Quadratura and the Baroque

I am very excited because I am leaving next week to travel around Italy for two weeks.  One of the works I am looking forward to seeing again when I am in Rome is Andrea Pozzo's ceiling fresco: The Triumph of Sant' Ignazio in the church dedicated to the Saint.  In fact Art History Blogger readers may notice that I have used this work as the image behind my blog header for the reason that it is such a dynamic painting.

Pozzo (1642-1709) was an Italian Baroque painter and architect as well as a lay brother in the Jesuit order.  Due to this he was commission to create art for several Jesuit churches, both in Italy and in Vienna.  The Triumph of Sant' Ignazio is an enormous fresco, which covers the ceiling of the entire nave and perhaps the best known example of quadratura.

Andrea Pozzo,Triumph of Sant' Ignazio of Loyola, 1691-94
(Allegory of the Missionary Work of the Jesuits)

Ceiling fresco, Chiesa di Sant' Ignazio, Rome

Quadratura is a specific style of trompe-l'oeil painting which incorporates architectural elements into the work to create a convincing illusion of the expansion of the actual space into an imagined space.  In this case the painter used the actual clerestory windows (see bottom image) and painted around them.  Of course the viewer does know that the church ceiling isn't open to heaven above, but it is hard to gauge the depth of the ceiling in person or to know if the ceiling is curved.  In fact the nave ceiling of Sant' Iganizio is completely flat, but Pozzo does a very good job at creating the illusion of great depth.

Oculus from the Camera degli Sposi (wedding chamber)

Andrea Mantegna, 1465-74

fresco, Palazzo Ducale, Mantua, Italy

Quadratura had been used in a few early examples, but reached its height of popularity during the Baroque, particularly in Italy but also elsewhere in Europe.  A well known earlier example is this ceiling fresco by Mantegna created in the 15th century.  However unlike the Pozzo work, this is small and playful rather than dramatic. 

Quadratura was the perfect style of painting to tie in with the qualities in art that are associated with the Baroque: drama, theatricality, dynamic, full of excess and grandeur. 

Annibale Carracci, Triumph of Bacchus and Ariadne, begun 1597

Farnese Gallery, Rome

In 16th century ceiling paintings, such as this example by Carracci in the Farnese Gallery, there were some elements of trompe-l'oeil such as the painted cornice as a frame and the four figurative "sculptures" in the corners.  However this is not considered quadratura as Carracci wasn't attempting to create the illusion of another space that didn't exist. Viewers were meant to be delighted and amused by his work rather than awed.  The viewer would instantly recognize a painting, the figures existing in their own space.

Pietro da Cortona, The Triumph of Divine Providence, 1633-39

 Palazzo Barberini, Rome

 Another example is Pietro da Cortona's The Triumph of Divine Providence (seen below) in the Palazzo Barberini in Rome.  The subject matter is the triumph of the reign of Pope Urban VIII.  Here the viewer could see the painting as an extension of their own space.  In person it is difficult to tell which architectural details are real and what are imagined.

 Triumph of Moderation, ceiling fresco (1731) Paul Troger 

Quadratura painting around the perimeter, Gaetano Fanti

Melk Abbey, Austria

 

One reason that the style spread was through a book on painting that Pozzo wrote in Latin which was later translated into German, Tractatus Perspectivae Pictorum et Architectorum.

Later versions of quadratura were used in the 18th century in Germany and Austria and began to use lighter and brighter palates more fitting to the new Rococo style.  One such example is the quadratura painting of Fanti in the Melk Abbey, Austria (above).  The painter Giovanni Battista Tiepolo (1696-70) also created many ceiling frescos and paintings meant for ceilings, such as the example below.  

Allegory of Merit Accompanied by Nobility and Virtue, Giovanni Battista Tiepolo

1757, ceiling fresco, Ca' Rezzonio, Venice

While Tiepolo did use quadratura in his enormous ceiling fresco in the Wurzburg Residenz in Germany, his typical use of quadratura was more like the earlier Renaissance style.  His paintings were created to amuse the viewer, the opulent style and dramatic compositions of the Baroque now replaced with the playfulness of the Rococo.

Learning About Steinway Grand Pianos

It can be hard to make choices. Some are easy, such as saying 'no' to drugs. Some are hard, such as choosing whether or not to put your dog down when he is sick. As we move through life, choices get more and more difficult as we become older and older. Once you buy your first house, the choices become even more difficult. Should you get this paint or that? Two bedroom or three? And what if you are trying to choose the musical instrument that your child will play? Well, that one has an easy answer. You should go with a grand piano.

