The Characteristics Of Baroque Style

The Characteristics Of Baroque Style
Essay 1: Dazzle the Faithful To understand the characteristics of Baroque style is to truly understand
artistic measures of the sixteenth to eighteenth centuries. Baroque, a single word describing an entire
period of art, can be broken down into more than one actual form of art. The new European age
birthed this developing style of architecture, coming from ideas on religion and politics. Set apart in
three different countries, visitors of St. Peter's Basilica, Versailles, and Hampton Court Palace,
engulf themselves in historic Baroque styles and beauty. The international style "was reinterpreted in
different regions so that three distinct manifestations of the style emerged" (Matthews 392). The
florid, classical, and restrained baroque design of the three different buildings gives us a historic
lesson on the reasoning behind its purpose. First, we visit St. Peter's Basilica and Adjoining Piazza
in Rome. The beautiful structure still used today, initially was brought to fruition by Donato
Bramante as a temple shaped like a Greek cross. Quickly Pope Paul V rejected the design, deeming
the Greek cross to be pagan–like. He commissioned Carlo Maderno to make some changes to the
floor plan, adjusting the look into a Latin cross. The florid baroque styles are seen entering the Apse
and Alter, which "symbolized the power and richness of the church" (392). The sculptures
throughout, specifically in the Apse, are dramatic and real, shunning classical styles. Therefore, St.
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Essay Time Capsule
TIME CAPSULE
NAME
HUM 102: Intro to the Humanities II
DATE
Introduction
Throughout time the humanities have evolved and proof of this evolution is seen in each of the
different concepts that humanities cover. There are several time capsules that are rumored to contain
pieces of some of the most influential art, music, architecture, philosophy, and literature in the
Renaissance and Baroque periods. To find these capsules would be to travel back in time and hold in
one's hands the true measure of what the humanities has accomplished during its evolution.
Art The Renaissance was perceived as a rebirth of ancient traditions. It breathed new life into the
artists of its time with the development of new techniques and new artistic ... Show more content on
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He was known for the "order" within his work. He incorporated mathematical order into his
buildings and is well–known for the work he accomplished for the Cathedral of Florence. The
Architecture Time Capsule contains the document with the blessing from the cornerstone of this
great church. The Baroque style of architecture focused less on mathematical order and more on
boldness. Colonnades, domes, color effects, volume, and void are all concepts of the Baroque style
of architecture. The Piazza of St. Peter's Basilica in Rome is a great example of Baroque architecture
in its preference for the grandiose. It captures all of the concepts that dominated the Baroque style of
architecture and brings them together to create something that is visually stunning. The time capsule
contains a painting depicting the aerial view of the colonnade and piazza of St. Peter's. The piazza
was so large and spectacular that it could accommodate more than 250,000 people.
Philosophy Philosophy during the Renaissance was also about the rebirth of mankind. Renaissance
philosophy covered the rebirth of classical civilization and learning. Humanism, the effort to recover
and revive Greco–Roman culture, was introduced and the way people thought about and understood
their purpose in life was changed forever. Humanism led people back to the old programs of study
that embraced grammar, rhetoric, history, poetry, and moral philosophy. The Philosophy Time
capsule contains a copy of

Comparing Two Sculptors Essay
This essay will compare and contrast the work of two sculptors who use the human form as a basis
of their artwork. The first sculpture "Apollo and Daphne" by Gian Lorenzo Bernini was created in
1622 and portrays a Romanian story. Where as "Two Women" by Ron Mueck is a hyper realistic
sculpture made by an Australian contemporary artist.
Gian Lorenzo Bernini was a traditional sculptor that was born in 1598 and created art pieces such as
"Apollo and Daphne" for well–known churches in Rome. On the other hand, Ron Mueck is a
contemporary sculptor from Australia who is known to use hyper–realism when creating
magnificent sculptures of the human form.
The media techniques and processes that each of the sculptors completed required large ... Show
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By using mixed materials such as silicon, fabric and plastic Ron Mueck to created the diminutive
and brilliantly realistic sculpture of two elderly women. Ron Mueck dresses and threads each hair
into the heads of the sculpture, which further the uncanny realistic look of his artwork.
The sculptures "Apollo and Daphne" and "Two Women" share elements and principles with one
another, such as shape, size and texture. Bernini's work is a life size piece that complements the
figure of the two characters. The facial expressions, hands, feet and hair of "Apollo and Daphne" are
in reasonable detail; however there are no lines on the bodies to create depth and texture. On the
other hand, Mueck challenge's the viewer by changing the scale of his work, with "Two Women"
minute and in incredible proportion with the features and figure of the women.
While Gian Lorenzo Bernini's sculpture "Apollo and Daphne" depicts a Romanian story of
forbidden love, Ron Mueck's "Two Women" portray two elderly women hyper–realistically. By
analysing the meaning behind the two sculptures, evidence is given that the two artists had different
intentions for their work. The story "Apollo and Daphne" is from a roman poem named
"Metamorphoses" by a man named Ovid. In the story, Apollo is hit by a magical arrow from a god
of

The Renaissance Time Period
Renaissance time period was the beginning of many changes. However, not just in the field of art,
but also fields like science, mathematics, biology, and religion the staple of many works of art in the
past. This was the beginning stages of change, and Galileo would ultimately pay the price of
imprisonment for challenging what we thought we knew. Many great artists would also come from
this time. These artists would not just be you typical painters or sculptures from the past, but better
rounded knowledge based artists. Artists who would understand the science and mathematics behind
everyday events, whether this was when looking at human bodies and how they moved or the stars
and how they moved about in our solar system. They began the more realistic thoughts on how
things worked and art started to very slowing exit out of the usual biblical and eternal works of art.
However, many great artists throughout the renaissance period would be born and ... Show more
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They did this by observation but that would and could only tell them what they see on the outside.
They wanted to see how the body worked from the inside to fully understand the concept of how the
body functioned and this is why they would dissect cadavers whenever they could. The more
knowledge they had about how the body worked, then the more they could display that in their
works of art. This can be seen in the work done by Michelangelo in the marble sculptures of "The
Slaves" and "David". However, because it was still early in the understanding of the body, many
sculptures are still very straight and vertical. They won't be seen twisting the limbs of the body that
create movement in the art work. They don't fully have that realistic emotional feel to the bodies yet.
Later on as more understanding of the body is learned by dissecting cadavers these sculptures by
other great artists will go into great

Balachi In St. Peter's Balchi
In the early 17th through the late 18th century, Europe birthed "the golden age of painting and
architecture in Italy." This golden age was named "The Baroque" and is defined by the highly ornate
and extravagant style. Following the Renaissance, Baroque architects sought to use the Roman
vocabulary found in the previous Renaissance era and created pieces that evoked emotion through
drama and scale. St. Peter's Baldachin was one of the most significant works built in the Baroque
period. By analyzing the work's embodiment of its cultural, religious, and political environment we
see how this piece exemplifies the power, grandeur, and elegance of The Baroque.
St. Peter's Baldachin was created by an Italian artist named Gian Lorenzo Bernini and
commissioned by Pope Urban VII for Saint ... Show more content on Helpwriting.net ...
This enormous 95 ft. tall baldachin is considered the most sacred part of the Basilica because it lies
above Saint Peters remains. The significance of this piece can be seen in the time in which it was
created. Following the split of the Protestants for the Catholic church, the Catholic church sought to
revive itself and its followers through the counter–reformation. The Baroque period was a product of
this revival and was used by the Catholic church to show its power and majesty. The baldachin was
an evolution of the traditional architecture and utilized twisting Solomonic columns to embody the
dramatic culture of the Baroque period. The Baldachin was also sculpted using bronze from the
ceiling of the Pantheon in Rome; this method represented the power of the ancient Roman Empire.
The baldachin's sheer size and dramatic appears defines the style of persuasion used by the Catholic
church in the counter–reformation era. All of these traits also exemplify the political power of the
papacy. Surrounded by the triumph and ecstasy, the baldachin was a symbol of overwhelming

