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Prelazni period i rani barok od 1600 do 1625

Rim: Sixta V do Pavla V(1585 - 1621)

1527 pljacka Rima i kraj jedne optimi ticne! intelekt"alno nei#merno "#$"dljive epo%e& 'lima " Rim"

naredne dve eneracije je- a ket ka! anti%"mani ticka! anti vet ka! anti"metnicka1512 -- ateran ki koncil i pocetak crkvene re*orme na inicijativ" pape +"lija ,,& Primena "metno ti pretvorena je " va#no or"#je potonje katolicke ortodoxije

Tridentski koncil i umetnost

1565 po lednje #a edanje Sa$ora i de*ini anje "lo e koja pripada "metno ti " re*ormi aoj #ajedniciReli io#no likar tvo cenjeno je kao podr ka reli io#nom "cenj":"# pomoc lika ili na dr" i nacin prika#ane! price mi terije na e i k"pljenja! "p"tice i "$editi lj"de datekn" navik"! da e " mi lima neprekidno o vrc" na po t"late vere

'ao re#"ltat to a $ila je #a%tevana najveca di ciplina i i pravno t " docaravanj" veti% prica! ave ten tvo je $ilo od ovorno #a nad ledanje "metnika& Prava poplava literat"re napi ana je od tranecrkveni% lj"di i re*ormi ta! vi e ne o "metnika koji " e time $avili: St .%arle /orromeo! .ardinal0a$riele Paleotti! olan" ! 0ilio da a$riano! Ra**aello /or %ini! Romano! 3l$erti 0re orio!.omanini! Po evino

1) jasnoca, jednostavnost i inteligibilnost 2) realisticna interpretation3) emotionana stimulacija ka posvecenosti religiji (do pijeteta)

Reali ticna interpretacija- otkriveno poka#ivanje i ine do naj itniji% detalja na "prot rene an nojideali#aciji! ali podjednaka a tarim rene an nim konceptom 4 . R7 3: od ovaraj"ci "#ra t! pol!tip! expre ija! e t! i odeca lika *i "ra koje " prika#ane( korektna lika #naci da e o$raca emocijama vernika i da potpomo ne tran cendentno ti i# ovoreni%reci& ri t koji podno i patnje! krvari! ra#apet! ranjen! i krivljen! $led i jadan )

Ikonoklasticke tendencije

9ije i "ran termin kojim je 'oncil opi ao o$o#avanje lika& 7 dekret" toji poca t koja im e"ka#"je pripada "#orima koje ove like prika#"j"; (ali je lake po taviti ra#lik" i#medj" idola i likene o kontroli ati reakcij" ma e)

Ono sto pripada umetnosti kasnog 16 veka i ra ava okolnosti re!ormisane katolicke crkve" 7metnici reli io#no likar tva da e lo#e a nekim oci lednim #a%tevima protivre*ormacij kodekor"ma kao to je $ilo i#$e avanje akta ali! a i#"#imanjem Venecijanaca i nekoliko veliki%individ"ali ta kao to je $io #reli ic%elan elo! vecina "metnika radila je r"$o "#ev i#medj" 155< i15=< praktik"j"ci !ormalisticki, anti#clasicni,i anti#naturalistikic stil til tereotipni% *orm"la(maniera - anneri m) : virt"o#no t i#ved$e i vi oko dekorativni kvaliteti povr ine!

decentrali#acija kompo#icije i pro torna i kolori ticka lo#eno t!o lo$odjene p i%icke i *i#icke neja noce i dvo mi leno ti!te koca i#vodjenja pod"darala e a te#inom oko adr#aja!

>a ov" mi ticn (op k"rn") i e#otericn" atmo *er" tre$alo je #a%valiti aradnji i#medj" ve tenika ilikara

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e relative val"e o* t%i t?le - anneri m a it @a practi ed d"rin t%e later ixteent% cent"r? @a 9 Aan an @er to t%e arti tic reB"irement o* t%e co"nter-re*ormator? .%"rc% : it lacked clarit?! reali m!emotional inten it?! and it revealed a %ardl? veiled licentio" ne "nder t%e "i e o* pr"der?