And not just any regular one. You need to go for the best so that your child will push themselves to be number one as well. Even if you are just buying this for yourself or for a concert music hall, you want the best. That means you want a Steinway. There are several different types of Steinways that you should consider.

The biggest Steinway grand piano is a concert grand. It tops out at eight feet and eleven inches of pure beauty and rich tones. If you are on your way to being a concert pianist, this is the instrument for you. It is the favorite of musicians worldwide and will look impressive in any concert hall. A size down from the concert Steinway is the Music Room Steinway. This has often been given the title "the perfect piano." It measures at six feet eleven inches and is perfect for the room in your house that you have been meaning to turn into a music room. Also, if you are planning on providing piano lessons from your house, this is the perfect teaching piano. It provides the same rich tones as the concert, just on a smaller, more intimate scale.

If the Music Room Steinway is still a tad too big for you, you can always choose the Parlor Room Grand Piano. This one has the tried and true rich tones of a Steinway but the piano has been scaled down to offer the sound in a smaller container. It measures 6'2" and, since this instrument is smaller, it is perfect for the family who wants to buy it and put it in a small sitting room. Close in size to the Parlor Room Steinway is the Living Room Steinway. Measuring in at 5'10", this model produces rich bass tones that are far beyond what one would expect from such a small frame. It will easily fit into your house and still provide you with Steinway quality.

The last two types of Steinway grand pianos are the Medium Steinway and the Baby Steinway. The Medium tops out at 5'7" and can often be found in music schools and conservatories. There is nothing mediocre about its sound, though, and you will not be disappointed. The Baby tops out at five feet and is small enough to fit into nearly any room. It will still deliver the rich sounds you have come to expect from a Steinway and is easily the logical choice for anyone looking for an affordable, small but amazing Steinway.

Ancient Roman Wall Painting

The visual arts in ancient Rome included a long history of wall painting and much of what we know about it comes from the excavated ruins of Pompeii and the smaller nearby town Herculaneum.  Roman painting in general did not survive however the eruption of Mount Vesuvius near Naples in 79 AD buried the towns in volcanic ash, which served to preserve these works of art.

Rather than having windows, Roman homes were built around a central courtyard, therefore wall painting was both decorative and served the purpose of visually expanding the interiors.  They were expensive to commission and primarily found in the homes of the wealthy.

 
 

Dionysiac Frieze,Villa of the Mysteries, Pompeii, Second Style, 60-50 BC

While there was quite a variety in subject matter, Roman wall painting is generally broken down into four main types.Eve D’Ambra in her book Roman Art describes each of the types as follows*:

-The First Style, also known as the Masonry Style, represented walls dressed with faux paneling of marble and other stones (200-80 BC).

-The Second Style opened up the wall with architectural vistas (80-20 BC).

-The Third emphasized the decorative architectural frameworks and created the illusion of pictures hanging on the wall (20 BC-40 AD).

-The Fourth incorporated many elements of the Third Style (40-79 AD) to represent textile patterns of wall hangings or views of vaguely defined architectural forms that seem to hang in space, together with mythological panels and floating figures.

In this blog post we will look at some examples of each of these styles.

Roman Wall Painting- First Style (200-80 BC)

Herculaneum: First Style, painted wall decoration, 2nd Century BC

The above is a classic example of First Style wall painting with large rectangular areas painted to look like colored marble or stone.  In these there was no further decoration or narrative and as said above this was also referred to as the Masonry Style.  This style dominated Roman wall painting for over a century before it was replaced by the entirely different Second Style.


Roman Wall Painting- Second Style (80-20 BC)

Below right

Cubiculum from the Villa of Fannius Synistor

Boscoreale, Second Style, 40-50 BC

Above left:

Walled Garden, House of Livia at Prima Porta,

Palatine Hill, Rome, Second Style, late 1st century BC

This style began around 80 BC and here we start to see a trompe l'oeil affect.  Wall paintings are now being used to "create" windows with imaginary views into towns and gardens, or to create columns and other architectural elements. 

Let's look at our two examples above, the one on the left was from the House of the Empress Livia, wife of the Emperor Augustus.  Shown is one section of a wall, this effect continued throughout the room, thus the wall painting is used to give the illusion of an open space.  The other example, found at the Villa of Boscoreale near Pompeii, creates a cityscape outside of an imaginary window.  

