Introduction to Art Week Six Iris Tuan.

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1 Introduction to Art Week Six Iris Tuan

2 Introduction to Art Week 6
Gesturalism Emotionalism Caravaggism Absolutism Ch. 10 教會即凱旋者 十三世紀 Ch. 11 朝臣與市民 Ch.12現實的征服

3 Gesturalism Facial expressions and bodily postures
5 distinct forms of gesturalism in Baroque painting: 1. reveal or convey emotion and character 2. indicate status and role, in social norms 3. tell stories and indicate moral meanings 4. gestures of everyday life 5. narrative gesture

4 The Raising of Lazarus 1619 Giovanni Francesco Barbiere called IL Guercino On the left a woman raises her hand to show her shock and surprise through the gesture. The man behind her points at Lazarus explaining the significance of the event.

5 The Raising of Lazarus

6 St Louis of France with a Page
Domenico Theotocopoulos called EL Greco Saint Louis of France holds rod on top of which a hand is half-folded in the act of blessing. A subtle, politically significance use of a gesture that asserts the holiness of all the Kings of France descended from him.

7 St Louis of France with a Page

8 Emotionalism Baroque art appeals to, and often manipulates, viewers’ emotions. Minimise the literal and psychological distance b.t. the art work & the viewer Transformation or revelation Absence of any foreground Reinforce feelings of exclusion and inferiority

9 The Martyrdom of Saint Philip
1639 Jusepe de Ribera At the moment of maximum tension Just as the saint is about to be hoisted into the air Face with suffering as he concentrates on God Evoke feelings of sorrow, compassion and devotion

10 Christ on the Cross 1632 Diego Velázquez
Its emotional immediacy is almost brutal. Background is all in black Dramatic chiaroscuro prevents the viewer’s gaze wandering away from Christ on the Cross.

11 Christ on the Cross

12 Caravaggism Caravaggio Michelangelo (1573-1610)
The 1st decade of the 17th century many Italian artists were influenced by the work of Caravaggio. In favor of greater Realism and dramatic painterly techniques E.g. Chiaroscuro

13 The Supper at Emmaus

14 Absolutism Monarchical government in which the sovereign’s rule is unchecked Louis XIV’s famous statement: ’L’etat, c’est moi’ (‘I am the State’) Government during which rulers openly expressed their belief in absolute power

15 Absolutism Royal commissions and Royal Academies were utilized to shape an official art and define public taste in which the person, power and preferences of the King were central Charles I employed ‘court painter’ to establish the popular image of the monarchy

16 Absolutism The Majority of Louis XIII PETER PAUL RUBENS In this piece of propaganda, female figures representing the Virtues are rowing a boat which represents France.

17 Absolutism Louis XIV HYACINTHE RIGAUD Rigaud’s portrait of Louis XIV has all the formality of a piece of official art commissioned to provide a fitting image of absolute monarchy

18 Ch. 10 教會即凱旋者 十三世紀 西方與東方的不同 北法的哥德式教堂的先導觀念 尖拱 飛扶壁(flying buttresses)
花飾窗格(tracery) 新式大教堂—體會超乎物質的奧秘 宣告天國的榮耀

19 教堂建築與裝飾雕刻 不僅純對稱式的構圖法 還有生命氣息在人像中 如何去呈現在披褶下展露人體結構 賦予石頭生命 雕刻家替教堂工作
北方畫家為聖經手稿畫啟蒙性的飾畫 了解比例問題 義大利天才佛羅倫斯畫家喬托(Giotto di Bondone)

20 Ch.11朝臣與市民十四世紀 十三世紀是大教堂的世紀 延續到十四世紀 但已經不是藝術的主要焦點 十四世紀的審美觀是風雅型
聖母像凡人的母親 身體微微擺動成一S型 聖經飾畫手稿：「瑪利女王的詩篇」 藝術兩個要素逐漸融合 優美的述說故事 忠實的觀察報導

21 義大利藝術 佛羅倫斯的喬托藝術改變了整個繪畫觀念 北方哥德風畫家也影響南部 特別是在西恩那 杜西歐學派兩位大師馬蒂尼與梅米的祭壇飾畫
北方哥德風畫家也影響南部　特別是在西恩那 杜西歐學派兩位大師馬蒂尼與梅米的祭壇飾畫 馬蒂尼畫過一張羅拉的肖像 肖像畫藝術就在這時期發展起來

22 Ch.12現實的征服十五世紀初 文藝復興意指再生或復興 義大利人深信：在遙遠的從前，以羅馬為首都的義大利是世界文明的中心
義人將羅馬帝國的崩潰歸咎於哥德人 故稱這時間的藝術為「哥德風格」 意指野蠻人的 佛羅輪斯年輕藝術家以建築師布倫內利齊為領導

23 布倫內利齊 布倫內利齊為望族帕茲蓋了一座小教堂 他不但是文藝復興風格建築的首創人，也發現了透視法 新建築形式框架畫面上人物的簡單、隆重氣質
多納鐵羅雕了聖者喬治的肖像 藝術家渴望復興 因此轉而求諸自然、科學和古代遺物