,t i onl? *rom a$o"t 158< on@ard (or ro" %l? t@ent? ?ear 3 A R t%e prom"l ation o* t%e .o"ncildecree ) t%at @e $e in to di cern a co"nter-re*ormator? art on a $road $a i

A%e ne@ art %ad no clear-c"t "ni*ied p%? io nom? : eit%er t%e reali tic or t%e emotional component ma? $e tre ed! and clarit? "per eded complexit?! and deli$erate *ormal a" terit? provided t%e an @er tot%e evere iconocla tic tendencie

$%e &%urc% and t%e 'e!ormers

A%e period *rom Sixt" V (1585-=

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1) t%e clean in o* t%e o"l - t%e met%od o* "idin t%e exercitant t%ro" % a *o"r-@eek co"r e aeminentl? practical and adapta$le to eac% individ"al ca e! and @%ic% doe not prepare *or cloi teredecl" ion $"t! on t%e contrar?! *or t%e active @ork a a oldier o* t%e .%"rc% ilitant2) t%e emp%a i on per onal experience t%ro" % meditation - all a man *ac"ltie are emplo?ed to maket%e xerci e an extremel? vivid per onal experience: t%e en e are $ro" %t into pla? @it% almo tcienti*ic preci ion and %elp to ac%ieve an eminentl? reali tic a@arene o* t%e "$ject " e ted *ormeditation(t%e *ir t @eek o* t%e exerci e ) t%e contemplation o* Sin - reB"irin t%e exercitant to ee t%e *lame o*ell! to mell t%e "lp%"r and tenc%! to %ear t%e %riek o* "**erer ! to ta te t%e $itterne o* t%eir tearand *eel t%eir remor e(t%e la t t@o @eek ) - t%e o"l live @it% eB"al inten it? t%ro" % t%e Pa ion! Re "rection and3 cen ion o* .%ri t

A%e lon li t o* di tin "i %ed eventeent%-cent"r? arti t @%o @ere +e "it(&aravaggio D ernini and %i eneration)!

$"t t%ere i no common ro"nd $et@een t%e pirit o* t%e xerci e and t%e $road c"rrent o* ateanneri m! nor i it po i$le to talk o* a +e "it t?le or to con tr"e a direct in*l"ence o* t%e +e "it ont?li tic development at an? time d"rin t%e eventeent% cent"r?

A%e +e "it and t%e co"nter-re*ormator? m? tic :, nati" practical and p ?c%olo ical approac% to t%e m steries o* *ait% - di**erent *rom t%e a$ tractt%eolo ical pec"lation o* t%e .o"ncil di c" ion ! @a %ared not onl? $? men like St P%ilip 9eri andSt .%arle /orromeo! $"t even $? "c% tr"e ixteent%-cent"r? m? tic a St Teresa and St John of theCross ! controllin t%e ta e leadin to ecstas and "ppl?in in t%eir @ritin detailed anal ses o! t%e

soul7s ascent to od ! and $lendin practical @i dom and do@n-to-eart% ener ? ( vita activa and vitacontemplativa ) in re*ormin t%e &armelite rder

St Charles Borromeo - t%e ?o"t%*"l 3rc%$i %op o* ilan! Pi" ,V nep%e@Dmoderni#ed clerical ed"cation $? *o"ndin %i *amo" eminarie ! and %ad prepared man"al *or p"pil !teac%er and arti t Da t"nc% "pporter o* $ot% t%e rator? and t%e Societ? o* +e " ! practi in t%e Spirit"al xerci e andleanin %eavil? on +e "it "pport in carr?in t%ro" % %i re*orm at ilanD *ormed t%e mo t importantlink $et@een t%e papal co"rt and t%e ne@ pop"lar movement ! and promoted t%e a cendanc? o* +e "itand ratorian