Art From Baroque Period Through The Postmodern Era Essay
Art from Baroque Period through the Postmodern Era
Renaissance art history began as civic history; it was an expression of civic pride. The first such
history was Filippo Villani's De origine civitatis Florentiae et eiusdem famosis civibus, written about
1381–82. Florentine artists revived an art that was almost dead, Villani asserts, just as Dante had
restored poetry after its decline in the Middle Ages. The revival was begun by Cimabue and
completed by Giotto, who equalled the ancient painters in fame and even surpassed them in skill and
talent. After Giotto came his followers, Stefano, Taddeo Gaddi, and Maso, uomini illustri all, who,
together with notable jurists, poets, musicians, theologians, physicians, orators, and others, made ...
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These texts are among the handful that treat art in the early Florentine Renaissance and are,
therefore, precious testimony from the early years of Renaissance art history. While rare for being
texts on art, they are of a type, however, that was common in Renaissance literature. They belong to
a genre or category in which are found some of the most characteristic texts of Renaissance
humanism. Other of the books in this category are by such writers as Bruni, Salutati, and Manetti,
books with which all students of the Renaissance are familiar. They treat broad moral and
philosophical issues, but, as in the accounts of visual art, only insofar as they concern the city of
Florence. And scholars reasonably have asked why there was such a preoccupation with Florence at
this time. One of those who did so was Hans Baron and his answer has been at the center of
discussions of this question since the 1950s.
Baron linked the focus on Florence during the years around 1400 to a struggle over Florentine
independence that began in 1390 with a declaration of war by Milan and ended only in 1454, when
Milan accepted the independent status of the Florentine Republic. These events, he proposed,
explain the direction taken by Florentine political speculation at this time, particularly the stress on
republican ideals of liberty and civic involvement; they gave rise to a

Apollo And Daphne Analysis
The sculpture Apollo and Daphne, created by Gian Lorenzo Bernini, is based off a story from Book
1 of Ovid's Metamorphoses. It is a portrayal of when Daphne is turned into a tree when trying to
escape Apollo after they were both shot with an arrow by Eros. The sculpture is a powerful visual of
Daphne and Apollo's emotions as Daphne was captured by him. To evaluate the photo further I will
discuss the feeling of empathy the sculpture made me feel and two connections the sculpture has to
Ovid's story.
The sculpture, in my own opinion, is very powerful and gives the reader a good visual after reading
Ovid's work. After reading the story I had a better understanding of what exactly had happened, and
I felt a strong feeling of empathy for Daphne. All she wanted was to stay a virgin, much like Artemis
and even her own father had agreed with her decision. But he knew this would be a difficult task as
she was a beautiful woman. This proves to be true, and although she stays a virgin, she is forever
trapped by a man and his love. I could not imagine being forever trapped like that, forever being
used for their own pleasure. Apollo states that she will forever be with him, as his arrows and in
creating his music in his lyre. He also tells her that she will forever be honored, but how can it be an
honor if she is reduced to nothing but a beating heart and her beauty. She had become nothing but an
object for Apollo to use repeatedly. Bernini's creation is ironic because it shows the way Daphne's
peril will forever be frozen in time. There is no escape for her now that she is in the arms of Apollo.
This story made me think back to the horrible treatment of women in these stories, they are
completely disregarded as people and thought of as prizes. I feel empathy for each woman that is
treated badly in the stores we've read so far, and I am glad that women have it much better
nowadays. Though the stories are not real, they still show the place women had in society at the
time. It portrays how far we've come as a human race with treating each other equally.
The second point is how the sculpture echoes the words lamb and beauty. Ovid writes, several times
throughout the story, the analogy of predator and prey. Which is

St. Lawrence By Gian Lorenzo Bernini, And David By...
The sculptures to be examined are St. Lawrence by Gian Lorenzo Bernini, and David by
Michelangelo. Starting with the obvious, both of these works are sculptures. Both of these works are
also marble. Although both of the sculptures use the same material, there is a difference in the way
that they use it. Bernini was able to create many different textures in order to show the difference
between the flames and the skin of the saint. For Michelangelo, one can look and tell that it is a
human and that he has hair per se, but he does not have the skill of texture quite like Bernini. St.
Lawrence was completed in 1617, about a century after Michelangelo's David which was completed
around 1501–04. Bernini's sculpture is about 2 feet by 3.5 feet, ... Show more content on
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Their bodies are defined and muscular. We know that Michelangelo spent time in Rome, becoming
impressed with the muscular bodies of hellenistic sculptures. He was interested in their heroic scale
and superhuman power and beauty, incorporating that into his own works, especially in his David.
We also know that Bernini spent time in Rome as well, perhaps also being influenced by the
hellenistic sculptures. Both of the sculptures are also seen in the nude, and if not almost nude. David
is completely nude, while St. Lawrence has a small drape of clothing covering himself.
Bernini seems to be capturing his figure in one split moment of time. St. Lawrence is perceived in
an awkward position, one that he definitely would not be able to hold for a long period of time. If
time were to resume, the flames would continue cooking St. Lawrence's body and he would
continue to burn. For Michelangelo's David, he has a stable stance. If time were to resume in this
instance, we would still see David standing there. He would be able to hold that pose, continuing to
stare off into the distance for moments longer. Although it looks like David could move at any
moment, if we look at the two side by side, David almost appears to be immobile compared to the
shape and state of St. Lawrence. If we were to press pause and then play again, David could remain
in place, while St. Lawrence would immediate move due to the way Bernini has portrayed him.
Another

The Villa Borghese
Baroque art encompasses a broad range of art from Dutch genre paintings to dramatic and theatrical
Italian pieces. Because of the religious, socio–economic, and political events of the time, Baroque
art can hardly been contained into one description. Politically, the rulers and monarchies used
commissioned art to emphasize assert their authority, power and right to rule. Religiously, the
Reformation caused the Catholic Church to commission provoking pieces of piety and devotion.
And Socio–economically, the rising middle class in many areas of Europe wanted pieces of art to
further improve prestige in the social scene and improve their reputation. These three developments
that came with the transition from the Renaissance age to the Baroque ... Show more content on
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The Villa Borghese, owned by Cardinal Scipione Borghese, was a place where visitors would view,
respond and discuss the immense collection of art, which brought together both antique and modern
pieces of art. Many of the pieces were a mix of old and new works and artists were commissioned to
"give unified fragments a character in the collection," showing the new way of inventiveness at the
end of the seventeenth century. During this specific time, artists such as Gian Lorenzo Bernini were
huge influencers in the art world. His pieces Apollo and Daphne, 1623–4; Rape of Proserpina,
1621–2; and Hermaphrodite, unknown, depict the story of ancient myths, and were commissioned to
be conversation pieces that generate multiple meanings, senses of realism, and juxtapositions. The
Cardinal also trusted Bernini to create a bust of himself title Cardinal Scipione Borghese, in 1632.
The piece was executed beautifully and portraying a lively Cardinal, so realistic in its depiction that
the only thing missing was speech. The piece helped to endorse Scipione's social positions and
prestige. The spectators would discuss the different stories behind the pieces as they moved around
and saw the changing points of view as well as marveled at Bernini's ability to create artistic illusion
and make marble look like leaves, skin, bark, and hair. Scipione's Villa included a vast collection
that displayed the history of artistic styles together by showcasing artists who created pieces that
engaged viewers to see the life in