Both versions use the entire wall space and include painted marble "columns" to enhance the visual effect that these are real spaces.

A completely different type of Second Style wall painting can be found in the Villa of the Mysteries in Pompeii, so named for its interesting painting of individuals performing an unknown series of rituals in the triclinium (formal dining room).

Villa of the Mysteries, Pompeii. Dionysiac Frieze, north wall, left side: 

Draped Woman, Woman and nude Boy, Girl with an offering plate, 

and Figures around a table, Second Style, 60-50 BC

The meaning behind the paintings in this Villa have intrigued historians since they were excavated in the late 18th century.  Above is one section of the rituals, but the scene wraps entirely around the room and the life size figures are set against a vivid red background in an illusion of another interior space.  It is thought that the figures here are performing rituals associated into the initiation into the cult of the god Dionysus (Bacchus).  This type of figurative frieze was not as common as the typical Second Style wall painting had full size invented architectural elements.

Roman Wall Painting- Third Style (20 BC-40 AD)

Boscotrecase: Villa of Agrippa Postumus: Room 16: north wall 

Third Style, 11-7 BC

The Third Style of Roman wall painting was more comparable to modern day wallpaper, having a decorative effect.  It can also be seen as a type of painting gallery, alluding to the owner's taste in the arts such as in the above example found in Boscotrecase (also outside of Pompeii).  Though actual framed paintings from the ancient world have not survived they have been written about and it is assumed wealthy patrons had them in their homes.  In our example below, from the Villa of Marcus Lucretius a rather detailed landscape is shown.

Triclinium of the Villa of Marcus Lucretius,Third Style, Pompeii

This was a popular version of the Third Style, using some of these small framed "paintings" and placing them in regular intervals against a wall painted in a solid color, or in large areas of solid color with created architectural elements such as columns or cornices.

Roman Wall Painting- Fourth Style (40-79 AD)

The Fourth Style combines elements of the Second and Third Styles and expands upon both.

Pompeii: House of the Vettii: wall painting, Red occus early Fourth Style: 

det.: Apollo victorious over Python, 62-68 AD

As D'Ambra wrote, the Fourth Style "represents textile patterns of wall hangings or views of vaguely defined architectural forms that seem to hang in space, together with mythological panels and floating figures."*

Here we see a very wide variety in styles and designs, there are painted windows, columns and cornices of the Second Style, used in combination with the decorative elements and "painted pictures" of the Third.

Domus Aurea: Room of the Landscapes
Domus Aurea (Golden House of Nero), Rome, Fourth Style, 64-69 AD

As so many of these wall paintings were found in the Bay of Naples area due to their preservation in volcanic ash, the four styles of Roman wall painting end at 79 AD with the eruption of Mount Vesuvius.

For more information on this topic visit this link from the Met:

Metropolitan Museum of Art Heilbrunn Timeline of Art History Thematic essay

*D’Ambra, Eve. Roman Art. (New York: Cambridge University Press,1998) p. 140.

How Can Trance Beats Help To Shape Music?

Even in the most solo of efforts, music is always a collaborative effort. The musician takes his personal collective influences and transforms these into sound, or music. Trance music, specifically was introduced as a genre of music in Frankfurt, Germany in 1993 and is primarily computer generated, although it is often manipulated by human beings. Trance is very popular in the "club scene" because much of the trance beats are designed to be very upbeat and motivating. When played in clubs, the preference is often to play the music on vinyl which gives the DJ the opportunity to manipulate the songs through bending and scratching the record and offering variance to the sound.

The "instrument" used in trance is the computer, which gives the music a very modern feel. Vocals may or may not be present, but when they are, it's usually a female voice with an operatic or ethereal quality that simply vocalizes rather than sings. However, ironically, it shares a lot in common with classical music, particularly the characteristic of repeating variations of short musical phrases throughout a piece. Most trance music, however, is much faster than typical classical music keeping a beat near 150 beats per minute. Many listeners are both captivated and uplifted by trance music.

While many people love trance music and love it on its own, it's not something everyone likes to listen to by itself. However, there are elements of trance beats that occur often within other kinds of music. One only has to listen to a few minutes of trance music to recognize that very similar beats have become the backdrop to many different pop and dance tracks as well as on film scores and music for television shows. Musicians and producers know the positive energy trance music brings to many people, and how it gives them an opportunity to feel and experience the music. Many musicians really embrace incorporating elements of trance sounds into their own.

