Baroque Art and Rococo Architecture - Article Example

Baroque Art and Rococo Architecture In this paper, the of baroque art, that artistic style employed by the 17th century masters arising out of the psychology of enlightenment, that period of time during which science began emerging as a concept independent of philosophy and religion, to stand alone and, as might be said, against philosophy and religion (Chandler, K., 1997, p. 189). For the 17th century artists, it was a time of expressing the changing world around them in ways in which not just the educated, but the simple mind might understand the individual artist’s interpretation of what was going on around them by way of the visual experience, insights, brought to them by the individual artist. The method of accomplishing this conveyance, baroque, was mastered by several artists, but standing out amongst those masters is the work of architect-sculptor-artist Gianlorenzo Bernini. Gian Lorenzo Bernini’s fate was one inextricably intertwined with the Church, in that at the age of just 24, he became the favored artist, amongst the many, to be selected by Pope Urban VIII, who was stood in direct opposition to the emerging science – which stood in direct opposition to the Church’s long-held doctrines regarding the God, man and the universe (Chandler, K., 1997, pp. 29, 189). Still, it was through the artistic endeavors of Bernini and the other artists selected by the Pope that the Pontiff hoped to appeal to the laity that the Church, not science, was the prevailing wisdom and that to which mankind should adhere and remain loyal – as guided by Church doctrine, of course. Thus, Bernini was commissioned by Pope Urban VIII for a range of works, from the carving of statues, to that of overseeing the Church foundry (Chandler, K., 1997, pp. 8, 33). Indeed, Bernini was indisputably the reigning artistic figure employed by the Pope. It is, however, the work of Bernini as a body that shall be considered here – though there can be no denying that that body of work is both a reflection of Bernini’s own skill and craftsmanship, but one under the express and microscopic gaze of the Pope himself; and the Pope had an agenda, and to that end Bernini was an artistic device in the service of that agenda. It was with the intent to stir the soul, incite the passions of faith in the face of science that baroque and rococo art and architecture evolved (Varriano, J. 1986, p. 16). Bernini was a master of conveyance of the emotional stirrings and passions of faith, as is evidenced by his ‘Throne of St. Peter (Janson, H. W., 1959, p. 775).’ In the Throne of St. Peter, Bernini has evoked every icon of religious imagery to stir and test the passions of the beholder. The work is in marble, bronze, white and golden stucco, and stands in the San Pietro, in Rome (Web Gallery of Art, on-line, 2006). The work reflects the aforementioned goals of Pope Urban, that the Church stand above science, in that the throne is symbolic of that which is greater than science; the Church in relation to the Holy Father in Heaven. Encased in the apsis, is a window through which natural light comes in, casting into the light the dove, as the crowning effect of the light of the heavens on the Pope. The imagery serves as reminder that the Pope is the embodiment of the doctrine, the inspired word of God, his emissary on earth, and the link between man and God. It is, however, the use of the natural light in the work that symbolizes the style of the baroque and rococo art and architecture of the period. The use of the light in conjunction with the iconic imagery of cherubs and angels flowing from the light, standing as protectors of the light, and over the church, below which the Pope stands with scroll surrounded by other popes; gives the beholder the descendant hierarchal structure to which they are to adhere. This use of natural light, whether through the use of oil on canvas or, as so skillfully and creatively used by Bernini in the Throne of St. Peter; is one of the defining traits of baroque and rococo art and architecture. ^The bronze, in the sculpture of the work, denoting the earthly and less enlightened man, upon whom the light of the heavenly knowledge illuminates the existence is a visually noticeable prevailing theme of the period and style as much as is the religious iconic imagery. Bernini invokes the same use of light and the same use of carved rays that emanate from the light in the “Ecstasy of Saint Therese (Web Gallery, on-line, 2006).” The Ecstasy of Saint Therese, the marble statue carved by Bernini which stands Cappella Cornara, Santa Maria della Vittoria, Rome; likewise uses the concept of light to convey the Saint’s ascendancy to the heavens for her earthly pains and sacrifice. The detail, as provided on the Web Gallery’s on-line site, found at http://www.wga.hu/frames-e.html?