Baroque Vs. Baroque Era
Baroque is a complex term used to describe what was thought to be a messy, vaguely disgusting
style. Potentially coming from the Spanish words "barrueco" meaning a "rough or imperfect pearl"
or "berruca" the term for "wart", Baroque came to be a generalized term for art, architecture, music,
and sculpture from the 16th century to the early 18th century (Klindt–Jensen 2015). Not only was
the "Baroque period" long lasting, but it was far reaching as well. From Holland to Spain, Germany
to France, the Baroque style began in Rome and Italy around 1600 and quickly spread to most of
Europe, eventually reaching colonial South America in the 18th Century (Fargis 1998). Similar to
terms such as Gothic or Mannerism, the term "Baroque" began in a ... Show more content on
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Second, planar to recession. Figures no longer purely stood parallel to the canvas, and instead had
depth and spatial relations. Third, the change from closed to open form: the acknowledgement of the
viewer and the painting's relation to the physical world with conflicting angles and the ability to be
"out of frame". Fourth, the idea of unity in a painting where no single image could be isolated due to
lighting and significance. Finally, the change from absolute clarity to relative clarity, the potential
for a subjective painting, one which could be read as a story. Painters such as Caravaggio presented
their works as theatrical displays, with intense lighting bringing the figures to the stage. Styles such
as Tenebrism, Chiaroscuro, and Leonardo De Vinci's Sfumato used fine shading and the drastic
contrast between light and darkness to bring dramatic elements to their works, as though they had
their own personal spotlight. Eclectic of the High Renaissance, Baroque painting was an evolution
of style, aggregating what were the preferred styles from the past and adapting them to the painter's
personal use. Peter Paul Rubens, a Flemish painter, was one of the best–known painters whom
mastered the power of the Baroque. His works such as the "Raising of the Cross" portrayed Jesus as
a heroic figure, with intense lighting and even more intense facial features (Scribner 2017.)

Pope Urban Viii By Gian Lorenzo Bernini
Furthermore, the Triton Fountain was specially made for Pope Urban VIII Barberini by Gian
Lorenzo Bernini. The fountain is placed at the center of the piazza; the fountain represents the God
of Sea with anthropomorphic body and huge fish tail, kneeling on an open shell supported by the
tails of four dolphins. The dolphins, leaning towards each of the four cardinal directions, open their
mouths to swallow the water of the surrounding pool, telling us that they drink up all the waters of
the world. The fins of the dolphins clutch the crown of Urban VIII, with papal tiara, keys of St.
Peter, and Barberini bees. Triton as the subject of this fountain is a very interesting choice.
According to many historical sources, Pope Urban VIII was a very talented poet, and he was very
recognized for his pursuits in this field, and Triton was someone who achieved a sacred unity with
nature and literature. And as we can see from the monument, the Triton was an appropriate public
monument to Pope Urban's distinguished literary accomplishments. On the other hand, this
explanation of the connection between Triton and Pope Urban is not effective, and unquestionably
doesn't give us full information. American art historian John Beldon Scott has established that Urban
was suspicious of pagan imagery for fear it might lead the faithful astray. This suggests that the
Triton Fountain may imply to something more significant than just the simple literary symbol. Also,
it is important to mention that at

FAS 202 Milestone Three Analysis Paper
Art of the Baroque and Neoclassicism Movements
The Rape of Proserpina and Psyche Revived by Cupid's Kiss
Germaine Fahie
FAS 202: Introduction to Humanities II
Julianne Poncet
February 19, 2015
The purpose of this essay is to evaluate two art pieces that were created by two tremendously gifted
individuals during the Baroque to the contemporary period. Masters of their movements, both
sculptors were able to create masterpieces that revealed an unfolding event that could be read by
their viewers from all sides.
The first piece of art to be reviewed is the The Rape of Persopina (1621–22), also known as The
Rape of Persephone, which is a large marble sculpture, 255cm in height, which was crafted by Gian
Lorenzo Bernini, at age ... Show more content on Helpwriting.net ...
Overpowered by her own curiosity, Psyche, no sooner than she had opened the flask, fell into a
deathly sleep after inhaling the deathly vapors (Closer Look at Psyche). In sculpting his masterpiece
of this genre, Canova managed to combine the classical mode with consummate eroticism when he
captured the lover's embrace. Cupid and Psyche are turned towards each other in sensual love, and
Canova had succeeded in presenting a highly expressive treatment of the theme of love from Greek
mythology. The upward ranged wings of Amor emphasize the divine, about to embrace mortal
Psyche. The fulfillment of the love between the two is tangibly near (Cupid and Psyche).
The masterworks of Bernini and Canova shared similarities along the lines of the sculptors' works
were crafted with precision and a keen eye for detail and were successful in giving their works a
realistic effect. Both workers were masters in their own time and were able to manipulate marble to
as though they were constructing a painting. They both incorporated classical forms in their works,
depicting great scenes from mythical stories that could be viewed in great detail at a 360–degree
angle.
Some of the differences noted between the two pieces were merely based on the characteristics
between the two eras. The works completed in the Neoclassical era were portrayed in a more
serious, unemotional, and

The Triton Fountain By Gian Lorenzo Bernini
The Triton Fountain was specially made for Pope Urban VIII Barberini by Gian Lorenzo Bernini.
The fountain is placed at the center of the piazza; the fountain represents the God of Sea with
anthropomorphic body and huge fish tail, kneeling on an open shell supported by the tails of four
dolphins. The dolphins, leaning towards each of the four cardinal directions, open their mouths to
swallow the water of the surrounding pool, telling us that they drink up all the waters of the world.
The fins of the dolphins clutch the crown of Urban VIII, with papal tiara, keys of St. Peter, and
Barberini bees. The Triton as the subject of this fountain is a very interesting choice. According to
many historical sources, Pope Urban VIII was a very talented poet, and he was very well known for
his pursuits in this field. Triton was someone who achieved a sacred unity with nature and literature.
And as we can see from the monument, the Triton was an appropriate public monument to Pope
Urban's distinguished literary accomplishments. On the other hand, this explanation of the
connection between Triton and Pope Urban is not effective, and unquestionably does not give us full
information. American art historian John Beldon Scott has established that Urban was suspicious of
pagan imagery for fear it might lead the faithful astray. This suggests that the Triton Fountain may
imply to something more significant than just the simple literary symbol. Also, it is important to
mention that at least three

Florence and the David Statues
The city of Florence has gone through many invaders, illnesses and many other deaths not related to
the battlefield. They had survived it all they believed that they had God on their side and have
always come out on top, much like the biblical story of David in battle against Goliath. This
influenced Florence to take on David as their symbol and used it to portray the success of Florence.
Many artists have created sculptures portraying works of David. It has been depicting it in so many
different manners, that there is at least one surviving example from each major art periods. Although
there are many we will only be focusing on two works of David. First is Donatello's classically
inspired youthful boy depiction of David, and the second is Bernini's heroic warrior. The Medici
family was the most powerful political family of Florence. They saw themselves as being the reason
for Florence's supremacy and wanted to used Florence's symbol of David as their own. The Medici
were aware of Donatello's earlier sculpture of David in Florence's town hall and commissioned
Donatello to create them their own sculpture of David. Donatello's bronze sculpture of David
possesses both the relaxed contrapposto and the nude beauty of the Classical period and the style of
the Greeks. He was the first Renaissance sculptor to portray nude male figure. "In the Middle Ages,
the clergy regarded nude statues as both indecent and idolatrous, and nudity in general appeared
only rarely in art"

