AP European History

Chapter 15 - State-Building and the Search for Order in the 17th Century (cont.)

The Flourishing of European Culture

FOCUS QUESTION: How did the artistic and literary achievements of this era reflect the political and economic developments of the period?


The Changing Faces of Art

After the Renaissance, European art passed through a number of stylistic stages. The artistic Renaissance came to an end when a new movement called Mannerism emerged in Italy in the 1520s and 1530s.

MANNERISM The Reformation’s revival of religious values brought much political turmoil. Especially in Italy, the worldly enthusiasm of the Renaissance gave way to anxiety, uncertainty, suffering, and a yearning for spiritual experience. Mannerism reflected this environment in its deliberate attempt to break down the High Renaissance principles of balance, harmony, and moderation (the term Mannerism derives from critics who considered their contemporary artists to be second-rate imitators, painting “in the manner of’ Michelangelo’s late style). Italian Mannerist painters deliberately distorted the rules of proportion by portraying elongated figures that conveyed a sense of suffering and a strong emotional atmosphere filled with anxiety and confusion.

Mannerism spread from Italy to other parts of Europe and perhaps reached its apogee in the work of El Greco (1541-1614). Doménikos Theotokópoulos (called “the Greek” – El Greco) was from Crete, but after studying in Venice and Rome, he moved in the 1570s to Spain, where he became a church painter in Toledo. El Greco’s elongated and contorted figures, portrayed in unusual shades of yellow and green against an eerie background of turbulent grays, reflect the artist’s desire to create a world of intense emotion.

THE BAROQUE PERIOD A new movement - the Baroque (buh-ROHK) - eventually replaced Mannerism. The Baroque began in Italy in the last quarter of the sixteenth century and spread to the rest of Europe, where it was most wholeheartedly embraced by the Catholic reform movement, and especially at the Catholic courts of the Habsburgs in Madrid, Prague, Vienna, and Brussels. Although it was resisted in France, England, and the Netherlands, eventually the Baroque style spread to all of Europe and to Latin America.

Baroque artists sought to bring together the Classical ideals of Renaissance art with the spiritual feelings of the sixteenth-century religious revival. The Baroque painting style was known for its use of dramatic effects to arouse the emotions. In large part, though, Baroque art and architecture reflected the search for power that was so important to the seventeenth-century ethos. Baroque churches and palaces were magnificent and richly detailed. Kings and princes wanted other kings and princes as well as their subjects to be in awe of their power.

Baroque painting was known for its use of dramatic effects to heighten emotional intensity. This style was especially evident in the works of the Flemish master Peter Paul Rubens (15771640), a prolific artist and an important figure in the spread of the Baroque from Italy to other parts of Europe. In his artistic masterpieces, bodies in violent motion, heavily fleshed nudes, a dramatic use of light and shadow, and rich, sensuous pigments converge to express intense emotions. The restless forms and constant movement blend together into a dynamic unity.

Perhaps the greatest figure of the Baroque was the Italian architect and sculptor Gian Lorenzo Bernini (ZHAHN loh-RENT-zoh bur-NEE-nee) (1598-1680), who completed Saint Peter’s Basilica at the Vatican and designed the vast colonnade enclosing the piazza in front of it. Action, exuberance, profusion, and dramatic effects mark the work of Bernini in the interior of Saint Peter’s, where his Throne of Saint Peter hovers in midair, held by the hands of the four great doctors of the Catholic Church. Above the chair, rays of golden light drive a mass of clouds and angels toward the spectator. In his most striking sculptural work, the Ecstasy of Saint Theresa, Bernini depicts a moment of mystical experience in the life of the sixteenth-century Spanish saint. The elegant draperies and the expression on her face create a sensuously real portrayal of physical ecstasy.

Less well known than the male artists who dominated the art world of seventeenth-century Italy but prominent in her own right was Artemisia Gentileschi (ar-tuh-MEE-zhuh jen-tuh-LESS-kee) (1593-1653). Born in Rome, she studied painting under her father’s direction. In 1616, she moved to Florence and began a successful career as a painter. At the age of twenty-three, she became the first woman to be elected to the Florentine Academy of Design. Although she was known internationally in her day as a portrait painter, her fame now rests on a series of pictures of heroines from the Old Testament. Most famous is Judith Beheading Holofernes, a dramatic rendering of the biblical scene in which Judith slays the Assyrian general Holofernes to save her besieged town from the Assyrian army.

