An Era of High Drama: Baroque Art and Artists
Feb 17
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Recently, I had the privilege of leading a virtual workshop on Baroque art and writing for Three Panels Press. It was an incredible experience to hear participants’ insightful questions and witness how they interpreted the artworks from their own perspectives. During the session, we delved into the masterpieces of three legendary artists—Gian Lorenzo Bernini, Diego Velázquez, and Michelangelo Merisi da Caravaggio—exploring some of their iconic works of art. If you know me, you know that I’m passionate about the Baroque era, especially the art of Caravaggio because of the high drama and dynamic pieces that came from this era. The energy of discussing, analyzing, and writing about these extraordinary pieces left me genuinely inspired. In fact, it was this workshop that sparked the creation of this blog. Here, I’ll share some insights into the artists and the masterpieces we examined together.
The Baroque Era
“Baroque was the dominant style in art and architecture of the seventeenth century, characterized by self-confidence, dynamism and a realistic approach to depiction” (Tate UK). The Baroque era was at its height in the 1600s, and it started in Rome. This era was associated with Catholic Counter-Reformation, so many artworks have religious themes, though many are non-religious, such as still life and portraits. Some words used to describe this era include sensuous richness, drama, dynamism, and tension, among other words. The art of this era was also highly realistic, drawing viewers into scenes and making them feel as though they were witnessing actual events. There are many talented artists from the baroque time period. Let’s talk about a few of them.
Bernini
Gian Lorenzo Bernini was born in the late 1500s. He was known for his sculptures and architecture. What truly put him on the map was some of his commissioned work by Cardinal Scipione Borghese for his villa in Rome. Some of his famous sculptures include Apollo and Daphne (1622) and The Ecstasy of Saint Teresa (1642), both of which I’ve had the pleasure of seeing in person. In the workshop I led, we looked at his sculpture of Saint Teresa, which is made of marble and gilded stone. Bernini was inspired by one of the visions that Saint Teresa wrote about, where she described a spiritual encounter with an angel who plunges a golden spear into her heart. It’s truly gorgeous. One workshop participant commented on Saint Teresa’s expression in the sculpture, how she’s almost like “bring it on,” ready for the angel to pierce her. If you didn’t know, Bernini was also a painter. He created several self-portraits that give a nod to Velázquez’s style and use of tenebrism (which is a technique that uses contrasts of light and dark). Speaking of Velázquez, let’s talk about him next.
Velázquez
Diego Velázquez was also born in the late 1500s. Portraits were his bread and butter, though he painted other scenes, as well. He started as an apprentice to painter Francisco Parcheco. He was a court painter, painting for kings and, eventually, being appointed to knighthood. I’ve not had the pleasure of seeing any of his paintings in person (one day, I hope) but I remember reading that Picasso created a whole series of paintings based on Velázquez’s Las Meninas (1656) painting. During our workshop, we took a look at Las Meninas by Velázquez, which is an oil painting with lots going on. Las Meninas means ladies in waiting. The focal point is a young princess surrounded by her entourage. Here, we get a self-portrait of Velázquez near the large canvas, prepared to paint. We also have many of the figures in the painting staring out at the viewer. When you look closer, though, you can see that there are two figures in the mirror in the back, the king and queen. There’s a bit of a debate as to whether the king and queen are physically there and the ones actually being looked at or if they’re a reflection of the painting Velázquez is working on. There’s also a dog in the picture. From what I recall from art history class, dogs were often used in paintings as symbols of fidelity. Fun fact, Velázquez was inspired by Caravaggio and his naturalism in paintings, which is who we’re discussing next.
Caravaggio
My personal favorite artist of all time, Caravaggio, was also born in the laste 1500s. He was trained in Milan and active in Rome. I’ve had the pleasure of seeing quite a few of his paintings in person. The one that solidified my love for him is Saint Jerome Writing (1605-06). He lived an interesting life, often in trouble with the law, painting saints in a way that upset the churches (painting saints with dirty feet was a big no-no), and more. He spent the final years of his life on the run because he got into trouble. The man had some demons, and I’m pretty sure it influenced his work. He has had many followers, known as Caravaggisti. I once went with my art history professor to a Caravaggisti art show while studying abroad in Europe. I can usually tell that a painting was done by him or one of his followers if they’ve implemented the Chiaroscuro technique (a technique Caravaggio often used in his work that literally translates to light dark). The painting that we talked about in the workshop is Judith Beheading Holofernes (1599). We had a deep conversation about who the figures were and the biblical story that inspired the painting. It’s a very gory scene. Judith gets Holofernes drunk and then beheads him to save her people from destruction. What’s so striking about this painting is the use of light, chiaroscuro technique, and the vibrant red (which is something I see often in Caravaggio’s paintings). I like Artemisia Gentileschi’s version of this painting, too. Judith seems to be tense in Caravaggio’s depiction, a little unsure. However, in Gentileschi’s version, she seems very sure of her actions.
Reflecting on the Era
As I reflect on the workshop, I’m reminded of how much these artists continue to inspire and challenge us. The Baroque era, with its drama, emotion, and stark realism, offers a rich tapestry of stories that are just as relevant today as they were centuries ago. Each piece, from Bernini’s dynamic sculptures to Caravaggio’s intense use of light and shadow, reveals something profound about the human experience.
For me, personally, the baroque time period feels very raw. It makes me want to learn more about the meaning behind many of the photos. I want to travel and see all of the marvelous pieces. I feel deeply drawn to and connected with the work and the high drama within many of the pieces. There’s a soul connection I have with these pieces, for a reason unknown to me.
I hope that by sharing this experience and these insights with you, I’ve sparked a renewed appreciation for the artistry of the Baroque period. Maybe you’ll go down a rabbit hole on YouTube or find some books about the era to learn more because, as I told workshop participants, we have barely scratched the surface. Whether you’re a lifelong art lover or just beginning to explore, I encourage you to keep diving into these masterpieces. There's always more to discover—layers of meaning, stories waiting to be uncovered, and emotions to be felt.
Thank you for joining me on this journey through the Baroque. Until next time, keep looking, keep questioning, and keep being inspired by the art that surrounds us.
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I am not an art historian and appreciate these sources for the wealth of information that helped me in creating this blog.
Sources:
https://www.metmuseum.org/essays/gian-lorenzo-bernini-1598-1680
https://www.britannica.com/biography/Gian-Lorenzo-Bernini/Patronage-of-Innocent-X-and-Alexander-VII
https://www.metmuseum.org/essays/velazquez-1599-1660
https://www.metmuseum.org/essays/caravaggio-michelangelo-merisi-1571-1610-and-his-followers