The East Facade Of The Louvre
Perrault still relied a lot antiquity rule to do his reference, even if Perrault mentions that he created
the new taste of architectural element for French. He accepted that Vitruvius' theory and order still
an important part of his theory. Perrault mentions that, "I also contend that whatever innovations I
introduce are intended not so much to correct what is ancient as to return it to its original perfection.
I do this not on my own authority, following only my own insight, but always in reference to some
example taken from ancient works or from reputable writers." The East Facade of the Louvre is hard
to define its style because of Perrault's theory and Le vau's influence. A historian, Blunt, argues that
the facade shows the Baroque and Classical style at the same time. He wrote, "The Colonnade has
no exact parallel in French architecture, but it is the first example in this art of the style of Louis
XIV. In certain respects it is Baroque: the scale of the Order, the depth given by the free–standing
colonnade, the variety of rhythm due to the coupling of the columns. In other ways it is more strictly
classical than earlier French work: the clear and simple definition of the masses, the straight line of
the front (in contrast to the curves of most of the Italian designs and even Le Vau's first scheme), the
severe and almost unbroken entablatures, and the purity of detail in the Order and the mouldings."
Italian Interacted The design of the East Facade of the Louvre

The Blessed Lodovica Albertoni ( Fig )
The definition of artworks and the labelling of them as objects of a distinguished style of their time
can be helpful to maintain an organised view of the history of art. However, defining a piece, or an
artist, as belonging uniquely to a certain style reduce the possibilities of a different reading of them.
To illustrate this point, I will comment the Blessed Lodovica Albertoni (fig.1), a sculpture of the
17th Century by Gian Lorenzo Bernini, focusing on the approach of Rudolf Wittkower (1901–71) in
his book Gian Lorenzo Bernini: the sculptor of the Roman baroque. Although the addition of the
subtitle clearly defines the sculpture as part of the Italian baroque, it is interesting how at the same
time Wittkower includes a view on Bernini's ... Show more content on Helpwriting.net ...
As he comments the importance of the diagonal in his previous works, this sculpture is described as
angular in contrast with the modelling of the figure. The spirituality of the Blessed is emphasised by
the violent movement of the fold of the mantles. Wittkower adds to the picture an inclination
towards the classical linearity, as Bernini's work did from the 1660s. He compares it with other
artists from the same period, who tended to serene their designs towards the end of their lives.
However, he emphasises on his interpretation of the sculpture as it portraits the emotional and
dramatic effect that is considered typical of the baroque .
Accompanying the short mention of the sculpture, Wittkower includes a comment in the catalogue
of images. First, the catalogue gives context to the figure and relates it to others of Bernini's works
at the time. Supposedly commissioned by Cardinal Paluzzo degli Albertoni, sketches proves the
beginning of the work in 1671 . Bernini sculpted the figure by himself. His other commissions made
him finish the sculpture in 1674. Although it is surprising the artist did not receive remuneration for
the piece, it is known he worked for free for the Altieri family in order to avoid publicity on behalf
of his brother's past criminal offence . Secondly, Wittkower comments the relationship of the
sculpture and the painting, Gaulli's Virgin and Child

The Baroque Period
Artists and Artworks from the Baroque Period
Nathan Hale
American Intercontinental University
Abstract
The author of this paper examines three works of art from three different artists from the Baroque
Period. He compares the different works of art and discusses similarities, differences, and the
techniques that were used.
The Baroque period ran from 1600 to 1770, Artist of that time used different techniques that were
used during the renaissance period to bring drama to art. An immense amount of art in that period
shows fantastic energy and emotion. These pieces of art that were designed and created during the
Baroque period brought out emotion in the onlookers of the ... Show more content on
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The color of the sculpture is of skin tone, but the way Bernini sculpted the lines created shadowing
in his skin. You can tell the strength of David by all the carved out muscles that are all over his body.
Peter Paul Rubens a renowned humanist and diplomat in his time. Was the most influential baroque
painters in northern Europe. He studied works of Michelangelo. When he returned up north he was
very sought after and opened a large studio with much assistance. He was known for the beauty he
painted when painting nudes, but there was a propensity for everything in his painting to have a
sense of sensuality, his freedom with the brush influenced many painters. The rising of the cross
1610 to 1611 which was painted oil on panel. He painted this piece of art for an important Roman
Catholic cathedral in his homeland. He paints the elevation of the cross after returning to Flanders
from Italy. The main panel illustrates muscle men attempting to lift the cross, and the unbearable
weight of Christ of the cross. This piece of art is jumping out on the onlooker it simply is amazing
leading to the picture of Christ . The visual vitality makes this piece a baroque piece of art. The
center of this beautiful painting is filled with drama and power. The strong figures lug the rope to
raise up the cross. While the other muscly men carry and raise a pale looking Jesus. You

Essay Difference Between Italian And French Baroque...
Difference Between Italian And French Baroque Architecture
Baroque is the name given to the art of the 17th century. But the baroque style, like all other styles
in the history of art, began gradually. It started in the latter part of the 16th century and continued to
be used well into the 18th century.
Baroque can be defied as the florid, ornate style characterizing fine arts in Europe from the middle
16th to middle 18th centuries. The main characteristic of the baroque architecture is movement.
Architects wanted their buildings to be exciting and to give the impression of activity.
They did this by making dramatic contrasts of light and shadow and by using curved shapes.
The Renaissance enthusiasm for antiquity
led ... Show more content on Helpwriting.net ...
The three most important and notable baroque architects in France in the 17th century were Jacques
Lemercier (1580/5–1654), a man who was a master of delicate elegant line and graceful silhouettes
which he ingeniously combined with forceful mass. He was most noted for his work on the Church
of the Sorbonne. Next is Francois Mansart
(1598–1666), a man who's exteriors and interiors, composed with scrupulous purity and infinite
stability, make him in architecture the cornerstone of French Baroque Classicism. He was best
known for his work on the Ste Marie de la Visitation and Chateau of Blois. Finally Louis
Levau (1612–1670), a man who emphasized on terraced, parterres, pools, fountains, all to provide
an axial relationship to his work. He was best known for his work on the Chateau and Gardens of
Vaux–le–Vicomte and
College des Quatre Nations.
The wide variety of expression inherent in the Baroque can be best understood by examining the
works of Italians
Francesco Borromini (1599–1666), Guarino Guarini (1624–1683) and Giovanni
Lorenzo Bernini (1598–1680). Francesco in many ways, was the spiritual father of Guarini. Born in
Canton Ticino in the Alps, he went to

Rome where he stayed his whole life. Suspicious, moody, and dedicated, he, almost fanatical in his
pursuit of perfection, carefully supervised all the stages of his design. He is most remembered for
the Carlo
all

Bernini And Borromini Essay
Thomas Thatcher
ARCH 429
15 April 2015
Bernini and Borromini: The Two Faces of the Baroque
Rivalry pushes man to become better, to improve, to try and reach incredible levels of perfection. In
art, rivalry between geniuses has often resulted in masterpiece. Indeed, it was a rivalry between two
men that shaped beautiful and modern nature of seventeenth century Baroque Rome. The story of
Bernini and Borromini, and their impacts on Baroque architecture, is one of the most dominant
periods of time in the history of Rome.
Gian Lorenzo Bernini and Francesco Borromini spent their professional lives locked in a complex
rivalry that spans the duration of the seventeenth century. The profound differences between the
lives and personalities of these two, reflected in work still evident in Rome today, have been a
hotbed for debate and praise. Always a competition, Bernini and Borromini have produced some of
the most beautiful staples in Roman architecture, sculpture and space. The stark contrast in
fundamental design principle, shown most prominently in the sites of Borromini's San Carlo alle
Quattro Fontane, and ... Show more content on Helpwriting.net ...
Passionate for his work, Bernini was seen as charming, and a man of his word. Amongst Rome's
most wealthy and powerful, any project he set hands on was met with satisfaction. Bernini's skillset
did not end with architecture, he was also a fantastic sculptor, painter, and playwright. His dramatic
artistic value was the focal point of his work, by telling a story throughout a critical iteration of
design decisions. With a style of sculpture that could breathe life into its contextual surroundings,
many state that Bernini is one of the most renowned artists in the history of Rome, amongst names
like Michelangelo. Bernini viewed architecture as a stage, using art, sculpture and lighting to create
a spiritual experience. He used a sense of drama to aid his designs and heighten emotional

