HKMoA: Baroque Art Masterpieces from Capodimonte Museum, Part 2

Topics Covered in Part 1

• Background Information
• Renaissance paintings of Farnese Collection

Topics Covered in Part 2

• Baroque paintings of the Bourbon Collection
• Conclusion: Opinions and Lessons

Baroque Paintings of the Bourbon Collection

To understand the origin of the Bourbon Collection, knowing the history of Naples is a must. In the 17th Century, Naples was a bustling port city in Spain and was regarded as the second-largest metropolis in Europe. Since the establishment of the Kingdom of Naples in 1734, governing Spanish sovereign funded the building of grand churches and palaces, and patronized masterpieces by artists from the city and beyond. As a result, the whole city was adorned with magnificent artwork. However, after Napoleon rose to power, artistic treasures were removed by his administration in 1806. Later, after the Congress of Vienna restored Ancien Regime in 1815, King Ferdinand and his heirs acquired dispersed Neapolitan paintings. They categorized acquisitions as Bourbon Collection. Its name was derived from the palace that housed the restored throne.

The paintings of the Bourbon Collection are categorized according to their subjects. When observing artwork, pay attention to literary references of depicted subjects, morals behind each story, and visual traits of paintings: chiaroscuro(dramatic contrast), realistic depiction, capturing narrative, theatrical gestures, sensual richness, strong emotions, and sumptuous color scheme.

Biblical Scenes

In hopes of encouraging piety from believers and divine protection from natural and man-made challenges, clergy from churches in Naples commissioned artists to paint monumental altarpieces that featured biblical scenes and patron saints of the city.

Artemisia Gentileschi, Judith and Her Maidservant Abra with the Head of Holofernes, 1645-1650, Oil on canvas, Bourbon Collection

Link to in-depth analysis

Lionello Spada, Cain and Abel, ca. 1612-1614, Oli on Canvas, 

Bourbon Collection 

Cain and Abel were sons of Adam and Eve. Cain worked in the field and Abel took care of flocks. Cain became jealous of Abel, as the Lord was more fond of Abel’s offering. Out of malicious intention of monopolizing the affection of the Lord, Cain killed his younger brother. After discovering his irreversible sin of Cain, the Lord told Cain that he would be no longer able to yield crops from any field.

The painting depicts the most abject moment of the story. Flushed with jealousy, Cain is raising a wooden bat menacingly to cause a lethal blow to his brother. The concept of painting is a reminder of the consequence of violating basic moral principles. The work of the sinner will be taken away, as his character is not eligible to work and contribute to his community.

Matthias Stomer, Supper at Emmaus, ca. 1632-1635, Oli on Canvas, Bourbon Collection

Caravaggio, Supper at Emmaus, 1601, oil on canvas, The National Gallery, London

The both of the paintings show Jesus and his disciples having dinner at an inn in Emmaus after the Resurrection of Jesus.

Carracci and Caravaggio, Masters of Baroque Art, greatly influenced artists of the new generation in the 17th century. Firstly, the new generation of artists studied the composition of Caravaggio’s paintings. Compare Stomer’s version of the Supper at Emmaus with that of Caravaggio. Stomer’s version is a perfect example that demonstrates Caravaggio’s far-reaching influence. The close-knit composition of characters sitting around a candlelight is derived from Caravaggio’s painting of the same subject. Secondly, the new generation agreed that subject should be based on real-life observation. Instead of depicting idealized beauty, artists incorporated people, objects, and textures from daily lives into their paintings. Real-life observation by Stomer is evident in his portrayal of deeply lined faces, messy hair, and tattered clothing.

Classical Myth

Contrasting to paintings of biblical tales commissioned by clergy, paintings of secular and even profane subjects were on demand by self-initiated patrons. Wealthy and well-educated merchants, bankers, aristocrats, and politicians commissioned artists to paint scenes from classical mythology.

Jusepe de Ribera, Apollo and Marsyas, 1637, Oli on Canvas, Bourbon Collection

In the painting, Apollo tortures satyr Marsyas brutally after winning a musical contest proposed by the loser. Marsyas screams in pain while Apollo flaying him. The audience in the background shudders in fear reminded of the consequence of challenging authority.

Ribera captured intense psychological drama through the delineation of facial expressions, and dramatic composition. Expert in capturing the psychology of characters in his painting, The artist was regarded as one of the most important painters of Baroque Art.

Still Life

Neapolitan artists started painting still lives after seeing still life paintings by Caravaggio.

The demand for still-life paintings reached its peak in the 17th century. Artists focused on capturing the captivating realism of diverse objects and addressing morals through the placement of objects.

