Essay On Illusionistic Ceiling Painting Of The Seventeenth...

Essay on Illusionistic Ceiling Painting of the Seventeenth...
Now You See It...Now You Don't
Illusionistic Ceiling Painting of the Seventeenth Century
Introduction:
Webster's dictionary defines illusion as a "perception of something objective existing in such a way as to cause misinterpretation of its actual nature". In
Europe during the seventeenth century, or the Baroque era, certain artistic implementations of spatial illusion were established. The influence of
perception was deteriorating and being questioned. Artists of the time reacted suitably with paintings and structures intended to fool the eye, the
literal meaning of trompe l'oeil. This style, not new by any means, was revived in Baroque art, giving the viewer pause to ask "Is this real?" as well as
to cause a sense of wonderment ... Show more content on Helpwriting.net ...
Another technique was quadratura, which was where a wall or ceiling was painted with architectural elements such as columns and arches by using
tools such as foreshortening, and other spatial effects to create the illusion of a three–dimensional space on an otherwise two–dimensional or mostly
flat ceiling surface above the viewer, seeming to extend the real architecture of the room into an imaginary space beyond the confines of the walls or
ceiling.
The Love of the Gods
Ceiling Fresco of Galleria Farnese
1597–1604 AD
Annibale Carracci
Fresco
60' x 18'
At the end of the sixteenth century and the beginning of the century that followed, there arose in Rome one of the greatest works of art which, without
exaggeration, may be called one of the pillars on which seventeeth century painting in Europe rests; the ceiling frescoes of the Galleria Farnese in the
Palazzo Farnese, painted by Annibale Carracci.
Carracci was a slave to educating himself in all things pertaining to art. He researched the old masters' techniques and styles to better improve his
own and to seek inspiration. He was obsessed with the 'antique', and by investigating such masters as Michaelangelo and Raphael, he was then able to
improve his skill. Annibale's drawings inspired by the works of the old masters, are perhaps best understood in the wider substance of his use of

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The Rococo Period Of France
The Rococo period in France brought about a new style of painting, focusing on nature, soft color palettes, fictional places, and other lighthearted
subjects. Compared to the previous Baroque style with its use of classical art as inspiration, idealized bodies, and use of ancient mythology, we are
able to see how drastic this artistic change was. Partially this was due to the change in society ideals. Painters were not being commissioned by the
Catholic Church, but by the Monarchy and aristocratic patrons who were leaning way from the rigidness of religion towards the variability of nature.
This period was ruled by King Louis XV , and the decades before the French Revolution in 1789 were full of opulence and luxury which manifested
itself in the aristocratic love for art. Naughtiness won out over holiness and this can be seen in Nicolas Lancret's 1735 painting, Luncheon Party in a
Park (65.2649) . This painting exemplifies the themes of French Rococo, their favoritism with the natural world and the intimate sensuality of
aristocratic outings, along with the style of soft brush work and light palates. With these three ideas of nature, a light color palate, and whimsicality in
mind, we can see how Lancret's painting demonstrates the laidback and frivolousness mentality of French society around the period of the 1730's.
Nature was a popular subject in French Rococo, and Lancret provides a beautiful example of nature with his fictional trees, hazy sky, and overgrown

The Works Of Rembrandt And Rubens
The Works of Rembrandt and Rubens
During the 17th century, especially after their break from Spain, The United Provinces of the Netherlands became the most prosperous nation in
Europe by leading the world in trade, science, and art. Through the huge and one of the first art markets, art became a common household possession
and allowed artists to freely express themselves, which is one of the evidential factors in three of the most universally admired artists of the baroque art
era. Rubens, an influential Flemish artist of the Italian baroque scene, focused more on the works of the counter–reformation while the masters of the
Dutch baroque art, such as Rembrandt, were in the heart of the protestant Dutch Republic. These three artists share similar artistic styles but yet have
extremely evident differences and influences. The artists' work also have a great portrayal of the historical and social impacts of the 17th century.
This dynamic century shaped much of the modern world of today. With all the great scientific discoveries and the recent protestant reformation, the
world no longer revolved around religious devotion and mysticism but had a stronger focus on individuality. The laws of nature and observation by
reasoning proved that everyone is capable of observing the world through mathematics, logic, and experimentation. Another major characteristic of the
17th century is the major political decisions and the international struggle for colonial domination. Colonialism was

Ip 4 Art
Baroque Period
Unit 4 IP
Art Appreciation
Nicole Woodford
American Intercontinental University
May 6, 2012
Abstract
"Baroque was born in Italy, and later adopted in France, Germany, Netherlands, and Spain. The word "baroque" was first applied to the art of period
from the late 1500s to the late 1700s, by critics in the late nineteen century. Baroque covers a wide range of styles and artists. In painting and sculpture
we recognize three main forms of Baroque:
Baroque that was primarily associated with the religious tensions within Western Christianity: division on Roman Catholicism and Protestantism. In
response to the Protestant Reformation of the early sixteen century, the Roman Catholic Church had embarked in the 1550s ... Show more content on
Helpwriting.net ...
Instead the wealth father welcomes his son back into the home. "The aged artist's power of realism is not diminished, but increased by psychological
insight and spiritual awareness. Expressive lighting and colouring and the magic suggestiveness of his technique, together with a selective simplicity of
setting, help us to feel the full impact of the event." (Rembrandt's Prodigal Son, 2012). Just like Caravaggio's art, Rembrandt's art had a biblical
perspective with their art, that is displayed with energy and feeling.
The rising of the cross by: Peter Paul http://static.artbible.info/large/rubens_oprichtig.jpg The rising of the cross is also a religious baroque painting,
the painting shows Jesus being risen up on the after being crucified, the painting is filled with drama and power. The strong, tainted figures lug the
ropes in order to raise the cross, carrying the pale body of Jesus. drama and power. The strong, tainted figures lug the ropes in order to raise the cross,
carrying the pale body of Jesus. The influence of Michelangelo and Tintoretto on Rubens is obvious in the muscular bodies. Peter Paul Rubens was a
renowned diplomatic artist.
All of the Baroque paintings

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 Helpwriting.net ...
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.)