Humanism In Art
Art: the expression or application of human creative skill and imagination, typically in a visual form
such as painting or sculpture, producing works to be appreciated primarily for their beauty or
emotional power (Stevenson & Lindberg, 2010). Art takes many forms, such as paintings, drawings,
sculptures, and collages, and within each form exists different genres or classifications. The early
history of art, or art created within the fourteenth to nineteenth centuries, can fall into five major
periods: Renaissance, Baroque, Rococo, Romanticism, and Realism. The first of the five major art
periods, the Renaissance period, occurred between the thirteenth and sixteenth centuries and started
within Florence, Italy. It later spread throughout the rest of Europe. Renaissance art, aimed at
rebirthing classical culture, contains defining characteristics such as the theme of humanism, a more
realistic portrayal of subjects due to advances in perspective, and depictions of prominent religious
figures (Magic Web Solutions UK, 2015). In regards to the birth of humanism in art, "There is now
little doubt that the desire to render human likenesses in specific, rather than generalized or
idealized, terms began in Italy in the thirteenth century" (Grassi, 2011). Additionally, art often took
the form of oil paintings on canvas or plaster and statues typically crafted from marble and bronze.
Some of the most well–known artists of this time include Leonardo da Vinci, Michelangelo, Sandro

Theme Of Family In The Aeneid
Throughout the Aeneid there are several recurring themes that shape the story. One of the biggest
themes is family. Without the idea of family Aeneas has less motivation to go on his journey. The
gods use this against him when attempting to persuade Aeneas to continue embarking on the quest
he has been on. Anchises, Aeneas' father meets with Aeneas as well and gives his perspective on
Aeneas' journey and includes a lot of arguments about family. Anchises has a strong concern for
family as well, and it is evident in the underworld when Aeneas and Anchises meet. Aeneas'
growing concern for his family is evident in lines 847–882. The idea of losing someone or multiple
people is discussed "Vel quae, Tiberine, videbis funeral, cum tumulum praeterlabere recentem!" This
is Anchises asking, " O Tiber when shall thou glide by the fresh made tomb?" Anchises also asks
what funeral rights there are. This stresses that the characters are concerned with death and may
even be foreshadowing a death or multiple in the near future. Additionally, this concern for death
obviously demonstrates the care Aeneas has for his family. Family is often directly discussed in this
passage as well, specifically Anchises, the father of Aeneas, who says, " tum pater Anchises lacrimis
ingressus obortis" / "Then, father Anchises began rising with tears" Virgil introduces Anchises,
Aeneas' father into this passage because Anchises goes on to discuss the journey Aeneas is on, the
dangers of it, and that

Art History Through The 19th Century
Sean Ly
Student ID: 03299319
LA 121 OL4: Art History Through The 19th Century
December 18, 2015
Sara Ellis
Michelangelo's "David" and Gian Lorenzo Bernini "David" There are not many artists in the world
of sculptors that can compare or surpass the work of these two artists. The comparison that I will
make is between two different artists who happened to create a marble statue of the biblical David
but did it differently and during different eras of art. Michelangelo created his seventeen feet,
standing nude male statue of David first during the renaissance era between the year 1501 and 1504
in the 16th century while Gian Lorenzo Bernini did it later in 1624 using the baroque style which
was the artistic style of the 17th century (Coughlan, 18). The artwork of these two artists goes a long
way in defining the state of art culturally and stylistically its significance during the particular
periods they created their respective statues of David. Having seen both sculptures it is safe to
stylistically analyze that Michelangelo and the renaissance masters concentrated more on the rules
of geometry design because looking at his statue of David everything about the statue is idealized in
the sense that his sculpture's size is not the normal size of a human being. He basically used the
rules of geometry and symmetry to build a big body block and decorated it with the details of a
figure that served his architecture. His methods allowed him to recreate every part of the figure

Baroque Movement And Religion
This article explores the production of religious images by the Baroque movement as a mass
production of icons and superimposing images. Although, this piece of work focuses mainly on this
art movement and is effects on Mexican culture, it also describes how the appropriation of certain
symbols can influence culture, religion, and politics of other societies.
The sculptures, paintings, and churches influenced by the Baroque period are described as symbols
that can evoke magic and transcendence which might corroborate to the perception that the Roman
Catholic Church used the Baroque glamour to appeal all the senses of the society in contact with it.
The holy objects used by the church were designed to be very functional and ornamental, in order to
impress and touch the feelings of its followers.
The author of this publication, Renee De La Torre, addresses with confidence how the aspects of
baroque art were used by the Catholic Church to create icons that could influence the spread of the
Catholic reformation. De La Torre has a Master's degree in Communication Studies from ITESO, a
PhD in Social Sciences, and is specialized in Social Anthropology.
Baroque is addressed objectively but also in a lot of detail in this reference entry. From the
definition to the different aspects of the movement in Europe, this encyclopedia brings the historical
background and general characteristics of baroque art that can be used as a foundation for arguments
concerning the influence of the

Similarities Of Bernini And Bornini
Bernini and Borromini Do they represent opposite poles of architectural expression or is such
polarisation the result of historical caricature ? By Ronan Carey "Better to be a poor Catholic than a
good heretic" –Gianlorenzo Bernini "I do not mind that he has the money, but I do mind that he
enjoys the honor of my labors," –Francesco Borromini The quotes shown above display two cutting
yet contradictory statements by two architects in reference to each other. The quotes are
representative of the larger picture history has often painted of Gianlorenzo Bernini (1598–1680)
and Francesco Borromini (1599–1667), contemporaneous geniuses and rivals, bound to compete
and locked in a complex political and artistic struggle for dominance and ... Show more content on
Helpwriting.net ...
Portraying Borromini and Bernini as polar opposites form birth has come easy to many writers on
the subject. They certainly diverged when it came to patrons, whether it is representative of their
contrasting personalities or not is a matter of speculation, but Borromini appears to have taken his
apparent ostracization by Pope Alexander VII in the mid 1650's rather well and from then onwards
he tended to work for more modest patrons such as impoverished spanish friars and austere
augustinian nuns, which must have offered him more happiness than the commissions he would
have received from the Pope. Bernini, in contrast, always revelled in playing the courtier and
enjoyed the patronage of Alexander VII and Pope Urban VIII. However the two may not be as
diametrically opposed as much writing would suggest. Bernini was undeniably the more successful
of the two for much of his life, but his origins were, by many standards, humble and inauspicious.
Bernini showed an incredible flair for the arts from an early age, particularly in sculpture, the artist
Annibale Caracci even proclaimed him a child prodigy. However claims such as Caracci's are
questionable considering Bernini's own son, Domenico, is the only one who can attest to their
veracity. Aside from unsupported claims, there is also some evidence to suggest that Bernini
misremembered some of his early work in his old age and mistakenly attributed them to his early
beginnings when in fact they were later accomplishments. Therefore we already have a shaky
foundation with which to judge the young Bernini. Similarly, the view of the young Borromini has
often been obscured by writings that suggest he had somewhat troubled origins compared to
Bernini.Regardless,