A%e proce e leadin to $eati*ication and canoni#ation o* t%e co"nter-re*ormator? m? tic - d"rin t%e*ir t t@o decade o* t%e eventeent% cent"r?(.%arle /orromeo! , nati" o?ola! Aere a! P%ilip 9eri! ranci Eavier-t%e 3po tle o* t%e ,ndie )1622 - t%e date o* canoni#ation o* t%e *o"r reat re*ormer (, nati" ! Aere a! P%ilip 9eri! ranci Eavier)"nder 0re or? EV! and t%e date @%ic% mark t%e end o* t%e period o* tran ition : @%en t%e e re*ormer

joined t%e emp?rian o* aint ! t%e tr" le @ere pa t - t%e re enerative *orce in ide .at%olici m avedt%e .%"rc%Dal o t%i date i re arded a a @ater %ed in matter o* art - B"alitie o* t%e ex"$erant aro8ue came intoit o@n in t%e 162< and prevailed in Rome *or a$o"t *i*t? ?ear(@%ile t%e period *rom Sixt" V to Pa"l V %a none or little o* t%o e B"alitie ! and one o* t%e importantc%aracteri tic o* t%e e *ort? odd-?ear @a t%at t%e old and t%e ne@ exi ted indi criminatel? ide $? ideand t%e o**icial art polic? o* t%e pope tended to "pport reactionar rat%er t%an progressive arti t - t%erever e i tr"e *rom 7r$an V,,, rei n on@ard )

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A%e St?le Sixt" V and it Aran *ormation

A%e la t decade o* t%e ixteent% cent"r? - an immen e exten ion o* arti tic activit? "nder t%e $rie* ponti*icate o* t%e ener etic Sixtus V (15 5!"#$A%e tran *ormation o* Rome and t%e radical "r$an development - t%e anticipation o* eventeent%-cent"r?to@n-plannin idea :lon trai %t aven"e (e& & Strada eliceJ linkin Pia##a del Popolo @it% t%e ateran)! tar- %apedB"are (Pia##a S& aria a iore! Pia##a del Popolo)!*o"ntain and o$eli k3*ter more t%an %al* a cent"r? a pope re arded it a %i acred d"t? - *or t%e @%ole enterpri e @a"ndertaken 7in majorem ei et cclesiae gloriam7 - to t"rn Rome into t%e mo t modern! mo t attractive!and mo t $ea"ti*"l cit? o* .%ri tianit?(t%e pirit o* .at%olic Re toration)o t o* t%e arti t @orkin *or Sixt" @ere eit%er *orei ner or took t%eir c"e *rom development o"t ideRome ( ince t%e proper Roman c%ool %ad cea ed to exi t a*ter t%e Sack o* Rome in 152F)

3 7st le i4tus +7 remained in vo "e t%ro" %o"t t%e ponti*icate o* .lement V,,, and even to a certainextent d"rin t%at o* Pa"l V- an academic ultima maniera C a manner @%ic% i not anti- anneri t and revol"tionar? in t%e en e o*t%e ne@ art o* .arava io and t%e .arracci! $"t tend to@ard dissolving *annerist comple4ities/it%out abandoning *annerist !ormalism(o*ten $l"nt and pede trian! on occa ion even a"d? and v"l ar! t%o" % not in*reB"entl? relieved $? anote o* re*ined cla ici m)

%omeni&o 'ontana (15HI-16

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A%ree major ta k o* t%e o**icial patrona e in Rome :t :eter7s &at%edral ! t%e&appella :aolina in S& aria a iore! t%e ;uirinal :alace

1) t%e completion o* St Peter - t%e reate t pro$lem *acin Pa"l VCarlo +a erno - *acade and nave *ini %ed in 1612! .on*e io in 1615K16