Leonardo Da Vinci : The Relationship Between Art And Science
Historically, the relation between art and science seems to be a relationship between literature and science, since literature is the most common and
fastest–influenced art of social reality and its richest in terms of the multiplicity of expressive materials that convey people's feelings in order to
convey their human message. The science from this angle also serves the practical needs of people and provides them with the knowledge of
substantive laws and increases their interaction with nature and take advantage of its machines.
Leonardo da Vinci (1452–1519) was a Renaissance monk who was one of his most important works. He was a genius in the Renaissance. He
embodied the spirit of his time, leading to the discovery of the most important forms of expression in various fields of art and knowledge.
The goal of art and science in this formula is one, which is the development of human perception, and raise the level of cultural and social, and thus
change the world, in spite of the difference of signatories, while the art of literature on the perception of emotional and imaginary, science reveals a
tangible mental awareness.
Features a Baroque style voluminous and filled with interesting details. In the eighteenth century, baroque art developed into a smoother and more
private style called Rococo. Three elements have helped to shape the Baroque style in the cultural life of Western Europe. First: the revolution of artists
in the late sixteenth century against the art of the

Hidden Time Capsule Analysis
In this assignment, I am a cultural anthropologist searching for a hidden time capsule from both the Renaissance Age and the Age of Baroque. In each
capsule it is rumored that there are at least two examples of each of the following items locked inside: Art, Music, Descriptions of drawings or
architecture, Philosophy, and Literature. The period after the Middle Ages is known as the Renaissance in Europe. This era ushered in a sense of
cultural renewal with a focus on classical learning and values of ancient Greece and Rome. During the time of the Renaissance, politics were relatively
stable and there was a sense of expanding prosperity. Because of this, the development of new technologies such as printing presses, a new system of
astronomy and an influx of newly discovered lands. Additionally, philosophy, literature, and art were also becoming synonymous with the Renaissance
era. The style of painting, sculpture and decorative arts identified with the Renaissance emerged in Italy in the late 14th century; it reached its zenith in
the late 15th and early 16th centuries, in the work of Italian masters such as Leonardo da Vinci, Michelangelo and Raphael (History, 2010).
Renaissance art had a definitive theme. It was ... Show more content on Helpwriting.net ...
The sketches were of buildings that were eventually built in and around Rome. The Renaissance revival of Classical Rome was as important in
architecture as it was in literature. During the Renaissance, architects trained as humanists helped raise the status of their profession from skilled
laborer to artist. They hoped to create structures that would appeal to both emotion and reason The other sketch that I found in the capsule from the
Age of Baroque of building were abstract and slightly deformed. The most notable characteristics are the use of movement, such as a curving wall or a
fountain with jets of water forever changing shape (Encyclopedia of Art History,

Design Of An Exhibition Gallery
Some are like sea serpents, others like office cubicles, but regardless the shape, all art museum galleries intend to give viewers a certain experience.
The flowing into, out of, and around gallery spaces within an art museum can positively or negatively affect the patron's experience. Unfortunately,
when the design of an exhibition gallery negatively affects a viewer, a disservice is done to the artists and culture of the artworks on view. On view in
the permanent collection of the Kimbell Art Museum in Fort Worth, Texas is the exhibition of several seventeenth and eighteenth century artworks
with Spanish influences, accompanied by a single Japanese artifact of the same era. At first glance, all the pieces on display within this... Show more
content on Helpwriting.net ...
The grouping of these paintings is quite clear from a historical and visual standpoint. The paintings each feature warm colors with a splash of vibrancy,
apparent subjects, perhaps due to their monochromatic backgrounds, and also display the same sort of calm and collected subject matter that much of
Spanish Baroque art concentrated on. The Wine Flask, whose creator is unknown, fits in with warm color scheme and dates back around the same time
as the rest of the exhibition, however it has a known origin of Japan.
Entering the gallery from the main corridor, the patron has two openings to choose from, one on the left and one on the right, due to the placement
of a single white vista wall. With a single exit way on the side parallel to the entryways, a bench placed in the center of the gallery, and no floor
designs suggesting a specific route, the intended circulatory path of this exhibition is unclear. To view each artwork within the exhibition and exit
into the next gallery, the viewer is forced to travel the same path they came at least once. Having an undefined pathway in the layout of this gallery
leads to further issues in the exhibition. The most apparent issue is that the viewer is unable to immediately recognize if there is a focal piece in the
gallery. Being in a rectangular room with two parallel white vista walls and the remaining walls being featured in the same beige stone material with no
single focal lighting element,