Como surgio? Causas? Consecuencias? Arquitectura....
El arte barroco se desarrolla entre los siglos XVII y XVIII. El arte será el vehículo de propaganda
tanto de la Iglesia de la Contrarreforma, como de los Estados absolutistas o de la burguesía
protestante.
En el barroco la figura humana se alza como objeto decisivo del arte, pero no en su forma
idealizada, sino en cualquier aspecto, ya sea este bello o feo, sublime o cotidiano.
En el barroco podemos distinguir tres períodos: temprano o primitivo, de 1580 a 1630, pleno, de
1630 a 1680, y tardío o rococó, de 1680 a 1750.
El barroco artístico contrasta abiertamente con el ideal de armonía, proporción y medida que
propugnó el Renacimiento. Las principales características del arte barroco son:
Dinamismo El artista barroco desea crear ... Show more content on Helpwriting.net ...
A imitación de Versalles se construyen en España los reales sitios, sobre todo Aranjuez.
Destacan, Alonso Carbonell: El Buen Retiro, Juan Gómez de Mora: plaza Mayor, la cárcel de la
Corte y Alonso Cano, fachada de la catedral de Granada.
En el siglo XVIII se desarrolla el estilo churrigueresco. Se trata de un estilo muy decorativo, sobre
todo en el exterior. José Benito de Churriguera es el auténtico creador del estilo: San Cayetano,
Santo Tomás, y la ciudad de Nuevo Baztán, Joaquín de Churriguera: colegio de Calatrava en
Salamanca y Alberto de Churriguera: plaza Mayor de Salamanca. Pedro de Ribera, puente de
Toledo. Narciso Tomé: transparente de la catedral de Toledo, y Fernando de Casas Novoa, la
fachada del Obradoiro en Compostela.
Los dos grandes proyectos de la Corte borbónica son la granja de San Ildefonso, Teodoro Ardemáns,
y Aranjuez, Santiago Bonavía. Se construyó el Palacio Real, Fillippo Juvara y Giovanni Battista
Sacchetti.
Hispanoamérica
Durante los siglos XVII y XVIII la conquista y dominación de las Indias llega a su apogeo. Se crean
nuevas ciudades y se reconstruyen las ya existentes.

En la catedral de México, trabajan Claudio Arciniega y Juan Miguel Agüero. Se convertirá en el
paradigma de la arquitectura colonial. Francisco Becerra levantará la catedral de Puebla. Francisco
Antonio Guerrero y Torres: capilla del Pocito, en Puebla. En Puebla aparece una escuela

The Influence Of The Baroque Period
People used to describe the Baroque period as grand, joyful, exuberant and dynamic. The term
'Baroque' originally represented an irregular, oddly–shaped pearl in Italian. The Baroque took the
design of the Renaissance and transformed it into its own interior style. As with the Renaissance, the
Baroque was born in Rome, date from the late 16th century. While in some parts of the world,
especially Germany and colonial South America, certain culminating achievements of Baroque did
not appear until the 18th century.
The popularity and success of the Baroque age was informed by the tensions of the Reformation and
the Counter–Reformation. The Church aimed to emphasize the specter and ceremony of its faith and
decided to do these inside ecclesiastical ... Show more content on Helpwriting.net ...
By repeating the reverse of the architecture on the opposite side of the vertical axis, it can be
created. Basically, each side becomes the mirror image of another side. Palace of Versailles is a
realistic architecture with symmetrical balance. Its structure and garden display characteristic of the
symmetrical balance perfectly.
Move on to several interior features, various interior elements are used to enhance light effects due
to the need of light in the interior was a feature of the Baroque.
Firstly, French window is one of the most essential elements in the Baroque interior. The windows
of the architectures become larger in order to allow vast amounts of natural light to shine into the
interior. Great quantities of windows are applied in the interior, including windows on the ceilings
and walls. Light effect was enhanced by day by the introduction of ever–larger window openings
and by night by the combination of firelight and candlelight. Light is emphasized in the design.
Mirror, chandelier, slash pattern and the extreme contrast of colors of paintings also represent light.
Natural lighting had become increasingly a symbol of wealth and

Apocalypse And Rodin's The Right Hand Of God
The concept of apocalypse in art is utilized by artists to show the audience the act of lifting a lid to
reveal or disclose their work. In religious circumstances, apocalypse generally relates to things that
have been hidden or disclosed from us on earth, such as the worship of angels in heaven. Often
apocalypse in a scriptural sense is referred to the book of the end times, in the book of Revelation. A
well known story in the Bible is of Daniel in the lion's den demonstrating a great picture of
apocalypse and revelation, as the story reveals King Darius delighted to see Daniel unscathed from
the lions, after Darius opens the gates (lifts the lid) of the den. This is a biblical apocalyptic moment,
at the start of the story there was disclosure, and then an unveiling as God revealed to Darius that his
hand was on his child Daniel.
This concept of apocalypse is used and applied but expressed in different ways, in the work of
traditional, modern and ... Show more content on Helpwriting.net ...
This piece unveils an effective impersonation of the master Designer crafting designers. The
symbolic title of this piece links to how it is viewed by others. The scale of the "perfected"
prodigious right hand of God forming the smaller rough unformed woman – the figure of Eve –
contrasts the momentous significance of God in comparison to his creation. These numerous
features – the contrast between the highly polished areas and the rough marble, the posture of the
woman reminiscent of Dawn in the Medici Chapel, San Lorenzo (Florence) – recalls the work of
Michelangelo. (musee–rodin. 2017.) This astounding sculpture ties in really well with the theme of
apocalypse, as it confides the complete creation of the mastercraftsman, only showing a slight
glimpse of what is yet to be created (half of creation and half clod of

The Works Of David The King David
Throughout the history there has been major events that occurred which left an impact for
generations. A major history that was recorded in the bible was "King David"; base on our
understanding of history David was once just a normal shepherd until King Saul the former ruler of
Israel appointed him as the new air to the throne. In the present year David is known as the slayer of
Goliath killing him with stones he put in his sling and cutting of his head. This event was printed as
a biblical history because it is said that before he became King, "God gave Saul the position to
become the first emperor of Israel, but after disobeying god's words he was rejected from the
throne" . David became the symbol of Florence, many artists have done sculptures of him and two
of the best artists were Michelangelo and Bernini. These two were talented of creating sculptures
inspiration of David; although the subjects are the same their style of sculpting is different. There
were other artist whose done sculpture of David, but by far these two were the best, in my opinion.
"Michelangelo di Lodovico Buonarroti Simoni", was born in the 15 century the time of the "High
Renaissance", he was announced "the greatest artist in his time" . When he was only 12 years old
"Michelangelo was sent to study at Florence and became an apprentice under Ghirlandaio" .
Michelangelo was born in a religious family; most of his artwork is based on the legends of how
humanity was created and Christ. He also