Christian Berentz, Carlo Maratta, Flowers and Fruit with a Woman Picking Grapes,
1696, Oli on Canvas, Bourbon Collection

Giovan Battista Recco, Still Life with Head of a Goat, ca.1650, Oli on Canvas, Bourbon Collection

Giuseppe Recco, Still Life with Fish, 1665-1670, Oli on Canvas, Bourbon Collection 

Conclusion

Opinion

• omitted information on artwork description: omitted concept, the moral lesson behind the portrayed story, of each painting, only addressing depicted narrative and techniques.
• Baroque art emphasizes materialistic pleasure: technical virtuosity is a hallmark of Baroque Art
• importance of craftsmanship: I was amazed by masters. I do acknowledge that concept is as important, but concept can’t be expressed without skill. Hence I concluded that having the ability to render a subject realistically is power, as it is leverage to represent an idea.
• transformation of image over time: In modern society, large LCD screens have a similar function to monumental Baroque paintings of the 16th to 18th centuries. As time passed, technology advanced. Consequently, new equipment, hardware, software, and skills were invented. I’m truly blessed that I’m equipped with advanced tools and skills to realize my ideas in a virtual, 3D world.

Lessons

• single movement, distinctive techniques: close observation and reading artwork description is required to detect subtle distinctions in techniques by different artists
• the lasting influence of pioneer artist: Caravaggio left lasting legacy to Baroque artists.
• images contain morals endorsed by the social system: no matter how visually flattering an artwork is, the moral lesson behind images is more important than the depicted subject itself.

HKMoA: Baroque Art Masterpieces from Capodimonte Museum, Part 1

A partial collection of Baroque Art masterpieces from Capodimonte Museum was on display at Hong Kong Museum of Art from July 15th to November 2nd. The exhibition demonstrated the rich history of 16th to 18th-century European art to Hong Kong audience. The exhibition featured remarkable works from two major collections: Renaissance paintings from the northern and central Italian Farnese Collection and Baroque paintings from the Bourbon Collection. 

I visited the exhibition to broaden my expertise in art history, study Baroque Art in person, and analyze artworks. I’m truly grateful that I had a chance to view works of Baroque Art in real life, so I was obliged to write a review about this lifetime opportunity. This review reflects my fervent passion for those masterpieces and I hope readers also could find joy in admiring them. I divided review into two parts according to collections in exhibition.

Topics Covered in Part 1

• Background Information
• Renaissance paintings of Farnese Collection

Topics Covered in Part 2

• Baroque paintings of the Bourbon Collection
• Conclusion: Opinions and Lessons

Background Information

Baroque Art 

A highly embellished style of art influenced by revived Renaissance and Classical ideals of beauty. It was an expansive art movement that happened throughout Europe from 16th to 18th century. It affected the artworks of Italy, France, Spain, Portugal, Austria, and Southern Germany. The particular traits were infused into various genres of visual art, including painting, sculpture, architecture, and even music. Visual traits of Neapolitan (Baroque Art) paintings include dramatic contrast, realistic depiction, literary references through biblical and mythological subjects, sensual richness, strong emotions, and a sumptuous color scheme.

The art movement occurred as a consequence of religious tension between Protestants in power and the Catholic Church seeking to re-establish authority. One of the agendas of the Catholic Church was to bring images of worship back to the public. Church believed that installing monumental religious paintings of dramatic visuals not only encourages piety towards God from believers but also inspires awe in Church. To implement their agenda, Church authorities commissioned artists to paint on large-scale frescoes of ceilings and vaults of Church and palaces.

Notable Techniques

• Chiaroscuro: treatment of dark and light to create contrast. Devised by Caravaggio, a master of Baroque Art. His technique is indeed the backbone of immersive Neapolitan paintings. It had a lasting influence on artists of his generation and his descendants.
• Tenebrism: increase in contrast to emphasize a particular element

Capodimonte Museum

A shrine of Neapolitan paintings. It holds the highest amount and most important works. It is located in Naples, Italy, as a result of the history of the port city. From the 16th to 18th century, Naples was once a flourishing art market that attracted many artists searching for work. They received commissions from patrons and held workshops throughout the city.

Renaissance Paintings of Farnese Collection

Farnese Collection was named after the real last name of Pope Paul III. As a Church authority with the ambition of ascension to the papacy, he collected and commissioned art as a strategy. He believed that his policy was an expression of knowledge, power, and status. He sponsored Michelangelo, Raphael, Titian, and more.