Human beings have always had a fascination with music and their own ability to play and participate in music. Today, most of the music we listen to is played from digital files, and as a treat we may go to a club, a concert, or try playing an instrument ourselves. But of course, not everyone is musically gifted. With trance music, or other genres of music that features a trance beat there is an emphasis on making the listener a participant in the music, even if they have little talent.

Music and instruments are made from whatever we have available around us, and the things that are important to our lives. Our ears pique when we hear a cello in a rock band, or an electric guitar appearing in an orchestra. We crave "one-off" sounds that let us know music is still marching forward. With technology being such a driving force today, there is little doubt that elements of trance music will continue to infuse music of all genres for years to come.

The Other Sistine Chapel Frescoes

Michelangelo's Sistine Chapel Ceiling frescoes are among the most famous paintings in the world.  However the entire Sistine Chapel is covered in fresco paintings, the walls were painted nearly thirty years earlier by some of the most famous artists of the late 15th century.  

Pope Sixtus IV commissioned the frescoes for the walls in 1481 and asked that the Chapel be completed within a year (named the "Sistine" Chapel in his honor).  He chose to hire several successful fresco painters from Tuscany and Umbria.  The Florentines included: Domenico Ghirlandaio, Sandro Botticelli and Cosimo Rosselli (assisted by Piero di Cosimo).  From Perugia came Pietro Perugino (who was assisted by Pinturicchio) and Luca Signorelli who worked in both regions.

 The Calling of the Apostles Peter and Matthew, Domenico Ghirlandaio,

Sistine Chapel, 1481-82

The Calling of the Apostles moves away from the stylization of his Last Supper and towards the later style he would become known for.  Look at the two halves of the painting, the figures on the right side are painted in a rather stylized way, mostly in profile while the figures in the center and on the left side are more naturalistic.  This fresco is filled with details and uses atmospheric perspective so that the objects in the background are painted in blues and grays.  The painting is also rich in color, no expense was spared in the use of pigments.

Christ Handing the Keys to St. Peter, Pietro Perugino (with Pinturicchio)
Sistine Chapel, 1481-82

Pietro Perugino was a key figure in the Italian Renaissance and a painter who emphasized beauty and harmony in his work.  Pinturicchio was his student and his assistant and worked closely with him.  The style of Pinturicchio (and also of the early Raphael) was very similar to their master Perugino who brought a new sense of gracefulness to the High Renaissance.  Here he shows Christ handing the keys of the church to St. Peter, which was an appropriate theme for the chapel attached to St. Peter's Basilica.

This is both a very famous work of art and also was a very influential work of art for later painters.  Unlike some other paintings and frescoes done at this time which were in private villas or small chapels, St. Peter's and the Sistine Chapel received thousands of visitors from all over Europe and beyond.  Perugino's graceful handling of human figures, use of one-point perspective and inclusion of harmonious 15th century Italianate architecture within a Biblical story would influence a wide variety of future artists.

Temptation of Christ, Sandro Botticelli
Sistine Chapel, 1481-82 

The Pope requested ten frescoes from the Old Testament (painted on the south wall) and New Testament (painted on the north wall) as well as many papal portraits near the clerestory windows.  Botticelli painted three of the large frescoes and around seven portraits.  Some of the frescoes on the altar wall were removed in the early 1530's to make way for Michelangelo's famous Last Judgement fresco which now covers the entire wall.

 

The Testament and Death of Moses, Luca Signorelli
Sistine Chapel, 1481-82

Luca Signorelli is perhaps most famous for his fresco of the Antichrist in the Cathedral of Orvieto, but that wasn't painted until 1499.  This is a much earlier work from this artist who was active in Tuscany, Umbria and Rome.  This fresco uses continuous narrative to show several scenes from the life of Moses including: Moses teaching the law to the Israelites, being shown the Promised Land from Mount Nebo and the descent of Moses from the mountain.

This was not the first time that several of these painters had met each other, both Ghirlandaio and Perugino were students in the workshop of Florentine Andrea Verrocchio along with Leonardo da Vinci.  Ghirlandaio as mentioned earlier would go on to train Michelangelo and Perugio would become the teacher of Raphael.  Botticelli may also have studied with Verrocchio (both painters studied under Fra Fillipo Lippi).  These artists would collaborate with one another in the future as well: Perugino, Ghirlandaio and Botticelli all worked on another fresco cycle together in a villa of Lorenzo di Medici in the mid-1480's.