/welcome.html, gives the beholder the opportunity to view up close the radiance of the figure as accomplished by the creative skill of the artist. The conveyance of the sense of rapture is brilliantly conveyed through the simple but realistic details of the Saint’s sculpted facial expression. The smoothness afforded the work through the use of the marble contributes to the essence of a spirit having received the divine light from above which, again, as in the Throne of St. Peter, radiates from above in the carved shards of light beams radiated by the natural light flowing over the work from above. Bernini captured through sculpture the theme, the conveyance of light, iconology and the essence of the spiritual self as are the other great masters of the period and style, like Caravaggio, whose use of iconic imagery and light and darkness through oil on canvas is very much of a quality and caliber as that of the sculpture of Bernini. Both artists reflect the themes of baroque, the iconology, the mythological tradition of the Roman history, the reality in appearance of the features of the figures, and the use of light and darkness to denote the heavenly from the earthly (Web Gallery, on-line, 2006). That they accomplish through the use of marble and bronze and oil, respectively, as their conveyances of choice makes them excellent choices of peers and period for comparison. Also, Bernini did produce a small body of oil on canvas, and it stands in quality alongside the work of the masters of the period. His “Saint Andrew and Saint Thomas (Web Gallery, on-line, 2006), circa 1627, oil on canvas uses the theme of dark and light in the style of baroque that, again, conveys the darkness of science versus the light of the spiritual. In this particular work, the real-like features that were stylistic of the period and baroque are evidenced by the ethnic look of the two Saints; and there is an emanating light that casts the heavenly glow upon them as they seriously confer on a matter which can only be of the divine direction. The work conveys the imparting of wisdom of the older, wiser upon the younger, though affirmed in his belief by the light cast from above that radiates the younger face. Again, the appeal to the beholder, even the lesser educated beholder, and the conveyance of the hierarchal order of man – the younger receives the wisdom of the older and wiser, the devout is cast in the light. In this work, again, Bernini uses the essence of light by way of gold-yellow oils that reflect the artists’ expertise in the casting of shadows upon the younger and older man’s individual features while at the same time allowing both to be bathed in the divine spiritual light without the older man’s features making his time and place in the historical progression less desirable. On the whole, we tend to find fewer female figures as the direct focus of Bernini’s work than we find in the work of Caravaggio. This is probably as a result of the close relationship that Bernini shared with Pope Urban VIII, and then Urban’s successor, under who Bernini continued his work on behalf the Church (Chandler, K, 1997, p. 33). To the extent that we do find women in the work of Bernini, it is usually in the throes of spiritual ecstasy, having given themselves over spiritually in divine surrender to their faith. Such is that which might be perceived as one beholds the Beata Ludovica Albertoni, a marble sculpture (1671-74), which stands at the Cappella Altieri, San Francesco, a Rippa, Rome (Web Gallery, on-line, 2006). The work shows the figure, which, again, has the essence of divine beauty that comes through the use of the carved marble, in the rapture of surrender of the soul. The detail with which the artist captures the clothing and is one of precision and artful skill in the layers and folds; and the facial features and expression of the figure portray a realness that transfers the pain and suffering and surrender of the figure to the beholder – as was intended through the works and baroque and rococo art and architecture. What we find in the sculpture and architecture of Bernini, as well as the oils on canvas, is that the artist was masterful in his use of the position of the figures about whom he centered his themes of divine authority to capture the shadows and utilize light to convey the divine light. Each Bernini work can be viewed as a work sculpture, art, but also as it gives way to what must have inspired the artist, moved the artist to capture the realistic features of the piece, a segment of story that is religiously significant in its telling. It was the essence of the soul that Bernini conveyed, the breath of life, the surrender of self, in the style of baroque art and rococo architecture and its focus on passion that lives on today through his work. His work is truly spectacular and inspiring, and continues to evoke the thoughts and wonders of the spiritual – just as the Pope had intended, and as Bernini so brilliantly accomplished on his behalf. Works Cited Janson, H. W., ed. A Visual Survey A Visual Survey. Englewood Cliffs, NJ: Prentice-Hall, 1959. Questia. 19 Dec. 2006 . Kirwin, W. Chandler. Powers Matchless: The Pontificate of Urban VIII, the Baldachin, and Gian Lorenzo Bernini. New York: Peter Lang, 1997. Questia. 19 Dec. 2006 . Varriano, John. Italian Baroque and Rococo Architecture. New York: Oxford University Press, 1986. Questia. 19 Dec. 2006 . Web Gallery of Art, found on-line at < http://www.wga.hu/frames-e.html?/welcome.html>, retrieved 10 December 2006 Read More

