Baroque vs. Renaissance David

As Europe’s religions, politics, economics, and countless other aspects of life started to shift during the 17^th century, so did the styles of art. Including some elements from the Renaissance style of art and rejecting others, the Baroque style emerged as a dramatic, beautiful, and powerful art movement. While Baroque art pushed against some of the conventions of the Renaissance, many of the elements of design carried over into the new art. For example, the church still played a significant and central role in the lives of European residents. The Catholic Church especially experienced an upsurge in interest and control through the Catholic Counter-Reformation. Beginning with the Council of Trent, the reformation affected art by putting forth strong purposes for its art and images. The art produced in relation to the church was hoped to help with one or more of several principles. The images should teach those faithful to the church about the involvement of the saints, be understood by the common man, and place an emphasis on the ritual of communion. Another similarity between Baroque art and Renaissance art is the influence of Classical forms and subject matter. Baroque art has less of an influence than the Renaissance did, but the compositions still use the classical styles seen in previous work. Lastly, the Baroque artists in Italy used many of the same materials for their artwork, including bronze and marble for statues, and oil paint on canvas. Some of the ways that Baroque art differs from Renaissance art are the darker color palette, which lends to the heightened drama and emotions as well as creating a higher contrast between light and dark colors. Baroque art focuses more on naturalism than did the Renaissance, creating a more realistic, and thus a more dramatic appearance.

A strong comparison of the Baroque style and the Renaissance style lies in the analysis of two statues of David, one by the Renaissance master Michelangelo, and the other by the Baroque master Bernini. Though of the same classical subject, and constructed from marble, the statues are strikingly different in form and presentation. Bernini’s David embraces the Baroque principle of heightened drama and emotion, showing the hero’s most engaged and dynamic position, mid-swing with his slingshot of rocks. Everything about the statue is filled with action, from his tensed face to the muscles on his legs. The body is depicted in a hero’s stance, and though very strong and powerful, the statue actually looks like a real person, instead of an idealized model. Michelangelo’s David is still portrayed as a hero, but in an idealized and stoic posture. While Bernini’s statue is in the thralls of action, Michelangelo’s work is leisurely standing, seemingly soaking in the glory of his victory over the giant. The influence of the Catholic Church also influenced art through its censorship, seen in the presence and absence of the nudity seen on the two statues. While the Renaissance work depicts a fully nude male figure, the Baroque piece has a bit more modesty with a slight piece of fabric to cover the genital area. 

Post #6

The Protestantism Reformation was a tumultuous time for people in Europe. While some people were fighting for their traditional religion of Catholicism and the ways of life in place for hundreds years, other people took a stand against the strong hand of the Pope and the Church. Leaders such as Martin Luther cried out against the excessive wealth, corruption, and worship of idols carried out by the Catholics. Those who stood behind him eventually brought about a change for those wanting to be a part of a new order or religion, the Protestants. Different regions and patrons supported and favored one religion over the other, often protecting a Protestant artist and his work from persecution by the Catholics. Other artists were not so lucky in finding aid and careers were ended.

Though holding different views, both Catholics and Protestants still focused heavily on religion as a primary subject matter. One of the most popular topics within the subject of religion was the idea of mortality and the original sin, as seen in many of the paintings and sculptures. Patrons wanted to see stories of Christ, just as before, and artists were taking huge strides towards naturalism. In contrast to the Catholic-centered art of sixteenth-century Italy, the art of sixteenth century Northern Europe takes a step away from the idealized and Classically based forms in favor of a more natural and life-like form.

A great example of a work of art showing differences between Catholic art and Protestant art, as well as the effects of the Protestant Reformation is Albrecht Durers’s “Four Apostles”. Though looking somewhat soft, each of the four apostles is portrayed in fairly natural way, showing realistic highlights and shadows of the wrinkles on their foreheads, to the manner of the alarming look in Paul’s eyes, staring directly at the viewer. The subject matter as well points to the shifting of religion and the effects of the Protestant Reformation. The apostle thought of most highly by the Catholics, Peter, the right hand man to the Pope, has been placed in the background of the painting, now fairly hidden from view. The apostles treasured most by the Protestants have been placed in the forefront of the painting, situated in positions of power and importance.

Another strong example of the differences between Catholic art and Protestant art around the Protestant Reformation is the similarities and differences between two representations of The Last Supper, by TIlman Riemenschneider and Leonardo Da Vinci, respectively. Riemenschneider’s piece is the intricately carved wooden Altarpiece of the Holy Blood, whose center panel illustrates the last supper between Christ and his disciples. The material choice speaks for the time, as wood became a very popular choice for artists, as well as showing how artists were moving towards naturalism. In his representation, Christ is situated at one end of the group of men, while Judas takes the center position. This also helps establish the fact that during this period of art, mortality, and the great sins were often depicted. So, Riemenschneider’s choice to place Judas as the focal point highlights the fact that he is one of the great sinners, and that art can and should show not only the idealized side of religion, but the sad, sinful things too.