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Baroque Art

Code: 100548 ECTS Credits: 6
Degree Type Year Semester
2500239 Art History OB 2 2
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.


Maria Gargante Llanes

Use of Languages

Principal working language:
catalan (cat)
Some groups entirely in English:
Some groups entirely in Catalan:
Some groups entirely in Spanish:


There is no prerequisite. 

Objectives and Contextualisation

This course, of basic formation and of 6 ECTS, is included within the subject "General history of modern art" (24 ECTS).

The fundamental objective of the course is to provide the student with some basic keys to interpret a cycle of Italian and European art that is generally identified with the name "Baroque" and emerged at the end of the XVIth century and lasted until the XVIIIth century. At the same time, it is intended to promote the intellectual autonomy of the student and particularly a critical attitude towards the bibliographical sources, which allows him to question, if necessary, the current interpretive models.


  • Critically analysing from the acquired knowledge a work of art in its many facets: formal values, iconographic significance, artistic techniques and procedures, elaboration process and reception mechanisms.
  • Interpreting a work of art in the context in which it was developed and relating it with other forms of cultural expression.
  • Recognising the evolution of the artistic imagery from the antiquity to the contemporary visual culture.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must develop the necessary learning skills in order to undertake further training with a high degree of autonomy.

Learning Outcomes

  1. Accurately defining and explaining an artistic object with the specific language of art criticism.
  2. Analysing ideas about an artistic phenomenon in a given cultural context.
  3. Analysing the creators of an artistic phenomenon in a specific cultural context.
  4. Analysing the recipients of an artistic phenomenon in a specific cultural context.
  5. Applying the iconographic knowledge to the reading of artistic imagery.
  6. Connecting an artistic imagery with other cultural phenomena within its period.
  7. Distinguishing the elaboration techniques and processes of an artistic object.
  8. Efficiently presenting knowledge in oral and written form.
  9. Encouraging creativity and fomenting innovative ideas.
  10. Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
  11. Explaining the reception mechanisms of a work of art.
  12. Identifying the artistic imagery, placing it into its cultural context.
  13. Reconstructing the artistic outlook of a particular cultural context.
  14. Working in teams, respecting the other's points of view and designing collaboration strategies.


1. The complexity of the Baroque universe. The Baroque: art of the Counter-Reformation? The artistic policy of the popes and the new religious orders.

2. The ideology of Triumphant Rome and the paradigm of the capital city. Italian Baroque architecture. Rome: Maderno, Pietro da Cortona, Bernini and Borromini.

3. Bernini the sculptor.

4. Italian Baroque painting: Classicism (Carracci and the Bolognese school) vs. Naturalism (Caravaggio and "caravaggisti").

6. The golden century of Dutch painting: Portraiture and bourgeois scenes (Frans Hals). The Delft School: Vermeer and Pieter de Hooch. Rembrandt: painter of stories.

7. The Flemish school: Rubens or the triumph of a painter.

8. Spanish art in the 17th century. Architecture and town planning in Spain and Latin America. Genre painting and court painting. Velázquez. Hispanic religious sculpture.

9. Versailles: the "last song" of the Baroque universe.



Teaching methodology


In-class teaching:

Development of the program by the teacher

Commentary and discussion of texts; eventually seminars (depending on the number of students enrolled)



Methodological and bibliographical guidance; assesment in the writting of the essay

Supervised activities (resolution of doubts related to the course)

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.


Title Hours ECTS Learning Outcomes
Type: Directed      
In-class lessons 40 1.6 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 6, 14
Type: Supervised      
Delivery of an essay about a subject to be chosen 70 2.8 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 6, 14
Type: Autonomous      
Critical essay about a subject to be chosen 40 1.6 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 6, 8


1. Written exam, 50% of the final grade

2. Individual essay, 30% of the final grade.

3. Participation and presentation in a Seminar, 20% of the final grade. 


Other details about the format of the evidence will be communicated at the beginning of the course well in advance.

At the time of carrying out each evaluation activity, the teacher will inform the students of the procedure and date of revision of the grades.

The student will receive the grade of Not assessable as long as he / she has not completed more than 30% of the assessment activities.

In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB’s virtual tools (original weighting will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.



All three evidences can be recovered.



In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.


Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Delivery of an individual critical essay 30 0 0 3, 4, 2, 12, 5, 1, 7, 9, 10, 11, 13, 6, 8, 14
Participation in a Seminar 20 0 0 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 6, 8
Written exam 50 0 0 3, 4, 2, 12, 5, 1, 7, 10, 11, 13, 6, 8



Argan, G. C., Renacimiento y Barroco II, Akal, Madrid, 1997

Battisti, E., Renacimiento y barroco, Madrid, Catedra, 1990

Bazin, G., Barroco y Rococó, Barcelona, Destino, 1992

Bottineau-Fuchs, Y., El arte del barroco, Madrid, Akal, 1990

Carrasco Ferrer, M., Ex Roma Lux: la Roma antigua en el Renacimiento y el Barroco, Madrid : Ministerio de Educación y Cultura, Biblioteca Nacional, Electa España, 1997

Castex,J. "El trágico siglo XVll: divergencias de interpretación". p. 219-231." El nuevo orden urbano del campo: El jardin a la francesa", p. 325-333. Renacimiento, Barroco y Clasicismo, 1420-1720. Madrid: Akal, 1994.

Castria Marchetti, F., Zuffi, S., et. al., El Barroco 1600-1700: el arte europeo de Caravaggio a Tiepolo, Barcelona, Electa, 2005

Cortes del barroco: de Bernini y Velázquez a Luca Giordano (proyecto científico de Fernando Checa Cremades), Madrid, Patrimonio Nacional, 2003

Checa Cremades, F., i Morán Turina, J. M., El Barroco, Madrid, Istmo, 1989

Haskell, F., Patronos y pintores: arte y sociedad en la Italia barroca, Madrid, Catedra, 1984

Kostof, S., "Absolutismo y burguesia europea, 1600-1750", p. 908-945. Historia de la arquitectura. Madrid: Alianza, 1985.

Mâle, E., El Barroco: arte religioso del siglo XVII: Italia, Francia, España, Flandes, Madrid, Encuentro, 1985

Martin, J. R., El Barroco, Xarait, Bilbao, 1986

Minor, Vernon H., Baroque & Rococo: art & culture, Londres, Laurence King, 1999

Ors, Eugeni d', Lo Barroco, Madrid, Aguilar, 1936

Tapié, V., Barroco y Clasicismo, Madrid, Cátedra, 1978

Toman, R., El Barroco: Arquitectura, escultura, pintura, Colonia, Könemann, 1997

Valverde, J. M., El Barroco, una visión de conjunto, Barcelona, Montesinos, 1981 (2ª ed.)

Weisbach, W., El Barroco: arte de la contrarreforma, Madrid, Espasa Calpe, 1942

Wölfflin, H., Renacimiento y Barroco, Paidós, Barcelona, 1986 (1888)


Annibale Caracci: Venus, Adonis y Cupido (cat.exp.), Museo Nacional del Prado, Madrid, 2005

Caravaggio (cat. exp.), Electa, Museo Nacional del Prado, Madrid, 1999

Caravaggio y la pintura realista europea (cat. exp.), Museu Nacional d'Art de Catalunya, Barcelona, 2005

Berne-Joffroy, A, Dossier Caravaggio, Suffolk, 2005

Longhi, R., Il Caravaggio, Milan, A. Martello, 1952

Pacciarotti, G., La pintura barroca en Italia, Istmo, Madrid, 2000

Hibbard Howard, Caravaggio, Thames and Hudson, Londres, 1983

La Scuola dei Carracci: I seguaci di Annibale e Agostino, Modena, Artioli, 1995

Strinati, C., Caravaggio (cat. exp. Roma, Scuderie del Quirinale), Skira, Roma, 2010

Vodret, R., Caravaggio. Opera completa, Roma, Silvana Editoriale, 2010.


Alonso García, E., San Carlino: la máquina geométrica de Borromini, Valladolid, Secretariado de Publicaciones e Intercambio Editorial de la Universidad de Valladolid, 2003

Argan, G. C., La arquitectura barroca en Italia, Argentina, Nueva Visión, 1984

Argan, G.C., Borromini, Xarrait, Madrid, 1980

Blunt, A., Borromini, Alianza, Madrid, 1982

Francesco Borromini: atti del convengo internazionale, Roma 13-15 gennaio 2000, acura di Christoph Luitpold Frommei, Elisabeth Sladek, Milán, Electa, 2000

Portoghesi, P., Franesco Borromini, Milán, Electa, 1977 (2ª. edició).

Portoghesi, P., Roma baroca: storia di una civilità architettonica, Roma, C. Bestetti, 1966.

Rámirez, J.A. "Hacia una iconología de las connotaciones. La cultura de Borromini". p. 187-251. "La política de la puesta en práctica del clasicismo bajo Luis XIV". p. 361-378. Edificios y Sueños. Ensayos sobre arquitectura y utopia. Málaga: Universidad de Málaga. 1983.