-mrogio Bon.i&ino ( ilan) - Pa"l V principal c"lptor in St Peter(.%ri t %andin t%e 'e? to St Peter - over t%e central entrance to t%e c%"rc%)*io.an Battista /i&&i (9ovara) - *re coe in t%e .on*e io and t%e t"cco decoration o* t%e portico

-errabosco - clock-to@er (p"lled do@n @%en /ernini $"ilt %i colonnade )

2) t%e .appella Paolina in S& aria a iore - 'laminio Pon,ioa more co%erent idea o* o**icial ta te t%an St Peter ! *ollo@in t%e model o* t%e .%apel o* Sixt" Vt%e tom$ o* .lement V,,, and Pa"l V @it% t%e tat"e o* t%e pope "rro"nded $? painterl? narrativerelie* ( Silla a Viggiu and ot%er )Paintin - t%e compromi e c%aracter o* Pa"l V polic?( anneri t ! tran itionali t and moderni t @orkin ide $? ide):Ca.aliere 0-rpino - t%e pendentive o* t%e dome and t%e l"nette a$ove t%e altar!

Lu o.i&o Cigoli - t%e dome!*ui o /eni - ten maller *re coe in l"nette *lankin t%e @indo@ !

Passignano - t%e acri t?!*io.anni Baglione and Bal assare Cro&e ! and Lafran&o

I) t%e L"irinal Palace C 'laminio Pon,io M Carlo +a erno7 ala 'egia7 (no@ 7 ala de &ora ieri7 )! decorated in 1616-1F -gostino Tassi2 Lanfran&o and Carlo Sara&eni &appella dell7+ and 3nni$ale de ippi +illa *edici on t%e :incio )

+illa *ondragone at -rascati ! $? artino on %i! enlar ed $? Vasan,io (161H-21)

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Cara.aggio0s an -nni3ale Carra&&i0s Supporters

*arc%ese +incen o iustiniani (1564-1637.arava io St att%e@t%e /olo ne e.ri to*oro Roncalli (called Pomarancio! a p"pil o* t%e older 9icolo Pomarancio)

Car inal 'ran&es&o +aria el +onte.arava io earlie t patron! de cri$ed a a kind o* eccle ia tical mini ter o* t%e art in Rome.ri to*oro Roncalli and 0a pare .elio ($ot% *avo"red $? t!e "rescenzi brot!ers ! re pon i$le *or .arava io ettin t%e

commi ion *or t%e .ontarelli .%apel)

Car inal 4 oar o 'arnese3nni$ale .arracci

Car inal Pietro -l o3ran ini .lement V,,, nep%e@ and ecretar? o* tate! *or a time t%e mo t in*l"ential man in Rome! and t%e political anta oni t o*doardo arne e.avaliere d 3rpino

+onsignor *io.anni Battista -gu&&hi ! Arattato della Pitt"ra +onsignor *io.anni -ntonio +assani'ran&es&o -ngeloni

The ne Chur&hes an the ne I&onography

,l 0e " - t%e mot%er c%"rc% o* t%e +e "it order ! t%e t?pe o* t%e lar e con re ational c%"rc% in t%e 1Ft% cent"r?

.%ie a 9"ova (S& aria in Vallicella)S& 3ndrea della ValleS& , na#ioS& .arlo al .or oS& .arlo ai .atinariS& .arlo alle L"attro ontane

S& aria della Scala (in Ara tevere)S& 9icolo da AolentinoS& 0i" eppe a .apo le .a eS& /ernardo alle AermeS& S" anna

S& aria della VittoriaS& 3ndrea delle ratteSS& Arinita de Pelle rini

S& aria del S"**ra ioS& aria i$eratrice

SS& 9ereo and 3c%illeoS& 9iccolo in .arcereS& .ecilia

S& rance ca RomanaS& .ri o onoS& Se$a tiano *"ori le "raSS& L"attro .oronatiS& aria in Ara tevere