FRENCH CLASSICISM In the second half of the seventeenth century, France replaced Italy as the cultural leader of Europe. Rejecting the Baroque style as overly showy and impassioned, the French remained committed to the Classical values of the High Renaissance. French late Classicism, with its emphasis on clarity, Simplicity, balance, and harmony of design, was a rather austere version of the High Renaissance style. Its triumph reflected the shift in seventeenth-century French society from chaos to order. Though it rejected the emotionalism and high drama of the Baroque, French Classicism continued the Baroque’s conception of grandeur in the portrayal of noble subjects, especially those from Classical antiquity. Nicolas Poussin (NEE-koh-lah poo-SANH) (1594-1665) exemplified these principles in his paintings. His choice of scenes from Classical mythology, the orderliness of his landscapes, the postures of his figures copied from the sculptures of antiquity, and his use of brown tones all reflect French Classicism of the late seventeenth century.

DUTCH REALISM A brilliant flowering of Dutch painting paralleled the supremacy of Dutch commerce in the seventeenth century. Wealthy patricians and burghers of Dutch urban society commissioned works of art for their guild halls, town halls, and private dwellings. The subject matter of many Dutch paintings reflected the interests of this burgher society: portraits of themselves, group portraits of their military companies and guilds, landscapes, seascapes, genre scenes, still lives, and the interiors of their residences. Neither Classical nor Baroque, Dutch painters were primarily interested in the realistic portrayal of secular everyday life.

This interest in painting scenes of everyday life is evident in the work of Judith Leyster (LESS-tur) (c. 1609-1660), who established her own independent painting career, a remarkable occurrence in seventeenth-century Europe. Leyster became the first female member of the painting Guild of Saint Luke in Haarlem, which enabled her to set up her own workshop and take on three male pupils. Musicians playing their instruments, women sewing, children laughing while playing games, and actors performing all form the subject matter of Leyster’s paintings of everyday Dutch life.

The finest product of the golden age of Dutch painting was Rembrandt van Rijn (REM-brant vahn RYN) (1606-1669). During his early career, Rembrandt painted opulent portraits and grandiose scenes that were often quite colorful. He was prolific and successful, but he turned away from materialistic success to follow his own artistic path; in the process, he lost public support and died bankrupt.

Although Rembrandt shared the Dutch predilection for realistic portraits, he became more introspective as he grew older. He refused to follow his contemporaries, whose pictures were largely secular; half of his own paintings depicted scenes from biblical tales. Since the Protestant tradition of hostility to religious pictures had discouraged artistic expression, Rembrandt stands out as the one great Protestant painter of the seventeenth century.

A Wondrous Age of Theater

In England and Spain, writing reached new heights between 1580 and 1640. All of these impressive new works were written in the vernacular. Except for academic fields, such as theology, philosophy, jurisprudence, and the sciences, Latin was no longer a universal literary language. The greatest age of English literature is often called the Elizabethan era because much of the English cultural flowering of the late sixteenth and early seventeenth centuries occurred during the reign of Queen Elizabeth I. Elizabethan literature exhibits the exuberance and pride associated with England’s international exploits at the time. Of all the forms of Elizabethan literature, none expressed the energy and intellectual versatility of the era better than drama. And of all the dramatists, none is more famous than William Shakespeare (1564-1616).

WILLIAM SHAKESPEARE Shakespeare was the son of a prosperous glovemaker from Stratford-upon-Avon. When he appeared in London in 1592, Elizabethans were already addicted to the stage. In Greater London, as many as six theaters were open six afternoons a week. London theaters ranged from the Globe, which was a circular unroofed structure holding three thousand spectators, to the Blackfriars, which was roofed and held only five hundred. In the former, an admission charge of a penny or two enabled even the lower classes to attend; the higher prices in the latter ensured an audience of the well-to-do. Elizabethan audiences varied greatly, putting pressure on playwrights to write works that pleased nobles, lawyers, merchants, and even vagabonds.

William Shakespeare was a “complete man of the theater.” Although best known for writing plays, he was also an actor and shareholder in the chief company of the time, the Lord Chamberlain’s Company, which played in theaters as diverse as the Globe and the Blackfriars. Shakespeare has long been recognized as a universal genius. A master of the English language, he was instrumental in codifying a language that was still in transition. His technical proficiency, however, was matched by an incredible insight into human psychology. In tragedies as well as comedies, Shakespeare exhibited a remarkable understanding of the human condition (see the box on p. 473).

SPAIN’S GOLDEN CENTURY The theater was also one of the most creative forms of expression during Spain’s golden century. As in England, actors’ companies ran the first professional theaters, which were established in Seville and Madrid in the 1570s. Soon a public playhouse could be found in every large town, including Mexico City in the New World. Touring companies brought the latest Spanish plays to all parts of the Spanish Empire.