At the exhibition, two types of subjects were on display: Humanism and Beauty. I decided to discuss paintings of Beauty in depth as they have stronger images and much more interesting stories behind them. Both of the artworks below feature feminine beauty as a subject. Humanists perceived beauty as a manifestation of moral character. Depicting it as an expression of truth and virtue.

 Parmigianino, Antea, ca.1535, Oil on canvas, 
Farnese Collection

Antea shows a striking image of a finely dressed, aristocratic lady gazing directly toward the audience. Mastery of technique is a remarkable trait of this painting. Renderings of porcelain skin, voluptuous foldings of luscious dresses adorned with embroidery, and sharp gleams on jewelry deserve keen observation. A Precious yet enigmatic subject naturally incites curiosity in viewers. Unfortunately, not much is documented about this painting. The intention remains unknown as the sponsor and how the painting was consumed are unknown. The concept is also unknown as the identity of the lady is unknown.

Titian, Danae, 1544-1545, Oil on canvas, Farnese Collection

Danae, sponsored by Pope Paul III, is regarded as one of the most important masterpieces in the Farnese Collection. Hermann Goering, one of Hitler’s political collaborators, recognized its value and selected it for his private collection along with other Renaissance nude paintings in 1943.

The painting features the climax scene of Danae’s story in Greek myth. In the story, Danae’s father, king Acrisius of Argos locks up her in a bronze tower, as an oracle predicted that he will be murdered by his grandson. Nevertheless, Zeus transforms into a golden cloud and has affair with Danae. Through this occasion, Danae gives birth to Perseus, who murders Medusa.

Similar to Parmigianino who painted Antea, Titian demonstrates a robust capacity in depicting realism. The most notable technique in this painting is the adjustment of contrast. The difference in value(amount of light and dark in color) between the background and foreground enhances sublime lighting that bathes the central figure. However, Titian's technique is slightly different from that of Parmigianino. Instead of portraying attentive details, Titian renders Danae in a swirling cloud of loose brushwork, emphasizing the stark contrast between the subject and background.

HKMoA: Baroque Art Masterpieces from Capodimonte Museum, Part 2

Art Appreciation Guide: The Procedure of Art Appreciation

To understand an artwork and appreciate it, a four-stepped procedure is required. To aid the reader’s understanding, the procedure will be explained with a painting example. The selected painting is Judith and Her Maidservant Abra with the Head of Holofernes by Artemisia Gentileschi, one of the masters of Baroque Art.

Artemisia Gentileschi, Judith and Her Maidservant Abra with the Head of Holofernes, 1645-1650, Oil on canvas, Farnese Collection

1. read basic information about the artwork
Artwork description often includes title, artist, and year. Sometimes a description is also included. Reading is recommended, as it provides further information for understanding.

2. observe the physical form of the artwork and interpret it with visual categories

• visual categories: genre, subject, and technique

The genre of this artwork is painting. The subject of the painting is the aftermath of Judith successfully beheading the Assyrian chief invader, Holofernes, of her land, Israelite city of Bethulia. In a dimly lit room, Judith grips a bejeweled sword firmly with her right hand and blocks candlelight with her left hand, as if blocking it would curtain the murder. Abra, Judith’s servant, gazes toward Judith while covering the head of Holofernes with a blood-stained fabric. Story depicted in the scene is from Old Testament of Book of Judith. In the story, Holofernes threatens to siege Judith’s home. Before his attack, Judith enters Holofernes’ tent stealthily and successfully assassinates the drunken general.

As recognizing the portrayed scene of a biblical tale, viewers would concurrently marvel at the sensible charms of the painting. The materialistic pleasure from seeing visually pleasing elements is naturally incurred at this very moment. Pleasure arising before rational interpretation is normal.

Proceeding to interpretation, Gentileschi incorporates techniques to realize those charms. Voluptuous fabric folds and plump depictions of figures ooze sensuality. A sumptuous color scheme further enhances the visual impact. The region of interest, Judith and Abra, is cast with rim lights against a dark background. Gentileschi masterfully captures the emotionally tense moment by rendering the subject with realism and creating dramatic contrast between light and dark areas. Such technique of treating light and dark areas to create contrast is called chiaroscuro and it was devised by Caravaggio, an influential Baroque Art master.

3. understand the artwork by interpreting it with conceptual categories

• conceptual categories: theme, intention, and period

Information about the last two categories may not be available on-site. Researching background information about the exhibition before a visit is recommended

The theme represented by story of Judith is courage and sacrifice. To save her homeland, heroine bravely takes up intimidating duty of assassinating chief invader. Though she is uncertain about outcome of her duty, she is determined to sacrifice her life for the common good. The concept behind the subject teaches audience to decide courageously during times of confusion and admire the virtue of sacrifice.

