape painting, a motif of the “already seen” and known (CARRACCI, Annibale (b.1560, Bologna , d. 1609, Roma n.d.)
This painting reflects the allegory affect portraying actions of truths and generalizations about human existence. Also, the elements of this painting is classically balanced and perfectly integrated with the idealism depicting that the essential nature of reality lies in consciousness or reason (Galleria Doria Pamphilj n.d.)
Annibale’s philosophy and originality of art was “his thoughts were his own, his conceptions as well”. He painted what he saw in his head, making original work. He didn’t rely on models, statues, or paper drawings. He also believed in observation and experiment in the study of nature. “His originality lay in his portrayal of his subjects in everyday attitudes in the performance of everyday tasks”. (The Drawings of Annibale Carracci, n.d.). As a reaction against the intricate and formulaic Mannerism Baroque art is less complex, more realistic and more emotionally affecting. Being seen as a return to tradition and spirituality, the most important patron of the arts at that time was the Catholic Church (Artcyclopedia, n.d.)
The second Artist is Claude Lorrain and his painting A Pastoral Landscape, c. 1650. This painting is oil on copper and is 15 ½ X 21 in. To soften all sense of tension and opposition, this painting employs atmospheric perspective. The best civilization has to offer has been melded with the best of a wholly benign and gentle nature (A World of Art, p. 475). This painting has two figures in the foreground along with tall trees on one sided balanced by a classical ruin and smaller trees further back on the other. Also an animal grazing along a river conducting the eye by stages through an open landscape to the horizon and distant hills ( CLAUDE LORRAIN (B. 1600. Chamagna, d. 1682, Roma n.d.)
Although 50 years later, this painting by Claude Lorrain also has the allegory affect and portrays a symbol peacefulness yet reality. However, unlike the Flight into Egypt , this painting emphasizes trees in the foreground and ancient buildings in the distance.
Claude’s paintings were inspired by the country side around Rome , a countryside haunted with remains and associations of antiquity, the Roman Campagna. He was one of the greatest masters of, ideal-landscaping painting. An art form that presents a view of nature more beautiful and harmonious than nature itself. The key period of its development, the practitioners of ideal landscape during the 17th century were artists of many nationalities congregated in Rome . (WebMuseum, Paris n.d). Like Annibale Carracci, Claude Lorrain was also influenced by the Catholic Church in that the church addressed the representational arts by demanding that paintings and sculptures in church contexts should speak to the illiterate rather than to the well informed (Baroque: baroque.ask.dyndns.dk n.d.)
The third Artist is Jacob van Ruisdael and his painting View of Haarlem from the Dunes at Overveen, c.1670. This painting is oil on canvas, 22 X 24 1/8 in. Giving up two-thirds of the picture, this painting is not about the land, but the light that emanates from the sky, alternately casting the earth in light and shadow, knowledge and ignorance. The largest building in the landscape, the church is rising to meet the sky. From the elevated position of the dunes, the eye catches sight of the red-tinged roofs of the town, and at the end of the town, the many windmills. Reaching up from a low horizon, the cloudy sky is reflected in the flat countryside in the interplay of strips of light and shadow (RUISDAEL, Jacob Isaackszon van n.d.). This painting also portrays a realistic setting with emphasis on the large church and the sky, like Claude’s’ paintings casting the world in an eternally poetic light. The grandeur of God’s vision was symbolically suggested in the panoramic sweep of the extended view (A World of Art, p. 475).
Many of the firsthand views of the Dutch landscape in it various aspects by Ruisdael were in the late 1660’s. Bleaching fields were a familiar sight in his time. Bleaching linen manufactured in Holland , and imported from England , Germany , and the Baltic countries was unbleached cloth (Web Gallery of Art n.d.)
Jacob learned to paint from his father and Uncle Solomon. After studying landscaping in Germany for ten years, he settled in Amsterdam . Ruisdael’s characteristic work shows northern nature in a somber mood. Throwing a restless flux of light over the countryside, his skies are usually overcast. His later works were dramatizing humanity’s insignificance amid the splendor of nature.
In conclusion, all three paintings represent the Baroque Period, all of which are of the pastoral paintings. Allegorically and stylistically, they all show elements of naturalism and idealism. The idealism and gesture is similar in that the paintings depicts that the essential nature of reality lies in consciousness or reason. They are all symbolic concerning a religious theme no longer found exclusively in the church. It can be found in the artist himself, nature, in light, and in form (The World of Art, p. 475).
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