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

The Ceiling Art of Pozzo's Triumph of Sain Ignatius of...
#######poorly written######Pozzo's Triumph of Saint Ignatius of Loyola is on the ceiling of the Church of Sant'Ignazio in Rome, and was painted
from 1685–1694. It is approximately 56 feet by 115 feet across the ceiling, and uses a quadratura perspective to create an almost three dimensional
effect. While the effect makes the center look much higher, it is actually painted on an arched ceiling called a barrel vault. This is a fresco painting, a
type of coloring that made the painting integral to the construction of the building or item. Inside the Church of Sant'Ignazio, there is a single white tile
indicating where the viewer is intended to stand to truly appreciate Pozzo's work. The scene illustrates many different saints and other highly viewed
people, all ascending towards the sky. There is also allegorical figures of the 4 continents (America, Europe, Africa, and Asia) attached to the side of the
buildings windows at the base of the painting. The scene is filled with cherubs that seem to be aiding the continents and saints. At the center of the
painting, Saint Ignatius is following Christ into heaven, with beams of light coming from his body towards the four continents. The arches at the ends
of the painting also add to the illusion that the center of the painting is much higher than the rest of it. Saint Francis Xavier is also shown in the work
ascending towards the heavens.
Context
In the 1600s, Rome was becoming one of the cultural hotspots in Italy. During the

Essay Baroque Art in Europe and North America
Baroque Art in Europe and North America
Throughout this research paper the topic is going to be along the lines of the Baroque Art in Europe and North America, which comes from chapter
nineteen of our Art History book. The main purpose is to review major ideas and principles in this chapter by writing an analysis of certain points that
were highlighted. For example, certain techniques that were used to define the Baroque Art, major sculptures, architectures, and paintings, and also just
some general background information about this time period. I decided to write on this subject because when reading the chapters, the Baroque period
seemed to catch my attention the most due to the amazing architecture that ... Show more content on Helpwriting.net ...
First of all, the major types and techniques in this time era were genre, glazes, impastos', etching and dry point, which is a technique where images
are done on metal plates, and tenebrism or also known as chiaroscuro. The paintings and sculptures of the Baroque period had some diversity them
such as large religious or historical paintings. Also, portraits of people, still life or shots and then finally genre, which is just basically scenes that
are taken or painted of everyday life. According to a definition in the Art History book, "genre painting is a term that is used loosely to categorize
paintings depicting scenes of everyday life, including domestic interiors, parties, inn scenes, and street scenes"(Stokstad Glossary pg. 5). Next skill
was glazing and impasto and this was one of the more simple tasks performed during the Baroque period. Glazing is just when the artist puts a layer
of liquid onto a piece of art and this gives it a waterproof and decorative surface. Then impasto is just simply the application of thick layers of pigment
to a painting to give it a clear texture.
Also according to our book in Art History, "Etching process, a metal plate is coated on both sides with an acid–resistant varnish... then the artist draws
through the varnish with a sharp needle to expose the metal" (Stokstad pg. 772). In this process the artist can easily control the amount

Art Analysis Of Judith Beheading Holofernes By Caravaggio
This piece of artwork is called 'Judith Beheading Holofernes', which was created by Caravaggio in the late 16th century in Rome. It was a type of oil
painting on canvas, also, a piece of artwork in the period of Baroque. Briefly, Hood stated that in this artwork, it told the story in Biblical story of
Judith, dressed as a well–born Renaissance young lady, standing at a safe distance, and who was saved her people by beheading and seducing the
Assyrian general Holofernes, which was a theme very common in the 16th century. As the biblical text reported, ''Holofernes was so enchanted with
her that he drank far more wine than he had drunk on any other day in his life'' (Judith 12:20). Judith got Holofernes drunk, then took his sword and
killed him. (p.24) ... Show more content on Helpwriting.net ...
In this artwork, the moment of the beheading itself, those things painted are display in a flat stage, emphatically lit from the margin, segregated
against the dark, shadowy background. Judith and Abra, who was her maid and stand to the right in the picture, partly over Holofernes, who was
susceptible on his back. During the creation, Caravaggio adjusted the position of Holofernes' head as he proceeded, isolating it slightly from the
middle and moving it marginally to one side, which was uncovered by X–rays (Bissell, 2005). His mastery of feeling and emotion was demonstrated by
the faces of those characters, Judith was specifically appearing in her face a mix of repulsion and determination. Artemisia Gentileschi and other artists
were profoundly influenced by this work, and even surpassed Caravaggio's physical authenticity, but it has been contended that none matched his catch
of Judith's mental inner conflict (Varriano,

Relationship Between The Arts And The Growing Body Of...
Written Assignment Unit 4
Introduction
The word "renaissance" can be defined as renewal or "rebirth" and the Renaissance period was significant because it was an important transitional time,
from approximately
1300 to 1700, in European history, which marked the end of the medieval world and the
"birth" of the modern world. This essay will delve into the relationship between the arts and the growing body of scientific knowledge during the
Renaissance and also examine three different works of art from the three major stylistic periods: Renaissance, Baroque and
Rococo.
Arts and the Growing Body of Scientific Knowledge During the Renaissance
I feel that, during this time, there was a growing fascination and intrigue on scientific knowledge, specifically, human anatomical studies. Growing
knowledge of human anatomy enabled artists to produce more realistic–looking works of art. It is even said that Leonardo da
Vinci, often considered to be the model "Renaissance Man", believed that the "moral and ethical meanings of his narrative paintings would emerge only
through the accurate representation of human gesture and expression" ("The Enduring Relationship of", 2003). As the body was only viewed as a
transient vessel for the soul, during the Middle Ages, there was little interest in human anatomy, however, as Renaissance artists increasingly desired to
create more authentic and lifelike works of art to more effectively convey their messages, there were, consequently, more scientific

