Secular Subject Matter of the Baroque

Written By: Amayah Meas

For centuries leading into the Baroque period, the Renaissance dominated European society and culture. Beginning circa 14th century, the Renaissance was a rebirth of ancient Greek and Roman philosophy, art, and literature. The artistic style incorporated these values while taking inspiration from the Classical past and focused on depicting idealized yet somewhat realistic religious figures and scenes from scripture. Around circa 17th century, the Baroque period began, which also focused on presenting religious scenes, yet in a unique way than the Renaissance. Using dramatic elements and techniques, artists of the Baroque period aimed to evoke symbolic meaning and emotional reactions from the spectator, making them feel as if they were in the same realm as the subject matter.

Perhaps due to increased access to greater brushes and paints, Baroque artists were able to depict meticulous detail of facial expressions to a level more complex than that of the Renaissance. Branching off the idea of an increased societal interest in scholarship and science, The Anatomy Lesson of Dr. Nicolaes Tulp painted by Rembrandt Van Rijn in 1632 depicts a genre scene in which Dr. Tulp teaches seven curious and awestruck men about the human anatomy with a physical diagram of the muscles of a cadaver’s arm, a typical scholarly activity (Zygmont). Tenebrism is a common technique used throughout Baroque paintings – the intense chiaroscuro distinguishes the focal point of the subject matter with a spotlight that appears to be coming from the world of the spectator. The cadaver’s parallel position to the picture plane sets him apart from the others, and the luminosity of his body identifies him as the focus (along with his dissected arm drawing the most attention). Dr. Tulp can be identified as a secondary focal point. His authority is implied by being the only man with a hat and pointing to the arm as he lectures to the others. The details of each man’s facial expression are so intricate that they project deeply personal and psychological emotions, and the two men in the background make eye contact with the viewer, contributing to that intimate experience for the spectator.

The Anatomy Lesson of Dr. Nicolaes Tulp

Rembrandt Van Rijn

1632

Oil on canvas

Dutch Baroque

Another genre of painting popularized during the Baroque period was still life: paintings with subject matter consisting of ordinary inanimate objects. Artist Pieter Claesz was known for his wide range of still life paintings, specifically vanitas paintings, ones where the subject matter intended to symbolize themes relating to mortality and the transience of life. Claesz’s Vanitas Still Life painted in 1630 consists of numerous objects relating to such a theme. The skull (the focal point of the painting highlighted by a light source from the up left corner) is distinguished by subtle tenebrism and serves as a memento mori, a symbolic trope commonly used to remind spectators of their inevitable death. The time piece in the foreground similarly represents the theme, as if time were ticking down until one’s life is up (literally). The quill, paper, key, and toppled cup are common items in everyday life, their cluttered composition relates to the realistic connection of the viewer in Baroque style painting.

Vanitas Still Life

Pieter Claesz

1630

Oil on panel

Dutch Baroque

In circa 1634, Diego Velázquez painted a history painting called The Surrender of Breda, showing the close interaction between the Dutch and Spanish militaries. The landscape depicts what appears to be the end of a war as clouds of smoke dissipate into the blue sky. Numerous assumptions can be made about the two groups; the Dutch on the left seem disorganized and few in number while the Spanish on the right is orderly and dominant in number (due to the excess of spears flowing into the distance)(Berzal). Velázquez’s use of earth tones and soft exposure present the painting in a very naturalistic manner. A few soldiers from both sides are slightly highlighted and make eye contact with the spectator, creating an experience as if they were present in the scene.

The Surrender of Breda

Diego Velázquez

c. 1634

Oil on canvas

Spanish Baroque

In multiple genres of painting, artists were able to depict realistic subject matter with elaborate detail in the Baroque period. Baroque style is distinguished from that of the Renaissance because of the dramatic lighting techniques and compositions designed to include the spectator in the experience. By expanding on past concepts and historical periods, artists were able to evolve the art world and transform it to capture more themes.

References

Artst. (2021, September 5). Renaissance vs baroque art - what's the difference? Artst. Retrieved December 3, 2021, from https://www.artst.org/renaissance-vs-baroque-art/.

Encyclopædia Britannica, inc. Vanitas. Encyclopædia Britannica. Retrieved December 4, 2021, from https://www.britannica.com/art/vanitas-art.

Khan Academy. Velázquez, the surrender of Breda (article). Khan Academy. Retrieved December 3, 2021, from https://www.khanacademy.org/humanities/renaissance- reformation/baroque-art1/spain/a/velzquez-the-surrender-of-breda.

Tate. (1970, January 1). Vanitas – art term. Tate. Retrieved December 4, 2021, from https://www.tate.org.uk/art/art-terms/v/vanitas.

Zygmont, D. B., & Zygmont, D. B. Rembrandt, the anatomy lesson of dr. Tulp. Smarthistory. Retrieved December 3, 2021, from https://smarthistory.org/rembrandt-anatomy-lesson- of-dr-tulp/.