Exam 2 Chapter 19 PDF

The baroque in spain spanish painting always pushed

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Unformatted text preview: ture is almost analogous to the Hellenistic portrayal of Lacoon and His Sons o Baroque sculpture borrowed more from the Hellenistic period, while renaissance sculpture borrowed from the more Classical period • David’s face is modeled after Bernini’s own Note: Baroque statues attempt pictorial effects that were traditionally outside the realm of monumental sculpture Gianlorenzo Bernini, The Ecstasy of St. Teresa, marble, ca. 1645- 52 • Bernini was very theatrical o The framing of this sculpture almost resembles that of a stage and he provides a built- in audience §༊ On the sides of the chapel are balconies (theatre boxes), where marble relief sculptures of the Cornaro family are • This brings these sculptures into the viewer’s space o The framing of St. Teresa herself is in it’s own niche §༊ This suggests that she is going to a divine place that is separate from us • The viewer experiences the sculpture as almost a vision o The missing partner (or the “invisible complement”) from this sculpture is the force that is levitating both the angel and St. Teresa §༊ This complement creates the drama of the piece (i.e. the billowing fabric, etc.) • The golden rays that come down onto the figure of St. Teresa show that the light of God is happening upon her and causing ecstasy o There is a window that is basically used as a spotlight to highlight the golden rays and make them look like they are the light of God §༊ This “celestial explosion” makes the ecstasy and thrust of the angel’s arrow fully believable to the viewer • The style of this sculpture is very sensual and captivating o This makes sense since Bernini was heavily involved in the idea of Renaissance humanism • The ceiling fresco represents the infinite space of Heaven • • • Notes on the Baroque in Spain Spanish painting always pushed the limits during this timer...
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