Baroque Research Paper
Baroque always thought to be an art period through 1600 to 1750 and the Baroque art was the prevalent artistic style in that period. The art style was
originated from Italy and related to counter reformation. In Baroque period, artists were embraced elaborate ornamentation, dynamic, spectacular effect,
which broke through the calm, static feeling of classical art since Renaissance art period. Also, it is an art style that absorbed lots of elements from
theater, literature, and music and has a strong relationship to the religious, which held the dominant position through the whole period. For the Baroque
paintings, instead of depicting people's lifestyle, most of them were depicting the Counter–Reformation. Figures' poses in the paintings are more
precise and more like opera stage poses. Moreover, Baroque paintings always exaggerated lighting and had intense emotions. During Baroque period,
group figures are one of the most importances for the sculptures and those sculptures focused on the dynamic movement to convey human's energy.
Another important thing is that the sculptures in this period have multiple ideal viewing angles. Besides the paintings and sculptures, Baroque style
profoundly influenced the architecture at that time. The architectures mainly focused on the bold of ... Show more content on Helpwriting.net ...
The strong relationship between the religious and the artworks is a non–negligible part. They are just like the soul of an artwork in that period. All in
all, Baroque is a word that not only limited to a specific era, but also a style of art, which pushed forward the art history. Painting, sculptures,
architects are just small part of the Baroque art. The soul of it had spread all over the world and permeated to every aspect of people's daily life at
that time era. Even though the upsurge of Baroque art had already faded, it is still one of the most glorious pages during through the whole

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 Helpwriting.net ...
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 on Art from Baroque Period Through the Postmodern Era
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 ... Show more content on Helpwriting.net ...
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 distinctive type of humanism, rooted in "a new philosophy of political engagement and active life," and devoted to the celebration of
Florence's republican liberties.
Bruni was responding not to recent events in Florence, came the rejoinder, but

Essay on Allegory of Faith by Johannes Vermeer
Allegory of Faith by Johannes Vermeer
The painting, Allegory of Faith, located in the Metropolitan Museum of Art, was created by the Dutch Baroque painter Johannes Vermeer. This study
of the painting will focus on the subject matter, composition, and the symbolic meaning of the painting in relation to the Catholic faith, as well as the
controversy surrounding the success of the painting among modern critics. The characteristic Baroque qualities of this painting will be illuminated
through comparison with examples of Dutch 17th century paintings, Vermeer's other works, and an analysis of his painting technique and style.
The Allegory of Faith is considered to be one of Vermeer's least successful works by some art... Show more content on Helpwriting.net ...
<<11
Arasse 84>> Most other symbols in the Allegory have been taken from Cesare Ripa's Iconologia. <<12
Bailey 180>> The pose of the lady is interpreted as having faith in your heart and the world under your feet. <<13
Bailey 180>> Her foot resting on the globe may also be interpreted as the conquest of the Earth by the faith. <<14
Martin Pops. Vermeer: Consciousness and the Chamber of Being. (Ann Harbor: UMI Research Press, 1984) 74.>> In Allegory of Faith,
Vermeer separates the world of culture from the world of nature. <<15
Pops 74>> The function of nature is to tempt and taint, as we see in the bitten apple and the snake. <<16
Pops 74>> Culture on the other hand represents purity and redemption through the globe and the crucifix. <<17
Pops 74>> Vermeer also suggests that culture is beyond nature as well as within and again emphasizes purity through the landscape on the
tapestry and the Crucifixion hanging on the wall. <<18
Pops 74>> The roundness of being is displayed through the two globes of Heaven and the Earth. <<19
Pops 74>> By presenting Faith with one foot on the Earth and looking at the other, Vermeer shows that the Catholic Faith is valid from Heaven
to the Earth, despite the prevalence of Protestantism in the Netherlands. <<20
Pops

BAROQUE ART
BAROQUE ART
Art Appreciation –HUMA 205–1202A–05
Janice Miller
AIU
Abstract Baroque art is presented as an art style. Baroque art style is such diversity within in the Baroque period 1600–1770 because of the relationship
to the era's border and intellectual tendencies there was three important effects on the art. Which are, western Christianity, religious tensions, and the
division of the Roman Catholicism and Protestantism. The Baroque artist appealed to their viewer in a dramatic way because there were two powerful
forces competing with each other in the 17 century.
Baroque artistic style was between the years 1600 thru the year1770, they highly expressed their motion in ... Show more content on Helpwriting.net ...
The painting was painted for a Roman Catholic Cathedral in his homeland. This composition is arranged along a diagonal anchored at the bottom
of the right by a very muscular figure. This painting is a realism, and an action and drama picture (Frank 2011). In this painting it is showing
soldier lifting Christ body on the cross. This painting is done on an oil canvas, measuring 182 by 134 inches. Some know the Rising of the Cross
by the name Elevation of the Cross. The Rising of the Cross was stolen by the French in 1794 and taken to Paris, and later returned to Antwerp in
1815 to the Church of our Lady. Painting is part of a triptych , in which he was a man of faith and his painting is known for emotional religious
masterpieces. People that has looked at this art has notice a strong contrast of light and dark and a struggle to lift Christ to his death. It is a violent
contrast between light and shadows. It also shows the battle that we have between good and bad, while it also shows the men to reinforce the weight
off Jesus scarifying himself for the burden of the world sins. The painting has strong lines of diagonal motion and serve as a dramatize, which
becomes a simple scene. The thought that was put into this picture was to let the worshippers know of the true nature of the supernatural scene that is
shown to them. Baroque art is a style that is used by artist between the years of