Comparison Of Donatello David
Part One – The Donatello David is depicted more as a young boy wearing a hat and holding a sword
into the head of Goliath. He is nude in this depiction and he shown with long hair. The sculpture
looks as though it is standing still. Currently the David completed by Donatello is located in the
Museo Nazionale del Bargello, Florence. The sculpture was completed in 1440 and is purely bronze
which is shown in its dull shininess. The David stands 5' and 2 ¼" tall.
The Bernini David is a more developed man with shorter hair. He shows more of a muscular build
while he is preparing to use his slingshot to defeat Goliath as he is twisting his waist and arms as to
preparing to swing his happen with great force. This sculpture shows great movement in its detail
and this is known as dynamic action. This David is located in Galleria Borghese, Rome. The
sculpture is marble as seen it is pale color and lack of shininess shows it lacks the characteristics of
it were a bronze statue. Bernini completed this David in 1623 with the dimensions of 5'7" in height.
Part Two – Compare and Contrast:
Donatello used his skill to depict David as a still figure in the defeat of Goliath. The sword is
stabbed in the head of goliath and the sculpture shows some patina as it was done in 1440 and
bronze does show rust over time which shows the coloration of green on the statue. The statue looks
almost as it is posing for its viewers showing that the little guy can beat the big guy as shown by this
statue in Florence as it pertains to them as a city against other larger Italian cities. The posture that
this David shows is contrapposto in just standing in the moment.
Bernini designed his David to appear as it was theatrical and expansive. The so–called flexibility of
the sculpture is using dynamic action. The life like adult male that Bernini sculpted is in the very
instant of combat as he is readying his slingshot with a twist of his waist and arm. This differs from
the David of Donatello in that Donatello's is after the battle had taken place and shows David as
victorious. Both David's are similar in the fact that neither is wearing armor during or after the
battle. Although Bernini's David has armor at his feet but chooses not to use it as

Gian Lorenzo Bernini Research Paper
Gian Lorenzo Bernini was a renowned Italian sculptor in the 16th and 17th century. His first works
were inspired by antique classic sculpture, but he later became influenced by the Counter–
Reformation, a movement within the Catholic Church that decided the arts should communicate
religious themes (New World Encyclopedia). Using primarily marble, Bernini created dynamic,
large–scale sculptures that were meant to be viewed from all sides, to add a dimension of energy and
movement to his pieces. He also used light manipulation to dramatically alter the mood of a piece
("Gian Lorenzo Bernini Style and Technique"). Bernini, continuously being inspired by his cultural
upbringing, created pieces that centralized around religion. By utilizing

Michelangelo's David Research Paper
The story of David was one that held great significance to the people of Italy and many artists had
used David as the subject of their work. Michelangelo's David (1501–04) and Bernini's David
(1623) both depict the same subject matter but their interpretations are very different due to the time
periods they were produced in. In my paper I will be explaining how the Renaissance and the
Baroque periods notably changed the portrayal of David and how it influenced the artists of their
times.
To begin, these art periods focused and displayed very different aspects of art. The renaissance
brought back Classical themes and techniques from ancient Roman and Greek societies. Some of the
most notable being a focus on the human body, using contrapposto, ... Show more content on
Helpwriting.net ...
Although using David as the subject of a piece was something that previous artists had done,
Michelangelo's David became a favorite to the people of Florence when it was unveiled in 1504.The
importance of David's nude body and its positioning is obvious when we remember it was made
during the Renaissance. Celebrating the human form and having figures in contrapposto were
defining aspects of this period. Aside from being one of the most famous Renaissance artists,
Michelangelo is also regarded as one of the greatest artists and sculptors in history. Michelangelo's
David was, and still is, seen as the perfect and ideal image for the human body. The amount of detail
able to be seen, from the veins on his arms, to the muscles lining his abdomen, shows how very
meticulous Michelangelo was when it came when it came to the human body. He cared so much
about correct anatomy that he even studied and dissected a human body to ensure an accurate but
even more perfect portrayal of the male figure. The elegance, beauty, and perfection displayed in
Michelangelo's David has made it into one of the most recognizable pieces of Renaissance art in
history. Many artists have been inspired by him and his artwork, including Gian Lorenzo

Gian Lorenzo Bernini Research Paper
Even though Gian Lorenzo Bernini wasn't the only sculptor of his time, he should go down in
history as one of the best sculptors because of the Apollo and Daphne, and the Ecstasy of Saint
Teresa, which were two of his best sculptures. Not only was Bernini a great sculptor, but he also did
many other things like painting, designed stage sets, wrote plays, and did some architect. He also
maintained good relationships with people, and had great faith. Bernini went to religious exercises
and had a lighter personality which he showed in some of his works as a sense of humor.
Gian Lorenzo Bernini was born on December 7, 1598 in Naples, Italy to a mannerist sculptor named
Pietro Bernini ("Gian Lorenzo Bernini"). When Gian Lorenzo Bernini was little, his father would
often take him to his projects, which then sparked Bernini's interest on sculpting. With Bernini now
starting to sculpt and being quite good at it, he caught the attention of Pope Paul V and Annibale
Carracci ("Gian Lorenzo Bernini"). Since Pope Paul V and Annibale Carracci took interest in ...
Show more content on Helpwriting.net ...
In 1624, the Baldacchino which stands above the papal altar, is made of marble, bronze, and gilt,
was one of the first requests he worked on. Following the Baldacchino, the monument of Urban VIII
was created in 1647, which according to White, "was a work that defined the iconography of future
papal funerary monuments" (White). An important piece that Bernini made was the Cathedra Petri,
made in 1666. The Cathedra Petri was placed in the remote location to surround Saint Peter's throne.
As natural light is shining in, the scattered gilt rays emphasize the light which then brings The
Cathedra Petri its divine setting. The Baldacchino acts as a frame for The Cathedra Petri which
draws the viewers' attention to Bernini's masterpiece. The last project Bernini did in Saint Peter's,
was the giant piazza design that lead to the

Exploring The Idea Of The Baroque Art Era
For my Installation piece I have decided to explore the idea of The Baroque Art Era. The Baroque is
a period of artistic style that concentrated on exaggerated processes and lavish designs.
Starting in Rome in the early 1600's, The Baroque style began after the Roman Church was in the
middle of monumental internal reform, attempting to address the representation of the arts within
the society of the time. They believed that a change in the way art was delivered to the masses was
necessary to reach a larger audience.
The Council of Trent believed that the paintings and sculptures in the church needed to appeal to the
masses and therefore their context and story should be able to speak to the illiterate and not just the
well–educated and informed. This consequently saw the style turn deliberately from the witty,
intellectual characteristics of the 16th century Mannerist art, to a more internal appeal aimed at the
senses. It created an art that was direct, simple and obvious but theatrical.
Swiss Art Historian, Heinrich Wolffin defined The Baroque as "the age where the oval replaced the
circle as the center of the composition and the colouristic and "painterly" effects began to become
more prominent".
Examples of Baroque paintings and designs can be seen in Peitro da Cortona's works, including the
Glorification of the Reign of Urban VIII created in 1633. His use of dynamic composition, irrational
lighting, dramatic gestures and poses, and miraculous effects accentuate the

Eastern Facade Of The Louvre Essay
Intro
The Eastern Façade of the Louvre was the one of most important architecture in the seventeen
century. The Façade is the main entrance for royal palace in its original proposal. However, Louis
XIV, who decided to build this architecture with his finance minister, moved to the Château de
Versailles as his royal palace. Nowadays, this side of the Louvre is an inconspicuous entrance of the
Louvre Museum. As a palace entrance, the eastern Facade of the Louvre responded the traditional
chateau in France by the space's quality and its French classicism style. However, the pyramid shape
of I.M.Pei's design is too attracting the people's attention to let people ignoring the real entrance
which is the Eastern Facade of the Louvre, even if the Eastern Louvre is the one of the most
important architecture in the seventeenth century.
Main Claim Same as traditional chateau in France, the space behind the facade still following the
characteristic of traditional chateau. The pavilions on the both side is the best evidences to prove the
eastern Louver still follow the traditional rule of chateau in France. Beside, archaeologist found the
moat in front of the Eastern Facade of the Louvre in 1964. That also is a powerful evidence to
explain the Facade is following the rule of traditional French chateau.2
On the other hand, the facade also shaped the new order of French architecture because Claude
Perrault used the Facade to support his own theory and solve the span's problem by