.%apel :

o* .ardinal .aetani in S& P"den#ianao* t%e 3ldo$randini in S& aria opra inervao* .ardinal Santori in t%e ateran

o* t%e /ar$erini in S& 3ndrea della Valle

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Paul Brill - a ke? po ition in t%e proce o* a imilatin lemi % land cape paintin in ,tal?D %i earl?lemi % manner c%an ed con idera$l?! *ir t "nder in*l"ence o* *u iano and later -

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ologna - d"rin t%e la t decade o* t%e ixteent% cent"r? /olo na ained a leadin po ition in art! d"eentirel? to t%e exertion o* t%e t%ree .arracci:

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i % Renai ance! @%ile at t%e ame time %e ave %i *i "re a c"lpt"ral B"alit? and palpa$ilit? @%ic%@ill $e o" %t in vain d"rin t%e i % Renai ance! $"t @%ic% con*orm to t%e eventeent% cent"r?*eelin *or ma and text"reSome o* t%e tep $? @%ic% 3nni$ale arrived at t%i important p%a e o* %i development:

t%e c%aracter o* %i late /olo ne e @ork contin"ed to $e pre-eminientl? Venetian ri %t to %i depart"re*rom /olo naD %e moved a@a? *rom .orre io to@ard olidit? and clear de*inition o* attit"t"de andexpre ion and to@ard an impre ive tr"ct"ral *irmne o* t%e @%ole canva

A%e Cru&ifixion ! 158I! /olo na! S 9iccolo-%i anneri t $e innin

A%e Baptism of Christ ! 1585! /olo na! S 0re orio-t%e .orre ie B"e B"alit?! alt%o" % colo"ri ticall? and *ormall? %e i till tr" lin a ain t t%e olderconventionG*rom t%en on! %e "rrender increa in l? to .orre io colo"r and emotional *i "re conceptionGAitian and Verone e $e in to replace .orre io:*rom t%e Lamentations o.er the Bo y of Christ (in Parma and /rid e@ater o" e) to t%e -ssumptionof the Virgin o* 158F! 4re den(Aitian dramatic colo"r contra t replace t%e li %ter Parme e tonalit?! and Venetian compo "re andravit? .orre io impet"o" en i$ilit?)Ccompare t%e -ssumption o* 15=2 (/olo na! Pinacoteca) @it% t%e earlier ver ion o* t%e ame "$jectVirgin ith St John2 St 'ran&is2 an St +atthe o* 1588! 4re den - alread? e entiall? Venetian! at%e a ?mmetrical! Verone e-like compo ition immediatel? revealO in pite o* .orre io red"ced in*l"ence! %i c%arm and race pervade t%e pict"re! and t%e.orre ie B"e component remained noticea$le even in 3nni$ale Roman ?ear

4 V,. .3RR3..,

3*ter t%eir common anneri t $e innin ! t%e .arracci developed in a di**erent direction:alt%o" % *or t%e %eer vol"me o* t%e *i "re and t%e immediac? o* t%eir pre ence t%e t@o co" in *orm%ere in t%e earl? ninetie @%at mi %t $e called a 7united eicento !ront7 ! t%e pirit in*ormin 3nni$aleart i clo er to t%at o* t%e Renai ance ma ter t%an to odovico ! *or 3nni$ale lack odovico intenseemotionalism?-t%e approac% to colo"r:3nni$ale! con*ormin to t%e Renai ance tradition! " ed li %t and %ade primaril? to tre *orm andtr"ct"re! @%ile odovico created pattern o* li %t and dark o*ten independent o* t%e "nderl?in or anic*orm! and %e even acri*iced clarit? to t%i colo"ri tic principle! @%ile t%e $a ic B"alit? o* cla ic art!namel? clear de*inition o* pace and *orm! meant ver? little to %im(o@in m"c% more t%an 3nni$ale to t%e t"d? o* Tintoretto ! in @%o e pict"re one *ind t%o e $rilliantand "dden %i %li %t! t%e irrational *licker @%ic% conve? emotion and a en e o* m? ter?)O t%e *ore ro"nd ta e and $ack ro"nd cener? are o*ten "nrelated(in t%e &ento altarpiece t%e colonnade look like an added piece o* ta e propert? and t%e acol?te