Comparing Art And The Baroque Eras
Comparing Art of the Renaissance and the Baroque Eras
The Renaissance and the Baroque eras created some of the most famous works of art produced in the world. The two eras expressed differences in
style and theme, but they also have many characteristics in common. To better understand the similarities of the eras it will be described by the
characteristics, styles and the influences of each; Renaissance and Baroque works of art. Famous artist from the Renaissance era were Leonard da
Vinci and Michelangelo Buonarroti. Famous artist from the Baroque era were Rembrandt Harmenszoon van Rijn and Michelangelo Merisi o Amerighi
da Caravaggio.
The Renaissance History
The Renaissance era began in Italy, spread to the rest of Europe and lasted from the 14th to the 17th century. It was defined as a period of cultural
history that represented a break from the Middle Ages and an understanding of humanity ("Italian Renaissance", 2014). The Renaissance began at the
end of the black plaque. For the survivors there were opportunities and these opportunities brought about the artistic breakthroughs. It became the era of
rebirth for society; learning and culture. The era was influenced by conflict between the Catholics and the Protestants, during this time, society explored
religious options other than the Roman Catholic Church, they explored new beliefs; the power of the Church had decreased.
At first, the subject matter was about religion, saints, Christ, the love of life and beauty

Italian Baroque And The Protestant Baroque Styles
The Baroque era spans a period of 150 years. During this time, baroque art had four distinct styles. I plan to focus on the Italian Baroque and the
Protestant Baroque styles. While these styles share some similarities, they are also very different. The Italian Baroque style is often ornate and focused
on religion with an emphasis on the need for the church's guidance. The Protestant Baroque style is plain with no obvious religious messages and less
need for guidance from the church. Both styles contain many amazing pieces of artwork, but I plan to focus on Bernini's Baldacchino and Vermeer's
Woman Holding a Balance.
The Italian Baroque style of art was established by the Catholic Church to bring individuals focus back to the church. This is also known as Counter
Reformation. The artwork was often very elaborate, large in scale, showed movement and contained religious objects that glorified the Catholic
Church (Armstrong). Another trademark of this time was the ability of the artwork to evoke emotions (Hollander). It was their attempt to show
people they must lean on the church to be successful. If there is one piece of art that displays all of these characteristics perfectly, it is the
Baldacchino by Bernini. This is a magnificent piece that one could stare at for hours and probably not take in all of the details. The scale of the
Baldacchino is enormous. The Baldacchino is located in St. Peter's Basilica and made of bronze and stands ninety–three feet high

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 ... Show more content on Helpwriting.net ...
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

San Velazquez 's Las Meninas
Kim 1
Diego VelГЎzquez 's Las Meninas
Las Meninas by Diego VelГЎzquez is depicted as a group portrait of Spanish King Philip IV (8 April 1605 – 17 September 1665) at the Habsburg
court. The painting well demonstrates VelГЎzquez 's painting techniques that can be recognized by dramatic mood, rich color and extreme contrast
between light and dark. It is absolutely extraordinary and implies influences VelГЎzquez has had, especially Flemish Baroque realism. VelГЎzquez had
a deeper ambition in his mind when creating this masterpiece. He wanted to earn the title that can ensure him a high position in society. So,
VelГЎzquez had this desire for an aristocratic title better than any other single court positions he could get.
Diego VelГЎzquez was born in ... Show more content on Helpwriting.net ...
Greatest Works of Art of Western Civilization. New York: Artisan, 1997., 226
. VelГЎzquez used refined techniques and composition so effectively to create this masterpiece describing the presence of the royal family. To create
such a high–class art, he emphasized his techniques and ability by reflecting reality in the painting. A clear and description of the royal court, Las
Meninas is a masterpiece that demonstrates both VelГЎzquez 's skill as a painter and the complexities of human intellectualism. The figures are painted
near life–sized to show many things; overwhelming realism, complexities, and symbolism.
The painting is oil on canvas completed in 1656. At first, the painting was called El Cuadro de la Familia in seventeenth–century the Royal Palace at
Madrid Martin, John Rupert. Baroque. New York: Harper & Row, 1977., 337
. The main focal point is Infanta Margarita Maria, the royal princess who stares the audience from the middle of the painting. Around her are two of
the Queen 's maids of honor, Dona Maria Augustina on the left and Dona Isabel de Velasco on the right. There are two older people behind the
princess, Dona Marcela de Ulloa and Guarda Damas. There is also VelГЎzquez himself standing back of the easel. He indicates his privilege by putting
himself in the painting. All these people in the