The Similarities And Differences Between Baroque And...
FUTURE IN THE PAST
'Architecture traditionally has been the slowest of art forms. It was not unusual for great cathedrals
take centuries to complete, with stylistic changes from Romanesque to Gothic or Renaissance to
Baroque as common as the addition of chapels or spires. But because the function remained the
same, the form could be flexible and its growth organic'. (Reflections on Baroque, 2000, p. 250).
According to Martin Filler architecture can be changeable from past to future. When looking at the
history of architecture, architectural concept was stable, but the form of the buildings was changed
age by age. Based on this hypothesis, are there any connection point between today and the past?
This essay takes the differences and similarities of Baroque and Contemporary period as sculptures
and architecture. ... Show more content on Helpwriting.net ...
Renaissance architecture had been primarily about simple, primary geometry–rooms in the form of
cubes or double cubes roofed by hemispherical domes. Similarly, the plan of a typical Renaissance
building was made up of a series of squares, circles and equilateral triangles.' (50 architecture ideas
you really need to know/ Philip Wilkinson p. 28). The Church of Saint Susana is one of the good
examples built this period. The façade affected by period. Some curve forms front of the building.
The sculptures that on the façade contribute the. Otherwise, the plan of it is nearly a square plan
with a triumphal arch. On the other hand If we came to explain Baroque sculptures following
sentence help us get the idea behind them: ''Baroque sculptors experienced a sense of freedom to
combine and create what their minds could think of.'' (Architecture and Geometry in the Age of the
Baroque, 2000, p. 153). This description is the main idea that Baroque sculptures based

Essay on Howard Hibbard's "Caravaggio"
Howard Hibbard's Caravaggio is an insightful look into the troubled mind and life of one of the
most discussed artists of all time, Michelangelo Merisi da Caravaggio. Hibbard immediately
expands on his belief that Caravaggio is the most important "Italian painter of the entire seventeenth
century." Furthermore, his paintings "speak to us more personally and more poignantly than any
others of the time." Caravaggio is an artist whose life was far different from all other contemporary
artists of his time, or any time. Unlike Annibale Carracci, Caravaggio's works were able to express
many of his own feelings and emotions. As Hibbard says, Caravaggio was an artist who "somehow
cut through the artistic conventions ... Show more content on Helpwriting.net ...
His ability to cut to the bone of life is not an ability, but merely a forced action and a reflection of
his mind. Hibbard makes that statement like Caravaggio "somehow" managed to be a superior artist
– almost as if it was a struggle for him to create his works of emotion. This idea is backwards,
Caravaggio's art was not a struggle to create but an outlet to express his fleeing mind keeping him
sane. Overall, it is likely that Caravaggio may not have even been aware of the personal emotional
touch which he inflicted on all of his works. They were merely a place which he could express
himself.<p>
Hibbard begins with a general background of Caravaggio's youth. He was born in 1571 near Milan.
At a young age, Caravaggio trained in art under the leadership of Simone Peterzano. His mother and
father both died when he was a teenager. This left him with debt payments for the family and the
loss of both parents at a influential age in his life. According to Hibbard, it is likely that the sudden
loss of his father and mother led Caravaggio to much of the style of his later works. One of
Hibbard's points is that Caravaggio exerts a lot of energy through his paintings in response to his
father. When depicting men, especially older men, Hibbard believed that Caravaggio was showing
hostility towards the early death of his own

The Renaissance And Ending With Rococo Styles Of Art
Beginning with the Renaissance and ending with Rococo styles of art, artistry has shifting styles
between the 14th and late 18th century. Each period represents a new and unique way of
representing art, and a few works of art perfectly explain the values between these periods. Values
such as how the body looks and moves, to dramatic scenes that spark interest or thought, and finally
the indulgence of pleasure, shedding off the worries of life in aristocracy.
The Renaissance was the first period that we met with after the Dark Ages. This cultivated a time in
art where the artist questioned more about the human body but staying true to the religious bonds
that dictated art just an age ago. Subjects like muscle tone, scenery, and linear perspective were used
during this time, and the human body was celebrated as something beautiful. Here we saw more use
of Contrapposto, which was almost a standard by this time, and sculptures felt as if they were
flowing and able to move when you walked by them.
To more visually analyze the Renaissance and it 's style, we can take a look at Michaelangelo 's
David, which displays the human body in it 's finest form. Here, it shows David preparing for the
battle with Goliath. He 's pondering and, thanks to scientists dissecting the human body during this
time, his muscles are in near–perfect positions. We can see more realism during this time, and by
that I mean how the body actually functions and moves rather than a stiff, perfectly

What Was The Influence Of The Baroque Period
The Baroque Period, much like the barocco pearl that it was named after, did not just spring up out
of nowhere. It was cultivated through time by different factors that developed the beautifully
dramatic, grandiose and theatrical style we know today. To start off, the sector of religion must be of
the most, if not the most, significant influence that helped the growth of the period. This is said
because of the effects that had been brought about the Council of Trent in 1545, taking place after
the Reformation. It was an ecumenical council of clergymen, mostly bishops, of the Roman Catholic
Church which aimed to combat the heresies made by the Protestants via reforms within the Church
in addition to the revision and strengthening of their canon. ... Show more content on
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Renowned sculptor, painter and architect, Gian Lorenzo Bernini translated the Baroque philosophies
into his many works. In his masterpieces, specifically his sculptures, he believed in showing
passion, decadence, movement, drama and contrasting forms and shadows – different from the static
and conventional styles of previous periods, like the Renaissance style. Bernini's earlier works
Apollo and Daphne and Rape of Persephone – commissioned by Cardinal Scipione Borghese
between 1621 and 1625 – are great examples of the Baroque style of sculpture. They showed
dramatic emotion and movement along with differing forms and stories through the interplay of
light and shadow. These works impacted society by showing a different and radical change in the
forms found in sculptures, setting up the style for future Baroque sculptors. Spectators are also
encouraged to "move", in a sense, to view the sculpture in all angles to establish a full grasp and
understanding of all its parts, shapes and shadows – providing a change from conventional static and
straightforward sculptures of past

Compare And Contrast David And The Evolution Of Art
The evolution of art, be it paintings, sculpture, poetry or music has impacted the world towards a
more observant and intelligent society. The Renaissance was a movement that saw the reemergence
of realistic depiction of human form and nature. These artists were inspired by the ancient Greek and
Roman art and it's culture. Renaissance masterpieces incorporated accurate and harmonious
proportions of the human body and balanced, well thought out compositions relating to the ideas of
an ideal world. The Baroque movement came right after the Renaissance. It was developed in Rome,
by the Catholic church in the hope of reinventing itself. This style used a lot of drama and grandeur
to create a sense of awe. Considering our artistic heritage as a ... Show more content on
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Their beauty and perfection is one of the reasons why it's still considered a masterpiece. Their
creators have left us enough evidence of their mastery and are immortals because of their work. The
intention here is to compare the differences and similarities of ; Michelangelo Buonarroti's and
Gianlorenzo Bernini's representation of David. According to the Old Testament, (Samuel, book 1)
David was a shepherd who was among the battle lines of the Israelites and who accepted the
challenge to fight Goliath, champion of the Philistines, one on one. David came out victorious
despite the lack of protection and armoury by cutting Goliath's head off after bringing him down
from his horse with a single stone shot. David, since then is considered a symbol of bravery and
intelligence. He's also a symbol of hope and strength for the weak. He is the proof that there are
other more important virtues aside from physical strength that confide power. Due to this important
symbology many artists decided to create their own representation of how they saw this brave figure
while giving a very important message to the spectators. Some of these artists are Donatello,
Ghiberti Verrocchio, Michelangelo and

The Characteristics Of Baroque Style

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