Art and Architecture of the Seventeenth Century

by Harris, Ann Sutherland; Laurence, King Pu

• ISBN13: 9780131455818
• ISBN10: 0131455818
• Format: Paperback
• Copyright: 2005-01-01
• Publisher: Pearson College Div

Author Biography

Ann Sutherland Harris is Professor of the History of Art and Architecture at the University of Pittsburgh.

Table of Contents

Preface	viii
Introduction	xi
Politics, Religion, and Art	xi
The Economics of Art	xii
Geography, Cosmology, and Astronomy	xiii
Concepts of the Body, Ancient and Modern	xv
Education and Literacy	xvi
Artists' Changing Status and Training	xvii
New Subjects, New Genres	xviii
Transforming the Renaissance and ``Baroque'' Art	xxi
Italy	1	(142)
The Decline of Mannerism	3	(1)
Architecture and City Planning in Rome, 1585--1625	4	(3)
Bolognese Painting: The Carracci Reform	7	(14)
Painting in Rome, 1585--1610	21	(13)
Annibale Carracci in Rome, 1595--1609	24	(10)
Michelangelo Merisi da Caravaggio	34	(16)
Caravaggio's Italian Followers	50	(6)
The Carracci Succession in Rome and Bologna	56	(22)
Architecture and City Planning in Rome, 1625-1680	78	(7)
Italian Sculpture	85	(28)
Gian Lorenzo Bernini's Early Career	86	(5)
Bernini, Algardi, and the Portrait Bust	91	(3)
The Competition: Alessandro Algardi and Francesco Duquesnoy	94	(5)
Bernini and Urban VIII	99	(9)
Algardi and Bernini during the Papacy of Innocent X	108	(5)
Painting in Rome, 1623--1680	113	(21)
Pietro da Cortona	113	(7)
Andrea Sacchi	120	(3)
Pietro da Cortona in Florence and Rome	123	(2)
Carlo Maratta	125	(2)
Giovanni Battista Gaulli (II Baciccio)	127	(7)
Painting in Naples	134	(9)
Flanders	143	(52)
Peter Paul Rubens	145	(29)
Rubens in Italy, 1600-1608	148	(4)
Rubens in Antwerp, 1609--1622	152	(13)
Rubens, Diplomat and Artist, 1622-1630	165	(4)
Rubens's Last Decade, 1630--1640	169	(5)
Anthony van Dyck	174	(8)
Van Dyck in England and Italy, 1621--1627	176	(4)
Van Dyck's Second Antwerp Period, 1627--1632	180	(2)
Jacob Jordaens	182	(4)
Still-Life Genre Painters	186	(9)
Spain	195	(48)
Spanish Architecture	196	(1)
Spanish Sculpture	197	(3)
Spanish Painting, 1600--1650	200	(32)
Jusepe de Ribera	201	(7)
Francisco de Zurbaran	208	(9)
Diego Velazquez in Seville	217	(3)
Velazquez in Madrid, 1623--1648	220	(8)
Velazquez in Italy, 1648--1651	228	(1)
Velazquez in Madrid, 1651--1660	228	(4)
Spanish Painting, 1650--1700	232	(11)
Bartolome Esteban Murillo	232	(7)
Juan de Valdez Leal and Claudio Coello	239	(4)
France	243	(68)
Architecture and City Planning	244	(10)
Paris: The Pont-Neuf, Palais du Luxembourg, and Hotel de la Vrilliere	244	(4)
Expansion under Louis XIV; The Louvre and Versailles	248	(6)
French Sculpture	254	(4)
Pierre Puget	255	(1)
Francois Girardon and Antoine Coysevox	256	(2)
French Painting and Printmaking	258	(53)
Simon Vouet	260	(3)
Valentin de Boulogne	263	(1)
Georges de la Tour	264	(3)
Simon Vouet's Successors	267	(2)
Philippe de Champaigne	269	(4)
Nicolas Poussin in Paris and Rome	273	(6)
Poussin after 1630	279	(10)
Poussin and Landscape Painting	289	(3)
Poussin's Last Works	292	(3)
Claude Lorrain and French Landscape Painting	295	(8)
Charles Le Brun and the Academy	303	(8)
The Dutch Republic	311	(76)
Haarlem and the Creation of a Dutch National Style	313	(2)
The Haarlem Mannerists	313	(2)
The Utrecht ``Caravaggisti''	315	(4)
Frans Hals and Dutch Portraiture	319	(8)
Town Planning and Architectural Developments in Haarlem and Amsterdam	327	(6)
Painting in Amsterdam	333	(1)
Rembrandt van Rijn and his School	334	(22)
Rembrandt's Early Years in Leiden	334	(2)
Rembrandt in Amsterdam, 1627--1639	336	(5)
Rembrandt's Self-Portraits	341	(3)
Rembrandt in Amsterdam, 1639--1642	344	(2)
Rembrandt's Landscape Prints and Drawings	346	(2)
Rembrandt after 1642	348	(6)
Rembrandt's Artistic Heirs	354	(2)
Dutch Genre Painting before 1650	356	(5)
Judith Leyster	358	(3)
Dutch Genre Painting after 1650	361	(17)
Johannes Vermeer	366	(8)
Jan Steen	374	(4)
Landscape Painting before 1650	378	(2)
Early Tonal Landscape Painting	378	(2)
Landscape Painting after 1650	380	(7)
England	387	(17)
English Painting	388	(8)
Van Dyck in England	388	(5)
Later Portrait Painters	393	(3)
Palladianism and Architectural Planning in London	396	(8)
Inigo Jones	396	(2)
Christopher Wren	398	(6)
Epilogue	404	(3)
Notes	407	(1)
Timeline	408	(4)
Bibliography	412	(4)
Picture Credits	416	(1)
Index	417