Essay on Standards and Perceptions of Male Bearty...
Throughout history there have been many changes in the standards and perceptions of male beauty in Western culture. The portrayal of the male form
throughout time, in art and sculpture, reflects the culture's morals, values, and beliefs, among other things. In paintings and sculptures, artists depict
the qualities in men that are important to the time period of their works. Perceptions of male beauty and their image can also represent a person's social
status in society, such as being noble, rich, or both. The male themes seen throughout art include heroes, the supernatural, biblical figures, and idealized
bodies, to name a few. Some of the time periods that illustrate the importance of male beauty and image are the Baroque period, ... Show more content
on Helpwriting.net ...
The bodies of these men show the importance Neoclassic society placed on portraying the ideal male body from Greece. "The male figures have taut
muscles and determined gazes and the repetition of the male form symbolizes their unity and seriousness" (Bluffington.edu). The men in this painting
also appear statue–like, another characteristic of the Neoclassic male image. Transitioning from Baroque to Neoclassicism, the male form went from
portraying the average, everyday male to focusing more on showing the strength and heroism of men.
Continuing on after the Neoclassical period one can continue to see the male image in art evolve as well as societies changing standards and
perceptions in the Romantic era. Romanticism rejected the ideals of Neoclassicism and the Enlightenment. Western culture began to shy away from the
order and reason of classical beliefs and became interested in natures unruliness, natural goodness of mankind, and emotional expression. Romanticism
was also triggered by changes in science. In paintings, artists of Romanticism used a more expressive and individualistic style as opposed to the
idealized image of Neoclassicism to portray their men. "In art and literature, 'Romanticism' typically refers to the late 18th century and the 19th
Century" (reviewpainting.com)
A romantic painting to analyze is Friedrich's Wanderer Above the Sea of Fog (1818). This painting shows the male figure alone in

Essay about French Baroque 1600c.e.-1750c.e.
French Baroque 1600–1750
Europe in the 1600s was at the end of Counter Reformation, and as the political and cultural shifts took place, we begin to see art, particularly in
France, influenced more and more, by the ruling monarchy. The transition from Mannerism into Baroque is not clear, but eventually the arts started to
adopt a new look. And feel. Paintings started to become more exuberant, dynamic and ornamented. The scale of work produced during this time
increased dramatically. Where Mannerism marked a departure from classical and realistic norms,Baroque becomes a return to these norms, but with an
emotional undertow and visual tension. However, through the Baroque pursuit of eloquence, it abandoned the precious and contorted ... Show more
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The light is always obscured by another element in the painting, which gives it a more dramatic, more human feel, with greater depth. The emotional
effect of this is very intimate and human. The duplicitous nature of shadow and light in a La Tour painting could be seen as a metaphor for the good
and bad contained within human nature. It is also vague enough to be open to multiple interpretations. In any interpretation this duality is almost given
more importance than the subject matter.
The personality of Nicolas Poussin was contrary to La Tour, though both were very rational and humanistic. Poussin sought to enter into the person
of his subject, to become immersed in psychological analysis. He combines his love of virtue and his love of landscape by placing tragic figures in
richly interesting and complexly constructed, "heroic" landscapes. He produced some of the most demanding, yet satisfying landscape paintings in
western culture. He believed passionately that the disposition of the painting as a whole could be constructed to covey a mood or emotion. He also
had a unique combination of pagan and Christian themes, often giving a poetic treatment to subjects from classic mythology and ancient history.
Poussin was a classicist for whom the aesthetic values of antiquity represented not only a formal ideal, but also a moral standard, a way conceiving a
form that cannot be separated from the good and true.
The Death of Germanicus marks the beginning of

Art History And Its Impact On Art
Art history allows for a greater understanding of the progression of human thought and how conditions from one time period to another are reflected
in art. Humanity represents itself through art and by doing so we are able to take a deeper look into the mentality and emotions that were held
within a certain time period. Human studies such as cultural studies or history only highlight small specific areas of humanity while art history
combines the two and gives a comprehensive look into all factors that influenced not only the art of a certain time but the events that influenced
certain styles. Through the study of art history we are able to see the different events that caused shifts in prospective and influenced changes in art
styles. For example the iconoclasm during the protestant reformation drastically altered the type of art that was being produced and greatly limited
forward progression of certain styles. All images of God, Jesus, and any other paintings or sculptures that depicted images of "false idols" were
destroyed or removed from view. In ancient Egypt, the carved visages of some pharaohs were obliterated by their successors. The destruction of art
was used as a way to influence ideas through out a community of people. By limiting the growth of art, the recorded history of Christianity was greatly
altered. Humanity is constantly changing and evolving in relation to its surroundings as viewed through the study of art. Art is all encompassing of a
multitude of

