Baroque Art: Caravaggio, Rubens, Rembrandt, and More
Features of Caravaggio’s Style
Clearly influenced by sculptural modeling of bodies, Caravaggio created his own dark style, based on the use of chiaroscuro to give expression to feelings. He rejected superfluous elements, favoring a natural translation of characters, usually people of the street, and a desacralized treatment of religious issues, portraying them as scenes of everyday life. Caravaggio sought naturalistic principles and new lighting, and his influence is felt in artists such as Rembrandt and Velázquez.
Caravaggio: chiaroscuro, dramatic, naturalism.
The Death of the Virgin, Louvre Museum, Paris (Caravaggio)
The Virgin has just died, and the apostles sob around her. They bow their heads to show their grief and respect. The work is a clear example of tenebrism, where he plays openly with chiaroscuro. A beam of light, a symbol of divine grace, structures the scene and illuminates it diagonally. The heads bowed in grief as the bodies remain in darkness.
Shade is the only decorative element that can be seen; it refers to a theater curtain and gives the scene a special sense of drama.
General Characteristics of Rubens’ Painting
Rubens’ painting stands out for its sensuality, dynamism, warm colors, and sumptuousness (luxury) learned from Titian and the Venetian school, and robust forms inspired by Herculean figures and light treatment based on Caravaggio.
The Three Graces (Rubens)
It somehow summarizes a vital part of his unique work. It is its pace and sensual shiver. It is said that the figures on the left and right represent his two wives. Their sensuality is bathed in light of gold and silver. Helena was so scared that she almost burned it for being sinful. The Graces are intertwined, forming a small circle, naked or with a few subtle, delicate gauzes. They show in their gestures and seem to be about to start a sensual dance. To accentuate the body, silhouettes are marked with sinuous lines. The Three Graces are framed under garlands, a trunk, and a Cupid carrying the horn of plenty.
The Anatomy Lesson of Dr. Nicolaes Tulp (Rembrandt)
It is based on a real event when the surgeon Tulp gave a public lecture on anatomy. There is no hierarchical order, but it is adapted to the action, although it follows the standard of having the same dimensions, so the painting has a pyramidal structure.
Nobody looks at the hypothetical center of attention, and one of them holds the sheet with the names of those who paid to attend the lesson. An unreal light from above contrasts the coldness of the corpse and the warmth of the faces stained with chiaroscuro. The table shows emotion, with the character of a relief sculpture.
The Night Watch or The Company of Captain Frans Banning Cocq and Lieutenant Willem van Ruytenburch (Rembrandt)
Rembrandt surprised the group in a lane departure when dispersed in a parade in the square. He breaks the order, and the militia mix with people on the street. He places the group in a contrast of fabrics that makes the image strong and provides a deeper truth.
The Sampling Officials of the Drapers’ Guild (Rembrandt)
Caught by Rembrandt in a dialogue within a character, it might be invisible to the viewer. Its composition itself is traditional in the group portrait, but the warm light gives it an unmistakable realism.
Jacob’s Dream, Oil on Canvas, Jose Ribera, Prado Museum
It represents the moment when Jacob is sleeping and dreaming. In the dream, a ladder of angels appears, and a voice tells him that Jesus is going to protect him. It is set over a landscape; the modeling is smooth, with a diffuse light that envelops Jacob from heaven and a delicate touch and golden tones. There is great realism in the face of the sleeping figure; all is quiet.
Pity, Gregory Fernández, Polychrome Wood, National Sculpture Museum, Valladolid
It breaks the pyramidal scheme, rewarding asymmetry. This structure favors diagonal lines and luminous contrasts. The eloquent gesture of the Virgin has its counterpoint in the serene Christ, who seems to slip from his mother’s legs in pain.
Immaculate “Cieguita” (1629-31), Juan Martínez Montañés, Cathedral of Seville
It reflects immense Baroque accents, and dynamic contrasts in the flowing robes confer strength and volume.