That they accomplish through the use of marble and bronze and oil, respectively, as their conveyances of choice makes them excellent choices of peers and period for comparison. Also, Bernini did produce a small body of oil on canvas, and it stands in quality alongside the work of the masters of the period. His “Saint Andrew and Saint Thomas (Web Gallery, on-line, 2006), circa 1627, oil on canvas uses the theme of dark and light in the style of baroque that, again, conveys the darkness of science versus the light of the spiritual.

In this particular work, the real-like features that were stylistic of the period and baroque are evidenced by the ethnic look of the two Saints; and there is an emanating light that casts the heavenly glow upon them as they seriously confer on a matter which can only be of the divine direction. The work conveys the imparting of wisdom of the older, wiser upon the younger, though affirmed in his belief by the light cast from above that radiates the younger face. Again, the appeal to the beholder, even the lesser educated beholder, and the conveyance of the hierarchal order of man – the younger receives the wisdom of the older and wiser, the devout is cast in the light.

In this work, again, Bernini uses the essence of light by way of gold-yellow oils that reflect the artists’ expertise in the casting of shadows upon the younger and older man’s individual features while at the same time allowing both to be bathed in the divine spiritual light without the older man’s features making his time and place in the historical progression less desirable. On the whole, we tend to find fewer female figures as the direct focus of Bernini’s work than we find in the work of Caravaggio.

This is probably as a result of the close relationship that Bernini shared with Pope Urban VIII, and then Urban’s successor, under who Bernini continued his work on behalf the Church (Chandler, K, 1997, p. 33). To the extent that we do find women in the work of Bernini, it is usually in the throes of spiritual ecstasy, having given themselves over spiritually in divine surrender to their faith. Such is that which might be perceived as one beholds the Beata Ludovica Albertoni, a marble sculpture (1671-74), which stands at the Cappella Altieri, San Francesco, a Rippa, Rome (Web Gallery, on-line, 2006).

The work shows the figure, which, again, has the essence of divine beauty that comes through the use of the carved marble, in the rapture of surrender of the soul. The detail with which the artist captures the clothing and is one of precision and artful skill in the layers and folds; and the facial features and expression of the figure portray a realness that transfers the pain and suffering and surrender of the figure to the beholder – as was intended through the works and baroque and rococo art and architecture.

What we find in the sculpture and architecture of Bernini, as well as the oils on canvas, is that the artist was masterful in his use of the position of the figures about whom he centered his themes of divine authority to capture the shadows and utilize light to convey the divine light. Each Bernini work can be viewed as a work sculpture, art, but also as it gives way to what must have inspired the artist, moved the artist to capture the realistic features of the piece, a segment of story that is religiously significant in its telling.

It was the essence of the soul that Bernini conveyed, the breath of life, the surrender of self, in the style of baroque art and rococo architecture and its focus on passion that lives on today through his work. His work is truly spectacular and inspiring, and continues to evoke the thoughts and wonders of the spiritual – just as the Pope had intended, and as Bernini so brilliantly accomplished on his behalf. Works Cited Janson, H. W., ed. A Visual Survey A Visual Survey. Englewood Cliffs, NJ: Prentice-Hall, 1959. Questia. 19 Dec. 2006

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