Beginning in the 1580s, Lopé de Vega (LOH-pay day VAY-guh) (1562-1635) set the agenda for playwrights. Like Shakespeare, he was from a middle-class background. He was an incredibly prolific writer; almost one-third of his fifteen hundred plays survive, which have been characterized as witty, charming, action packed, and realistic. Lopé de Vega made no apologies for the fact that he wrote his plays to please his audiences. In a treatise on drama written in 1609, he stated that the foremost duty of the playwright was to satisfy public demand. Shakespeare undoubtedly believed the same thing, since his livelihood depended on public approval, but Lopé de Vega was considerably more cynical about it: he remarked that if anyone thought he had written his plays for fame, “undeceive him and tell him that I wrote them for money.”

FRENCH DRAMA As the great age of theater in England and Spain was drawing to a close around 1630, a new dramatic era began to dawn in France that lasted into the 1680s. Unlike Shakespeare in England and Lopé de Vega in Spain, French playwrights wrote more for an elite audience and were forced to depend on royal patronage. Louis XIV used theater as he did art and architecture - to attract attention to his monarchy.

French dramatists cultivated a style that emphasized the clever, polished, and correct over the emotional and imaginative. Many of the French works of the period derived both their themes and their plots from Classical Greek and Roman sources, especially evident in the works of Jean-Baptiste Racine (ZHAHNH-bah-TEEST ra-SEEN) (1639-1699). In Phèdre, which has been called his best play, Racine followed closely the plot of Hippolytus by the Greek tragedian Euripides. Like the ancient tragedians, Racine, who perfected the French neoclassical tragic style, focused on conflicts, such as between love and honor or inclination and duty, that characterized and revealed the tragic dimensions of life.

Jean-Baptiste Molière (ZHAHNH-bah-TEEST mohl-YAYR) (1622-1673) enjoyed the favor of the French court and benefited from the patronage of King Louis XIV. Molière wrote, produced, and acted in a series of comedies that often satirized the religious and social world of his time. In Tartuffe, he ridiculed religious hypocrisy. His satires, however, sometimes got him into trouble. The Paris clergy did not find Tartuffe funny and had it banned for five years. Only the protection of the king saved Molière from more severe harassment.

CHAPTER SUMMARY

To many historians, the seventeenth century has assumed extraordinary proportions. The divisive effects of the Reformation had been assimilated and the concept of a united Christendom, held as an ideal since the Middle Ages, had been irrevocably destroyed by the religious wars, making possible the emergence of a system of nation-states in which power politics took on an increasing significance. The growth of political thought focusing on the secular origins of state power reflected the changes that were going on in seventeenth-century society.

Within those states, there slowly emerged some of the machinery that made possible a growing centralization of power. In those states called absolutist, strong monarchs with the assistance of their aristocracies took the lead in providing the leadership for greater centralization. In this so-called age of absolutism, Louis XlV, the Sun King of France, was the model for other rulers. His palace of Versailles, where the nobles were entertained and controlled by ceremony and etiquette, symbolized his authority. Louis revoked his grandfather’s Edict of Nantes, and he fought four costly wars, mainly to acquire lands on France’s eastern borders. Strong monarchy also prevailed in central and eastern Europe, where three new powers made their appearance: Prussia, Austria, and Russia. Peter the Great attempted to westernize Russia, especially militarily, and built Saint Petersburg, a new capital city, as his window on the west.

But not all European states followed the pattern of absolute monarchy. Especially important were developments in England, where a series of struggles between king and Parliament took place in the seventeenth century. The conflict between the Stuart kings, who were advocates of divine-right monarchy, and Parliament led to civil war and the creation of a republic and then a military dictatorship under Oliver Cromwell. After his death, the Stuart monarchy was restored, but a new conflict led to the overthrow of James II and the establishment of a new order. The landed aristocracy gained power at the expense of the monarchs, thus laying the foundations for a constitutional government in which Parliament provided the focus for the institutions of centralized power. In all the major European states, a growing concern for power and dynamic expansion led to larger armies and greater conflict. War remained an endemic feature of Western civilization.

But the search for order and harmony continued, evident in art and literature. At the same time, religious preoccupations and values were losing ground to secular considerations. The seventeenth century was a period of transition toward the more secular spirit that has characterized modem Western civilization to the present. No stronger foundation for this spirit could be found than in the new view of the universe that was ushered in by the Scientific Revolution of the seventeenth century, and it is to that story that we turn in the next chapter.