$e%ind St ranci emer e *rom an "nde*ined cavit?)GA%e di**erence $et@een 3nni$ale and odovico a t%at $et@een t%e .la ical and t%e /aroB"e -odovico at t%e $e innin o* t%e ninetie %ad evolved a painterl? /aroB"e manner in contradi tinction to3nni$ale temperate cla ici m

A%e 7oly 'amily ith St 'ran&is ! 15=1! .ento! " eo .ivico

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- little in common @it% Titian ! a a compari on @it% t%e :esaro *adonna ma? %o@(t%e mere $"lk and @ei %t o* odovico *i "re make %i @ork di**erent in e ence *rom an?Renai ance paintin )- t%e emp%a i on e t"re and lance:all t%e re i ter are p"lled to dra@ t%e $e%older into t%e pict"re:*acin t%e Vir in! a doe St ranci ! t%e $e%older can ima ine %im el* kneelin directl? $e%ind t%eaint:t%e clo e vie@point %elp to $reak do@n t%e $arrier $et@een real and painted pace and! at t%e ametime! t%e tron sotto in su en "re t%at t%e Vir in and .%ild! in pite o* t%eir nearne ! remain in a @orldremoved *rom t%at o* t%e $e%older (@%ile$itian %a done ever?t%in to "arantee t%e inviola$ilit? o* t%e pict"re plane and! compared @it%odovico ! %i *i "re %o@ t%e re traint and aloo*ne o* a c"lt ima e)

A%e +a onna ei Bargellini ! 1588 and A%e Prea&hing of St John ! 15=2 ($ot% /olo na! Pinacoteca) -alt%o" % e entiall? Venetian @it% .orre ie B"e overtone (in t%e St +o%n %e *ollo@ed Verone e *ort%e compo ition and Aintoretto *or t%e li %t) odovico @%ole trend in t%e e ?ear i to/ards t%ecolossal, t%e passionate, dramatic, and %eroic, to/ards ric% movement and surprising and capriciouslig%t e!!ectsCa@a? *rom Venice and to@ard t%e t?le o* .orre io *re co in t%e dome o* Parma .at%edralGt%e principal doc"ment o* t%i tendenc?:

A%eTransfiguration ! 15=I! /olo na! PinacotecaA%eCon.ersion of St Paul ! 158F-=! /olo na! PinacotecaA%e'lagellation ! 15=H-5! /olo na! PinacotecaA%eCro ning ith Thorns ! 15=H-5! /olo na! PinacotecaA%e St 7ya&inth ! 15=H ! Pari ! o"vre

Qit% advancin a e! and a*ter t%e depart"re o* %i co" in *rom /olo na! odovico @ork $ecame $?de ree retro re ive! and ome o* %i late pict"re %o@ a ret"rn to patentl? anneri t principle O anota$le decline in t%e B"alit? o* %i art:

A%e +eeting of St -ngelus ith St %omini& an St 'ran&isA%e +artyr om of St -ngelusA%e St /aymon al8ing o.er the sea (all t%ree 163 en e *or decorative pattern ! emotionali m and t%e painterl? /aroB"e approac% to colo"r and li %t - potentialitie ea erl? ei#ed on $? ma ter o* t%e next eneration! partic"larl? an'ranco and .uercino( odovico in*l"ence on t%e *ormation o* t%e t?le o* t%e ?o"n er /olo ne e ma ter ! mainl? %i earliermanner "p to a$o"t 16

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%//I0% $ "%&&%""I (2

,t i evident t%at odovico @a not t%e man to lead paintin $ack to cla ical poi e and mon"mentalt? -"c% B"alitie @ere mani*e t in 3nni$ale @ork o* t%e 15=< and @ere even implicit in %i pict"re o*t%e 158