The intention of the artwork is impossible to trace; information about the patron and the reason for the commission is unavailable. However, speculating from the period when it was painted, Gentileschi painted the story of Judith assassinating Holofernes to support the Catholic Church re-establishing its authority.

During mid 16th century in Europe, Catholic Church initiated Counter-Reformation to re-establish its dominance over Protestants rose to power during Protestant Reformation. Catholic Church implemented several art and culture policies to bring back images of worship to the public. Patronage from Catholic Church accelerated the growth of Baroque Art. To serve the propagandist role, large-scale works of public art were painted on monumental walls, ceilings, and vaults of churches and palaces.

Intellectual pleasure, contrasting to materialistic pleasure, is attained after understanding imitation, and historical context.

Art Appreciation Guide: Nature of Art, Interpretations, and Pleasures

Wang Xingwei, St Thomas, 1997, Oil on Canvas

M+ Sigg Collection, Hong Kong

Appreciating art was an exclusive advantage for a few privileged for more than hundreds of years. Though art became increasingly available to the mass as time passed, the barrier of art appreciation persists undeniably. The barrier is an inability to comprehend beyond the physical form of an artwork. Understanding art is the premise of having access to intellectual pleasure. The purpose of this post is to equip readers with mandatory information to understand an artwork and appreciate its physical and conceptual beauty. The information that grants access to the pleasure is derived from Aristotle’s Poetics, the principle of the art of drama that contains his conception of fine art, and gained knowledge from studying art history, humanities and philosophy. 

Topics Covered 

• Nature of Art 
• Interpretation Categories of Artwork
• Pleasures in Visual Art
• Procedure of Art Appreciation
• Conclusion

Nature of Art

According to Aristotle, “Art imitates an action.” This statement means an artwork is a visual representation of human activity. Through Aristotle's claim, readers can deduce that an art is intangible in a physical form. Therefore, an artwork is comprised of two fundamental parts: theme and visual medium. A theme is an idea that motivates an artist to create the artwork.

Interpreting from Aristotle’s claim, the idea of the artist originates from a story. A story is a series of human activity that takes up many forms. It could be personal or collective. Stories, especially narratives passed down through generations, accumulate over time and solidify into history. History is the basis of civilization. Thus, humans understand the world through story, and the story is crucial to human existence.

However, observing various kinds of artwork, especially that of contemporary, viewers reach a conclusion that the source of artists’ ideas is not only limited to narratives. In fact, it is too extensive and countless that organizing them in a few paragraph is not possible, especially when the types of ideas that could be expressed as visual art increased significantly as time passed. The phenomena became apparent as innovative ideas encouraged artists to experiment with diverse themes and invention and progress of technology enabled artists to convey their ideas in new medium. The source of an artist’s idea is an essential topic in aesthetics that deserves to be analyzed in an another article.

Regardless of the source, an artist brings a chosen idea to life by materializing it into a physical form through their craft. Then the artist presents it to viewers for their appreciation. An artwork is conduit that shows an idea conceived by artists. It informs and entertains viewers. Understanding and appreciating the idea enables viewers to contemplate about their values and the world around them. Though not all viewers are capable at understanding an idea behind an artwork, the idea penetrates to their conscious subliminally.

As artwork is comprised of visual and conceptual parts, two corresponding categories exist for interpretation.

Pleasure in Visual Art

By viewing an artwork, the audience perceives the physical form of artwork through the senses and understands the theme of artwork through the mind. Experience of viewing and understanding causes materialistic and intellectual pleasure to the viewers. The cause of materialistic pleasure is rhythm and harmony. rhythmical and harmonious forms naturally stimulates pleasure from humans, as to be delighted with physical beauty is an instinct. The cause of intellectual pleasure is imitation. The audience feels joy when they recognize and understand the idea represented in an artwork. Aristotle identified imitation and harmony as sources of pleasure from fine art. The purpose of categorizing his theory into two visual and conceptual groups is to maintain consistency with the main idea of this post that artwork is an idea in visual form. 

Procedure of Art Appreciation

To understand an artwork and appreciate it, a four-stepped procedure is required. To aid the reader’s understanding, the procedure will be explained with a painting example in an another post.

Conclusion

True beauty of visual art exists in its idea beyond sight. Recognizing and understanding the represented idea offers intellectual pleasure, a true treasure to pursue as an existence possessed with intellectual capacity. The main ideas of this guide are summarized and uploaded as image format for portability. Please remember and save them for your advantage and propagate them to art enthusiast communities on and offline.