Humanities Essay
The Renaissance and Baroque periods in European history played an important role in the development of humanities in their respectable age. During
these periods it established a time of rebirth in humanisms and improvement of cultural accomplishments. The Renaissance period provided artistic
freedom and individualism. It began around the 14th century in Italy and spread throughout Europe until the 16th century. Renaissance means "rebirth"
and humanism of the renaissance artist was to express themselves after the medieval traditions in the Middle Ages. The Middle Ages art was arranged
in periods and distinguish by style. The Middle Ages included Gothic, Romanesque, Early Christian and Byzantine art periods. Art during the
Renaissance... Show more content on Helpwriting.net ...
The Renaissance period also gave birth to the natural sciences that included astronomy, geology and evolution. The 16th and 18th century Baroque
period was known throughout Europe, North and South America but originated in Rome, Italy. The Baroque period gave way to a time of emotionally
expression through paintings, art, music, literature and politics as its platform. The Roman Catholic churches became influential during the Baroque
period because of religious transformation as a reaction to the Protestant Reformation. The Roman Catholic Church decided to use Baroque art to
communicate religious and biblical themes to their advantage by requesting painters to paint religious pictures. Catholic painter Peter Paul Rubens
drew inspiration from his religious background and painted the Marie de' Medici to show his respect to the Roman Catholic Church. The Roman
Catholic churches' purpose for using religious paintings was to reach the less fortunate of their society. Those who were uneducated and in the minority
sector; by this they would connect and reach others so that they would return to their belief in the catholic faith. During the Baroque period the Catholic
faith praised the church for their power and influence. The Baroque art movement focused on unity and harmony and incorporated a style that consists
of drama. This type of art was forceful, sensual, extravagant and bursting with energy and gave

El Greco Essay
El Greco The Agony In the Garden, a mannerist style of art by EL Greco, proclaims a sense of spiritual power of religious faith which accomplishes El
Greco's aim to move his audience. El Greco was born on the island of Crete and lived from 1541 to 1614. He represented the most characteristic figure
of Spanish Mannerism. El Greco was influenced by and became acquainted with the art of Titian and Jacopo Bassano in Venice where he studied in
1566. In addition to visiting Italy, El Greco made his way to Rome,
Parma and probably Florence. On his travels he became more familiar with the work of
Parmigianino and the work of Correggio. In El Greco's use of form can be seen
Florentine Mannerism. Venetian Mannerism can be seen in... Show more content on Helpwriting.net ...
The Biblical occurrence illustrated is standardized on two levels, one above the other. The group of the three sleeping apostles fill the lower plane. We
find comparable groups of apostles in pictures by Giovanni Bellini. El Greco returns to Quattrocento etiquette, especially in the manner in which the
sleeping gray–haired apostle bends his arm around his head.
Of the abundant versions of this painting in the artist's own hand there is a smaller copy in the Museum at Lille, and other variants are to be found in
the Episcopal palace in the Museum of Fine Arts in Buenos Aires. The variant most similarly related to the painting in Budapest is the larger–scale
version in the Church of Santa Maria at Andujar which displays other works of mannerist art.
The mannerist style thrived at the same time as High Renaissance and Baroque art. Mannerism, like many other names attached to so many other
periods of art, was a name conceived in disdain and impudence. Maniera, meaning maner, was correlated with the artist who worked in the manner of
someone else. Like an imitator who adapted and sometimes perfected the forms of another. However, there are characteristics of the
Mannerist style which disconnected it from the period of the High Renaissance as well as the distinguishing it from the emerging Baroque. A number
of crucial artist of
Mannerism have displayed meaningful works. Only in the last ninety years has
Mannerism come to be

Baroque, The Era Of Baroque Art And The Baroque Period
Baroque is a style in art. It is an era of artistic style that used sensational motion and obvious, easily interpreted features to produce drama, tension, and
magnificence in architecture, sculptures, paintings, literature, theatre, dance and music. Baroque art is usually very frisky and has several ornaments.
It was between the styles of Renaissance and Neoclassicism. This means it began at the begging of the 16th century (around 1600), at that time, there
were absolutist monarchs in Europe.The movement started in Italy. It then spread to the Catholic countries in Europe. Eventually it also spread to the
Protestant ones.
The success and popularity of the Baroque style was backed up by the Catholic Church. The Catholic Church expressed that ... Show more content on
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1625–1660
Late Baroque, c. 1660–1725 or later
The development of Baroque
The Baroque arose around 1600, a few decades after the Council of Trent, by which the Roman Catholic Church was agreed that the representational
arts, by that paintings and sculptures in church contexts was healthy because it speaks to the illiterate rather than to the well–informed. Many art
experts see this turn toward a popular concept of the function of churchly art as motivating the innovations of the brothers Annibale and Agostino
Carracci and of Caravaggio, all of whom were working in Rome and rival for commissions.
The word Baroque comes from the Portuguese word "barocco " which means something like "unusual". In Portuguese, it was first used for irregularly
shaped pearls, but then it was first used in France to mean works of art that did not follow the current trend.
Sculptures
Some representatives assumed new importance in Baroque sculptures and there was actually a positive movement and energy of human forms. For the
first time, Baroque sculpture usually had many ideal viewing angles so, that from wherever you stand you would see amazing scenery. The features
Baroque sculpture added additional sculptural components, for example, water fountains or concealed