Tapie, V. "EI viaje de Bernini a Paris". p. 170-196. Barroco y Clasicismo. Madrid: Cátedra, 1981.

Varriano, J., Arquitectura italiana del barroco al rococó, Madrid, Alianza, 1990

Wittkower, R., Arte y arquitectura en Italia 1600-1750, Madrid, Cátedra, 1995

Wittkover, R. "Edificios centralizados de Bernini, Cortona y Borromini". p. 92-97. "Palladio y Bernini. p.17-28. "Francesco Baromini, su vida y su caràcter", p. 170-182. "Guarini, el hombre". p. 207-216. Fundamentos de la arquitectura en la Edad del Humanismo. Madrid: Alianza, 1993.


Bernini scultore: la nasita del barroco in Casa Borghese (cat. exp. a càrrec de A. Coliva), Galeria Borghese, [S.l.] : De Luca, 1998

Hibbard, H., Bernini, Madrid, Xarait, 1982.

I Marmi vivi: Bernini e la nasita del ritratto barocco (cat. exp. a càrrec de A. Bacchi et al.), Firenze : Firenze Musei : Giunt

Wittkower, R., Gian Lorenzo Bernini: el escultor del barroco romano, Alianza, Madrid, 1990 (1963)


Ayala Mallory, N., La pintura flamenca del siglo XVII, Alianza, Madrid, 1995

Brown, J. i Brown, C., Velázquez, Rubens y Van Dyck: pintores cortesanos del siglo XVII, (cat. exp.),Museo Nacional del Prado, Madrid, 1999.

Cabanne P., Rubens, Ediciones Daimon, Madrid, 1967.

Rubens, Van Dyck, Jordaens. Mestres de la pintura flamenca del segle XVII a les col.leccions del museu Ermitage (cat. exp.), Barcelona, 2003.

Vergara, A., Rubens and his spanish patrons, Cambridge i Nova York, 1999.

Vosters S. A., Rubens y España: esudio artístico-literario sobre la estética del barroco, Cátedra, Madrid, 1990.


The Glory of the Golden Age: Dutch Art of the 17th Century, Rijksmuseum, Amsterdam, 2000

Rembrandt pintor de historias (cat. exp. ), Museo del Prado, Madrid, 2008

Rosenberg J., Slive, S. i Ter Kuile, E. H., Arte y arquitectura en Holanda 1600-1800, Cátedra, Madrid, 1994 (1966)

Slive, S., Frans Hals (3.v), Londres, Phaidon, 1970-1974.

Vermeer y el interior holandés (cat. exp. A. Vergara), Museo del Prado, Madrid.


Brown, J., La edad de oro de la pintura en España, Madrid, Nerea, 1990

Brown, J., Escritos completos sobre Velázquez, Centro de Estudios Europa Hispánica, 2008

Brown, J.,Velázquez: pintor y cortesano, Madrid, Alianza, 1986

Coliva, A., Velázquez a Roma, Milan, Skira, 1999

Gallego, J., Visión y símbolos en la pintura española del Siglo de Oro, Madrid, Catedra, 1984

Harris, E., Velázquez, Vitoria-Gasteiz : Ephialte Instituto Municipal de Estudios Iconográficos, 1991.

El palacio del Rey Planeta: Felipe IV y el Buen Retiro (cat. ex.), Madrid, Museo Nacional del Prado, 2005

Pérez Sánchez, A. E., Pintura barroca en España 1600-1750, Madrid, Catedra, 1992.

Pérez Sánchez, A. E., Gallego, J., et. al., Velázquez (cat. exp.), Madrid, Ministerio de Cultura, 1990.

Portús Pérez, J., Pintura y pensamiento en la España de Lope de Vega, Hondarribia [Guipúzcoa] : Nerea, cop. 1999

Sebastián, S., Contrarreforma y Barroco: lecturas iconográficas e iconológicas, Madrid, Alianza, 1985

Sureda, J., La Gloria de los Siglos de Oro: mecenas, artistas y maravillas en la España imperial, Barcelona, Lunwerg, 2006

Sureda, J., Velázquez pintor y hombre del rey, Barcelona, Lunwerg, 2009

Valdivieso, E., Vanidades y desengaños en la pintura española del Siglo de Oro, [S.l.] : Fundación de Apoyo a la Historia del Arte Hispánico, 2002


If specific programming is used, this would be indicated in due course.