Analysis of Guido Reni's Works - Essay Example

Baroque Research Paper on Guido Reni The baroque style of painting that they used in the ancient times, depicted exaggerated motion. The Roman Catholic Church in particular encouraged this style which led to its popularity. This style deviates from the normal way of painting by expressing deeper meaning more diversely than any other kind of painting. It has excessive ornamentation and expressions. In the 16th century it turned from the witty qualities to an appeal that was intended to arouse intense senses and emotions (Giovani 17). This art did not clearly represent the actual life of the people at that time but rather reaffirmed the catholic faith and gave glory to the church and the monarchy’s power. The Bernini’s Cornaro chapel’s St Teresa in ecstasy which was designed by Bernini is an example of Baroque art. This was the most used style and was widely used by the prominent of artists. This essay describes the biography, training and career information of popular artists in the 15th and 16th century with a bigger emphasis on the re known Guido Reni. It also includes the influence that these artists had in the society they lived in then and the impacts they had on several factors in their society. Guido Reni, son to Daniele Reni and Ginevra de Pozzi, was born in a town known as Bologna. The family of Reni was known for producing musicians. He is an Italian painter born on the 4th of November in 1575. He received his education together with Domenichino at Calvaert as an apprentice in this Bolognese studio at the age of nine, then Carraci and finally trained with Ferrantini but just for a while. At the age of twenty three he and three other pupils from Calvaert studios shifted to another rival studio named, “ Accademia degli Incamminati “. At his time he was the most popular artist in Italy and with the approach of the 18th century his fame spread to England. He is a reknown painter known for his amazing coloring skills that outdid those in the previous times. He has painted in prestigious places like, the Quirinal and Furnace palaces, some churches in Rome, the Borghese family chapel and the most outstanding piece of work is the ceiling of decoration of the Palazzo Rospigliosi and Phoebus (Rudolf 33). . In 1601, Reni and Albani his ally from Calvaert, packed their bags and made for Rome to work under Anniballe Carraci in the decoration of the furnace palace. In 1601 to 1604 Cardinal Paolo Emilio Sfondrati became his patron. In 1604 to 1605 he was given an opportunity to work on the crucifixion of St Peters altar piece. He returned to Bologna for a few years before getting back to Rome to become a premier painter among others during the Paul V papacy. In 1607 to 1614 he became one amongst other painters sponsored by the Borghese family. The works of Reni that are considered masterpieces are the decorated ceiling at the Garden palace central hall, Casino dell aurora in the Palazzo Parraviccini grounds (Rudolf 46). He frescoed the chapel in Santa Maria Maggiore known as Paoline and the Aldobrandini wings of the Vatican. Later in the years he moved to Naples to do a painting in a San Gennaro chapel. Other painters in the region resisted his staying their citing competition and some even conspired to try and kill him as one other painter in the area was murdered by food poisoning. Naples was known for prominent painters like Correnzio, Ribera and Carrassiolo. He left the city shortly and returned to Bologna where he established his own studio. Between 1613 and 1615 he was assigned to embellish the Saint Dominic Chapel cupola. He also beautified the Rosary Chapel with the resurrection in the same church. In Ravenna he painted the picture of the Israelites collecting manna in the chapel, this work was most admired. His tastes and variety of styles made him most respected in the field of painting (Giovani 33). In 1625, during Prince Wladyslaw’s tour to Western Europe, the prince made a stoppage at Rein’s workshop. This meeting was fruitful enough because his paintings and drawings were acquired and their demand increased. His popularity was further boosted out of this rapport with the Prince. At later stages of his life, Reni started using duller colors that probably showed his melancholy moods nearing his death. Guido Reni passed away at the age of 66 on August 18th in 1642 in Bologna His pupil, Simon Cattarini who was the most discerned student, made a portrait of his boss which is presently at the Bolognese gallery. His works were the standard for other upcoming artists. His themes were mostly biblical and mythological in nature. His styles were graceful and classical with colors that truly defined the essence of the picture he put down and evoked positive emotion by truly representing the works. Rein was an eccentric and pious man who did not hesitate to bring out the best out of his drawings and paintings. He exalted the clarity of light, the perfection of the body, and lively colors in his paintings” (IFA/NYU, D. Posner). His biographer Malvasia boasted that he had divine inspiration that was outstanding and elegant even in the criticism by John Ruskin, his capabilities were reestablished. He was one of the most influential painters in the 17th century. His work was relevantly popular in diverse of places and not just his place of birth for example European countries like Spain, Netherlands, England, Italy and France. At his time his work was highly regarded because they represented the true needs and desires felt in the painting profession. The paintings and decorations he made were admired for their ability to evoke emotion and bring out the true meaning that was meant to be portrayed. One of the paintings he made was the one the one about the massacre of the innocents that happened during his time. They showed the trauma, depression and pain that was then at that time. It was a painting that emphasized and even offered a connection with the audience or the third party and provided a chance to see and feel to some extent what really happened. Most of his other paintings were also dynamic and with no doubt it will be difficult for another painter in the past and present generation to match up to Reni’s capability and talent (Giovani 56). It is no doubt that such pieces of work remain as a memory of importance to generations at end. The virtues highly held at the time are also symbolized in ways that are difficult to ignore or get rid of. Even though the significance of these exquisite paintings and drawings may have diminished at present age, their essence remains weighty and crucial to those who uphold art. Guido Reni was a pious man, greedy in nature, immoral; so much money minded and even involved in witchcraft. He feared women and even did not accept a women servant which was strange enough. With the immense talent of this man came weird and different behavior that did not help in maintaining his fame but he became infamous. He did not stand criticism. This baroque artists analysis of his paintings were solid than his lifestyle examination. Classicism which was a style present during the Italian renaissance was no more than fully exercised by Guido Reni’s works. He embraced this style to ensure continuity and the fact that he was excellent in it made everything better for the paintings he then made were great out of this style. He not only maintained the style that was the best at the time but also enhanced in ways no other artist managed to. Reni’s style of painting was used as the standard style for Italian painters. His expertise was at the highest of the levels that it was regarded as the most appropriate. It left an impact to other painters at his time and those who came after him too (Rudolf 59). The excellence in the classical style could not be underestimated. His style was intense and different from the baroque style that was contemporary at the time. His tendency to lean on the religious side contributed to his fame. The classical style that he used was leaned on creating intense antique ideals that could not be mistaken. Even though he was good at his work he cannot be credited for founding this style but it is a fact tha he studied and learned from paintings of earlier painters like Raphael. From his studies he enhanced and made better the existing works. Some of paintings were made with a dramatic dark. They portrayed energy and importance and that was what the classical style was supposed to show. There was sensitivity to his pictures that represented reality instead of observation as other painters would do. The realities were brought out in a vivid manner that awed the audience. He used the strength of shade and light to induce the atmosphere to bring a perfect combination to complete the true meaning of the pictures. This expertise led to his being commissioned to perform numerous and prestigious works by the influential people in his country and other countries where he went to work. His paintings were different because he positioned himself in the way of having paintings with a different perspective of not just images but images that clearly define their components and characteristics. The paintings revealed anti-conformist stance that depicted a radical and outlined features (Richard 67). The dramatic nature of the paintings was meant to evoke feelings and response. His style was not only sophisticated but also graceful in all manners. Giovanni Pietro in his book the lives of modern painters, sculptors and architects expounds on Italian art of the 17th century and brings light on the political and cultural setting in Rome. It provides descriptions of the works of art that have not been recognized or those that got lost in times and not properly identified (Richard 79). In conclusion, the works of Art by these artists i.e., Guido Reni, Carlo Marrata and Andrea Sacchi in their time mostly represented the most important themes at their time as proved by the majority of paintings that they made. It is clear that they had most paintings in churches and the Pope’s calling too. The themes they mostly represent are biblical and mythological. At that age there were no many influences in the society except the church and this they then had to maintain according to their society Italian renaissance painting that existed in the 13th to the 16th century had influences on the society, philosophy and science and technology. Classical form of painting existed and only some of the artists at the time advocated and practiced it like Guido Reni. One the most prominent painter at the time as I have widely expounded in the above text, played a huge role in fulfilling the artistic requirement at that age, i.e. the 15th and 16th century. With paintings philosophy was regained after gradual assimilation of European ways and their own getting absorbed there. The humanist philosophy that represented the human and God relationship was gradually getting lost and it no longer became an exclusive part of the church. In science and technology, the works by these artists that involved paint and oil led to a development in this sector. A majority of the work done by these artists was commissioned by the Catholic Church. Like the fresco of the life of Jesus Christ, and the life of the virgin themes. Other churches also ordered for the paintings of altar pieces. In addition other small religious works were made for individuals with Madonna and child being the most popular. The government also appreciated the hands of these artists by commissioning them to perform the frescos like for the Palazzo Publico building decorated by Guido Reni in the 16th century. The relevance of Guido Reni’s works cannot be underestimated for he left a mark that will run on for generations because of his outstanding works. He managed to exceptionally epitomize the necessity that his society held in regard (Richard 85) . Even with his dissimilar and almost infamous characters, he maintained his tremendous and admirable art for his generation and others to come. His works are good examples to be emulated by other artists. Work cited Bellori Pietro Giovani: The Lives of the Modern Painters, Sculptors and Architects, United Kingdom. Cambridge University Press. 2009.Print Spear E Richard; The Divine Guido: Religion, Sex, Money, and Art in the World of Guido Reni) London. Yale University Press. 1997.Print Witkover Rudolf; Art and Architecture in Italy 1600-1750, United States of America. Yale University Press. 1999.Print Read More