The Italian "High Renaissance" is often said to have lasted from 1480-1520 and certainly these frescoes were painted in a style that had an enormous influence.  I have often thought that this interesting fresco cycle truly marked the start of the Italian High Renaissance.

So You Want To Be A Filmmaker

Film can be a very powerful medium, it combines both audio and visual, to tell a story. Watching movies can provide escape as well as excitement, while making a film yourself can be challenging, exciting and magical. Films have the power to affect emotions, they can make you see things from a different perspective, and discover new ideas, or simply create escape or fantasy. Film can make you laugh or cry and each film should have a purpose, whether it is to entertain or inform.

The important thing to remember about making a successful film is simple, it should tell a story.The best way to tell a story is with pictures. Film-making when broken into the components, is visual storytelling, in the shots that make up the scenes, and the scenes put together, make up the complete film.

There are so many different types of film and each serves it purpose.

Studio films are backed by film studios and usually have a hefty budget, averaging $70 million and as high as $300 million. Usually a major star will be featured. On the other end of the spectrum, are the independent films, which are often low-budget, because the money is raised by the filmmaker, without studio financing. Somewhere in between, there are independent divisions of the studio which is really a boutique, operating on smaller budgets but with backing of the studio.

There are advantages and disadvantages to both types. As an independent filmmaker, you have total control, and your film can be created exactly as you envision it, however you have no operating budget. A studio picture, with larger financial backing, and highly paid actors is determined by the studio for the best commercial success and creativity normally takes a back seat.

Your movie can be shot in many different formats. Filmmakers appreciate that the medium on which the story is set can elicit different audience reactions.Multiple choices include analog or digital video or high definition. The choice of film camera can go from super-8 which is an affordable format for beginners to 16mm which produces picture quality that may be adequate for television, or with studio production of 35mm motion picture quality, which is used for most television and feature films.

High definition usher in a new experience, with much sharper pictures, and in some instances it may seem closer to being live.

Great films are seldom made without a good story, and choosing the right material can be more important than anything else.Good ideas for films can come from almost anywhere, once allowed to germinate and blossom, a once nascent idea can develop into a full blown screenplay.

How to Make a Low Budget Movie - Bring Your Screenplay to Life

Feature length movies can be made for ten thousand dollars. However, they are more likely to be turn out better and be a success if you pay about five to ten times as much. There are exceptions of course, and some movies costing only 10 to 20 thousand dollars to make have made millions of dollars. If you want to make a movie on a low budget there are many things to consider besides just getting it made cheaply if you want to be a success. This article explains different ways that movies can be made at low cost, and the pros and cons to the different methods. It is primarily for someone with a screenplay or a movie idea who wants to see their idea come to life.

If you have a movie script or movie idea that you want made into a movie, it can be done, with difficulty, or with relative ease. And it can be completed under budget, or over budget.

To illustrate what I mean, imagine you have a house and you want to add two rooms to it and you have no building experience, but you know what you want. If you have enough money, you can explain what you want to an experienced builder, and have them do it all. If you want to save money, you may think about doing some of the work yourself. You might think, well I have a table saw and I can measure and I can pound nails, so I'll do the framing, and hire someone to finish it. When the finishing crew comes to finish it, they may find the rooms are a bit off square, and not quite level, and for them to finish it it will take lots of extra work because the basics were not done right. The total cost can then be more than if you had hired experts right from the start.

The same applies to making a movie. You have your screenplay, and maybe a camera and some of the equipment, and you know some people who will volunteer, and you have taken some workshops on operating the camera and practiced a bit. You shoot your movie, and then hand it to an editor to finish it. Like with the addition to the house, if the basics were not done right, the editor will have a lot more work to make it presentable, and may in fact not be able to make it totally professional looking because of errors that were made during shooting. It would have been cheaper to get expert help right at the start, and to only concentrate on directing and telling your story.

You might think well, what else can I do? I don't have the money to hire a big professional crew to make it. The answer is to find a very small professional crew, who are expert at shooting low-budget movies to do it. The cost will likely be less than if you tried to "save money" by doing jobs you were not expert at. You can still do a lot of the work yourself, but restrict yourself for the most part to doing the simple no brainer jobs, and let the experts do their thing. You can find filmmakers who have the experience and know how to bring your story to life, and all you have to do is find them. After all, what you really want is a nicely finished, professional looking movie that tells your story. Search, and you will find the people that you need, and be much happier in the long run.