Baroque Art

Baroque art is characterized by propaganda and “deliberately evokes intense emotional response from the viewer” (p.712). It is dramatically driven with theatrical compositions and compiled with several different Medias within a particular work in which artists display their talents. Baroque art has its own ideal and principals of classicism. Its idealizations are based on observations in the material world. Baroque compositions are often asymmetrical (uneven, unbalanced or lopped-sided), though “diagonal…in space” it is rich to harmonious colors with visual reference to ancient Greece and Rome. Artist of the seventeenth Baroque period created lifelike paintings, depictions of their world. Genres for paintings were scenes of everyday life, still life and paintings of inanimate objects such as food, fruit or flowers.

The role of the viewer changed in the 17^th century, Italian Renaissance was about the visual possibilities of perspective and idealism of form. This was valued and kept viewers at a distance. Baroque artists wanted to engage all viewers as participants in the works of art. For example artists in Catholic countries depicted scenes of passionate spiritual life of religious ecstasy to inspire viewers to renew their faith. Protestant countries displayed images of communal parades and city views; this was meant to inspire pride in “civic accomplishments.” These works of art engaged and drew the viewer in visually and emotionally.

Artist in 17th century rejected and incorporate Renaissance ideals (such as humanism, naturalism, idealism, and visual harmony). Bernini DAVID for example very much holds an idealistic view for anatomy an ideal young man. His David displays a mescaline body etc with humanistic lifelike qualities. Of course the sculpture is a bit more modest than Michelangelo’s DAVID because the genital are not exposed. Bernini’s version lacks the Renaissance ideal of naturalism in his DAVID’s posture. It is an unnatural but realistic movement. There is an unbalance of harmony in Bernini’s DAVID’s twisted body, which appears to be in-motion.  The sculpted figure is also tarnished, realistically dirty from battle. Oppose to Michelangelo’s DAVID, which is clean and motionless in a contrappasto posture. His David does not appear to be or have been in battle. Michelangelo’s sculpture is also humanistic because it posse lifelike qualities of an individual, as well as accurate bodily description of anatomy. It is hormonally balanced, natural in its posture and ideal in appearance according to the renaissance era.

Bernini’s DAVID and Michelangelo’s DAVID are similar ideally in anatomy and humanistic features. But they differ naturalistically, somewhat ideally, and in visual hormonal balance. Michelangelo’s David compared to Bernini’s is lifeless, a still life of events of the past. His David is depicted more as a statue rather than an actual life-filled being. Bernini’s David on the other hand appears to be filled with life. Its twisted body in motion depicting an event of the past brought into the present. Engaging the viewers, making them fill emotionally drawn to the battle of a historical event. Bernini’s David sparks drama and emotion opposed to Michelangelo’s version. Which is more of a classical display of pre historic era?