Medialab Prado

 

Abstract:

If there was ever a culture that showed special interest for the visual part that was the Baroque. Paintings, cathedrals, tapestries, gardens... in all them we can see the tendencies of that epoque for visual plays, designed with the purpose of moving, captivating, shudding and disturbing. Nevertheless, being used as we are to being seduced by the immediate charm of those artistic demonstrations, we usually overlook the underlaying way of watching, capturing and representing reality, beyond the religious intention.

In this presentation we will try to analyze this perspective through two cases: on one hand, studying some Baroque painting examples, and on the other, the figure of Athanasius Kircher as a collector and creator of optical instruments and devices. From the latter we will highlight the playful dimension of all his scientific work: the theatricality of his demonstrations, the impact of his creations, the idea of wonder that shows his understanding of the natural knowledge, his science... Baroque in a way. Regarding Baroque painting we will focus on the multiple ways of creating a relationship between the observer and the observed (trompe-l'œil, illusionism, misleads) based on the idea that far from showing nature itself, these works recreate an artificial construction, an invented reality.

In both cases the visual element allows the author, the natural philosopher or artist in this case, to stablish certain complicity with the observer, understood as an exchange, a dialog, a vision play. In Kircher's case, his optical devices show how close magic and experimental practices, misticism and technology, theatricality and erudition were during the 17ht Century (the century of the "scientific revolution"). And all surrounded by an atmosphere of intellectual entertaiment, of wonder.