Chapter 24 The Baroque In Italy And Spain
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53563633773 |
Type |
Essay |
Writer Level |
Masters |
Style |
APA |
Sources/References |
4 |
The perfect number of Pages to Order |
5-10 Pages |
Description/Paper Instructions
Chapter 24 The Baroque In Italy And Spain
José de Ribera. In the 17th century, Spain maintained its passionate commitment to Catholic ortho- doxy, and, as in Counter-Reformation Italy, Spanish Baroque artists sought ways to move viewers and encourage greater devotion and piety. Scenes of death and martyrdom had great appeal in Spain. ! ey provided artists with opportunities both to depict extreme emotion and to elicit passionate feelings. Spain prided itself on its saints—Saint Teresa of Ávila (fig. 24-1) and Saint Ignatius Loyola (fig. 24-24) were both Spanish- born—and martyrdom scenes appear frequently in Spanish Baroque art.
As a young man, José (Jusepe) de Ribera (1591–1652) emigrated to Naples and fell under the spell of Caravaggio, whose innovative style he introduced to Spain. Emulating Caravaggio, Ribera made naturalism and compelling drama primary ingredients of his paintings, which o/en embraced brutal themes, re0ecting the harsh times of the Counter-Reformation and the Spanish taste for stories showcasing courage and devotion. Ribera’s Martyrdom of Saint Philip (fig. 24-26) is grim and dark in both subject and form. Scorning idealization of any kind, Ribera represented Philip’s executioners hoisting him into position a/er tying him to a cross, the instrument of Christ’s own martyrdom. ! e saint’s rough, heavy body and swarthy features express a kin- ship between him and his tormentors, who are similar to the types of 1gures found in Caravaggio’s paintings. ! e patron of this painting is unknown, but it is possible that Philip IV commissioned the work, because Saint Philip was the king’s patron saint.
Francisco de Zurbarán. Another prominent Spanish painter of dramatic works was Francisco de Zurbarán (1598–1664), whose primary patrons throughout his career were rich Spanish monastic
24-27 Francisco de Zurbarán, Saint Serapion, 1628. Oil on can- vas, 39 11120 × 39 4 340. Wadsworth Atheneum Museum of Art, Hartford (.e Ella Gallup Sumner and Mary Catlin Sumner Collection Fund).
The light shining on Serapion calls attention to his tragic death and increases the painting’s dramatic impact. The monk has a peasant’s coarse features, which must have evoked empathy from a wide audience.
24-26 José de Ribera, Martyrdom of Saint Philip, ca. 1639. Oil on can- vas, 79 80 × 79 80. Museo del Prado, Madrid.
Martyrdom scenes were popular in Counter-Reformation Spain. Scorning idealization of any kind, Ribera represented Philip’s executioners hoisting him into position to die on a cross.
Chapter 24 The Baroque In Italy And Spain
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