Excerpts

THIS BOOK IS WRITTEN as an introduction to the most significant artistic developments in Western Europe in the seventeenth century. It is intended to inform students of art and the interested reading public about a period that encompassed the careers of many of the bestknown artists of European history. The text privileges painting over sculpture and architecture. Far more painting than sculpture was produced because the latter is an expensive medium and fewer artists took it up. Dutch, Flemish, and English patrons usually imported sculptors or sculpture from France or Italy, so their own sculpture is not covered here. French, Spanish, and Italian sculpture is covered with an emphasis on Gian Lorenzo Bernini, the transformative genius of this medium in the seventeenth century. The achievements of Europe's architects and builders could easily have dominated everything else in the book. Because architectural history is usually taught separately in American colleges (except in introductory survey courses), this text focuses on a few key architects and monuments, and on city planning in Rome, Paris, and London. Those readers whose main interest is architecture of this period will find books such as the PelicanHistory of Art(Yale University Press) and Baroque (Kdnemann; ed. Rolf Toman) readily available sources of supplementary information. This book focuses on the six countries whose art and architecture is usually taught in courses on European Baroque art--Italy, Flanders, Spain, France, the Dutch Republic, and England. There is no chapter on artists from eastern or central Europe (what remained of the Holy Roman Empire), because the turmoil of the Thirty Years' War, finally ended by the Treaty of Westphalia in 1648, did not allow any cities in these countries to provide steady patronage for native artists for most of the seventeenth century. The Habsburg court of Emperor Rudolf II in Prague, where he ruled from 1576 until 1612, attracted painters, engravers, and sculptors from Antwerp, Amsterdam, Frankfurt, Basle, and Milan. Their sophisticated style became the final fling of Mannerism. The court moved to Vienna in 1620. Most ambitious young artists born in the territories now called Germany, Austria, and the Czech Republic left for Flanders or Italy, ostensibly to train, but many never returned; among those were the painters Adam Elsheimer, included here in the chapter on Italy, and Johann Liss from Oldenburg, who died in Venice. The first and longest chapter is devoted to Italy. In the sixteenth century Italy became a magnet for artists from the Netherlands and France, while Italian artists were sought by courts in Spain, France, and England. The influence of Raphael, Michelangelo, and their successors soon reached Antwerp, Madrid, and Fontainebleau outside Paris. Thus, the logical place to begin our story is Italy, specifically Bologna and Rome where the Carracci and Caravaggio began the stylistic revolution that deposed an international Mannerist style and replaced it with other styles based on renewed life study and a respect for Renaissance artists least affected bymaniera.The Counter-Reformation Church offered so many opportunities for artists in Rome that the city became the most important center of artistic production in Europe. Its only rivals in Italy were Bologna and Naples, the former too small to offer serious competition (although its artists were enjoying their greatest period of achievement), the latter controlled by the Spanish monarchy. Venice produced no worthy successors to Titian, Tintoretto, and Veronese until the eighteenth century. Thus Rome remained the most important European city for ambitious artists until Paris gradually replaced it in the nineteenth century. The next chapters discuss Flanders and Spain, whose developments were most directly affected by Italian art. Both were Catholic countries and Flanders (the Spanish Netherlands) was still part of