Chapter 15
Drama and Light: Mannerism, The Baroque, and Rococo
Instructor’s Manual
Overview
In this chapter, introduce Mannerism, Baroque and Rococo. Speak to how each of these artistic
movements were inspired by the Renaissance and, also, how they abandoned some of the visual
ideals of the Renaissance.
Sub Headers
• Mannerism
• The Counter-Reformations and Tintoretto
• The Baroque Period
o El Greco
o Caravaggio and Naturalism
o Artemisia Gentileschi: The Spread of Tenebroso
o Bernini
o Baroque Naturalism in Spain: Velázquez
• The Baroque Period in the North
o Rubens
o The Dutch Republic
o Rembrandt
• The Baroque in France
o Louis XIV and Versailles
o The Rococo in France: The Aristocracy at Play
Terms
alla prima
Baroque
chiaroscuro
Classicism
Mannerism
piazza
Rococo
serpentinata
tenebroso
2
Lecture #1
Discussion:
Begin Lecture #1 by discussing the opening section, “Timeless Links: Love and Romance.”
Since as far back as there has been art, love and romance have been some of the most popular
subjects. Discuss with students some of the works of art covered in the chapter, and look at the
differences in how artist portray these timeless themes. Continue Lecture #1 by reviewing
Mannerism and the Baroque period. Emphasize the artists: Parmigianino, El Greco, Caravaggio,
Artemisia Gentileschi and Bernini. Speak to the visual goals of the Mannerist and to the use of
dramatic light in the Baroque period.
Class Questions/Prompts:
Caravaggio Michelangelo de Merisi, more commonly known as Caravaggio, lived a
controversial life, which extended to his paintings as well. After arriving in Rome as a teenager,
Caravaggio worked as an assistant before branching out on his own. He was introduced to
Cardinal Francesco del Monte, who gave Caravaggio his first major commission for the Matthew
Cycle at the church of San Luigi dei Francesi. His work was naturalistic and dramatic. It was
criticized for many reasons—for the dramatic use of light, for the direct application of paint to
the surface without using underpainting, and most especially for the inclusion of common
models plucked off the streets of Rome to depict religious subjects. His personal life was no less
controversial—he often got into fights, had a long history of run-ins with the law, and even killed
a man for a dispute over a tennis match. He fled Rome in 1606 and was on the run for four years,
staying in places such as Sicily, Naples, and Malta while awaiting a pardon from the Pope. While
he did receive clemency, he died before the official notice came, alone and penniless. His
artwork had considerable influence on the painters of the Baroque, such as Orazio and Artemisia
Gentileschi, Jose de Ribera, and Georges de la Tour, and his works continue to inspire artists of
today. Discuss Caravaggio’s works, such as The Supper at Emmaus (figure 15-5) and The
Conversion of St. Paul (figure 15-6) in addition to works in the Matthew Cycle, The Beheading
of St. John the Baptist, and The Crucifixion of St. Peter. Explore the mood of the works and why
his work would be considered so controversial.
Multiples of Judith Artemisia Gentileschi’s most well-known work is Judith and Her
Maidservant with the Head of Holofernes (figure 15-7). Artemisia, however, created many
different versions of Judith throughout her career. Show as many of these as possible and
describe when each scene was taking place in the story of Judith with the Assyrian general
Holofernes. Which painting do you find most effective? Caravaggio also created a painting with
the Judith theme. Compare Caravaggio’s work Judith Beheading Holofernes from 1598 with
Artemisia Gentileschi’s Judith Beheading Holofernes from 1611–1612 and Judith and Her
Maidservant with the Head of Holofernes c. 1625. How does Caravaggio portray Judith?
Contrast with Artemisia’s portrayal of the Israelite heroine.
Art, Love, and Romance Divide students into four or five groups. Assign each group one of the
works discussed in the Timeless Links section. Have each group discuss how the artist captures
the essence of love and/or romance in the work they are assigned and whether they feel the artist
has a positive or negative outlook with regard to this topic.
3
Exercise #1
1. Analysis
a. Have students make observations on materials, methods, cultural and
historical context.
Figure 15-1 Parmigianino, Madonna dal Còllo Longo, c. 1535. Oil on wood.
Florence, Italy.
2. Compare and Contrast
Figure 15-3 Tintoretto, The Last Supper, 1594. Oil on Canvas. Venice, Italy.
Figure 15-5 Caravaggio, The Supper at Emmaus, c. 1598. Oil on Canvas. London,
United kingdom.
Lecture #2
Discussion:
In Lecture #2 discuss the Baroque period in the North and the Baroque period in France.
Emphasize the artists: Peter Paul Rubens and Rembrandt. Discuss the cultural and political
context of the Baroque periods. Highlight the artistic developments in painting with a focus on
portraiture.
Class Questions/Prompts:
Rembrandt’s Self-Portraits Rembrandt van Rijn painted dozens of self-portraits from the
1620s to his death in 1669. View at least 10 of Rembrandt’s self-portraits from throughout his
life, making note of portraits done prior to 1642, when Rembrandt’s wife Saskia died, and the
portraits done after 1660, when Rembrandt goes bankrupt. Describe the mood and the
personality of Rembrandt. How did he change over the course of his life?
Exercise #1
1. Analysis
a. Have students make observations on materials, methods, cultural and
historical context.
Figure 15-19 Peter Paul Rubens, Garden of Love, c. 1632–1634. Madrid, Spain.
2. Compare and Contrast
Figure 15-23 Frans Hals, Malle Babbe (Mad Babbe), c. 1650. Berlin, Germany.
Figure 15-26 Rembrandt van Rijn, Self-Portrait, 1659. Munich, Germany.