Renaissance vs Baroque
ART 101
ART HISTORY
Module 1– CASE
The ideology and culture of the Renaissance and Baroque Eras are reflected in artwork from the eras. Renaissance art seems to the moment before an
event took place and the Baroque art is characterized by great drama, rich deep color, and intense light and dark shadows. Baroque artists chose the
most dramatic point, the moment when the action was occurring. For example Michelangelo designed his David composed and still before he fights
against Goliath. In Bernini's David in the Baroque era is caught in the motion of hurling the stone at Goliath. "Baroque art was meant to evoke emotion
and passion instead of the calm rationality that had been prized during the Renaissance."
During the Renaissance ... Show more content on Helpwriting.net ...
The church had turned itself into an immovable institution with influence over everything in the kingdom. During the time when the Christian
religion had become almost a personal affair for many of the people of Europe; "Michelangelo saw himself as a master (almost like a God) who was
going to create David (his Adam). Even though there have been many portrayals of David none of them carried the poise and intensity of
Michelangelo's work of art."
The term "Baroque" was initially used with a insulting meaning, to underline the extremes of its magnitude. In particular, the term was used to
describe its eccentric redundancy and loud overbearing use of details, which contrasted the clear and simple prudence of the Renaissance era
artworks. The objective of baroque was to make the temporary life on earth unique and full of beauty. Symmetry seemed very important during this
time. Baroque was a profound style; many engorged forms, over the top ornaments and a good use of rich and glossy materials (a lot of colorful
marble, gilding and bronze). There were a lot of movement, and flow in the sculptures and paintings. For example angels were made to fly, saints
were portrayed to be raising towards the heavens, and people were captured in action as they moved and fought.
Baroque is filled with drama and magnificent accents;

St. John the Baptist Preaching by Mattia Preti
Times of religious upheaval and need for urbanization following the Renaissance gave rise to the production of lavish artworks during the Baroque era
in Italy. Characterized by intense emotion and dynamism, Baroque art reflected the power of Roman antiquity but typified the renewed piety of Roman
Catholics. The opulent urbanization projects patronized by the church culminated in the verisimilitude of Baroque paintings. One painting that reflects
such change is Saint John the Baptist Preaching by Mattia Preti, also known as Il Calabrese. Preti was born in 1613 in Taverna, Calabria to a modest
family with ecclesiastical connections. Preti was well traveled around Italy and was exposed to artworks from the likes of Correggio, Mantegna, and ...
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His pointing hand reminds the audience of the reward waiting in heaven and the salvation the church promises with continued commitment to the
Catholic doctrine.
Aside from linear perspective, Calabrese incorporates other geometrical forms throughout the composition. One is the circle at the foreground of the
painting, which Calabrese offers the audience to complete. More outstanding is the triangle that occupies the majority of the space. John's body,
parallel to his staff, begs the viewer to trace the triangle from his eyes, across the woman and the lamb in the foreground, up the staff, and through to
his hand. This triangle is significant in its symbolism of the Holy Trinity: God the Father, God the Holy Spirit, and God the Son. The message here is
clear; through Jesus, the lamb, one will be saved. It is also interesting that Calabrese places John between the lamb and his hand. It coincides with the
paintings' function as an altar piece in that John serves as an intercessor to the Divine. Through him, one has access to Jesus, and therefore God. The
geometrical lines and shapes add to the painting's dynamism and contribute to the optimistic promise the painting conveys.
Stylistically, his painting is an example of the "smooth" manner, characterized by fine technique in the portrayal of illusionistic form. In this painting,
Calabrese uses strong directional lighting from the top, left corner of the painting to highlight the scene. It is Caravagesque in the way

Baroque Vs. Baroque Renaissance
The style that followed the Renaissance is usually called 'Baroque'. 'But, while it is easy to identify the earlier style by definite marks of recognition,
this is not so simple in the case of Baroque.' Baroque is considered to be 'one of the great periods of art history', and it is generally identified as being
developed by Caravaggio, Gianlorenzo Bernini and Annibale Carracci. The Baroque period developed in Europe in around 1600, and it can be seen
partly as a reaction against the intricate and formulaic Mannerism that dominated the Late Renaissance. Nevertheless, to see Baroque as simply being a
reaction against Renaissance ideals and norms is simplistic. Modern scholarship has identified within the Baroque clear signs of a return to ... Show
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By synthesising these elements, I will establish how the Baroque can be distinguished from its precursors.
The term 'Baroque', like many period designations, is not a complementary one. It had the connotation of meaning 'bizarre taste' that does not follow
the rules of the classical. This provides one basic definition of the Baroque; its contrast to classicism, despite the fact that Baroque was a reaction to,
and an adaption of, the classical tradition. 'The word 'Baroque' was a term employed by critics of a later period who fought against the tendencies of
the seventeenth century, and wanted to hold them up to ridicule. Baroque really means... grotesque, and it was used by men who insisted that the
forms of classical building should never have been used or combined except in the ways adopted by the Greeks and Romans...'
After the idealism of the Renaissance, and the slightly 'forced' nature of Mannerism, Baroque above all reflected the religious tensions of the age–
notably the desire of the Catholic Church in Rome (as annunciated at the Council of Trent) to reassert itself in the wake of the Protestant Reformation.
Thus, Baroque art became synonymous with the Catholic Counter–Reformation. Baroque art in Catholic nations reflected the desire of Emperors and
monarchs to strengthen their political position and glorify their own divine grandeur. By comparison, Baroque art in

Italian Painting From The Baroque Era
Martin Luther's Protestant Reformation had really stirred the religious pot. In the early 1600's, the Catholic Church responded with the Counter
Reformation which propelled the Baroque movement and its artistic aim of making Catholic theology appeal to the masses. Biblical stories with drama
and movement were some of the ways Baroque artists sought to engage the viewer. Baroque dominated most of the seventeenth century Europe and
later developed into the Rococo style later during the eighteenth century. Begun in the 1700's, the Rococo Era was art of the aristocracies for the
aristocracies. It was technically flashy, but without deep thought or emotional drama, the Rococo celebrated the leisure activities of the upper class.
The Rococo style is above all an expression of wit and frivolity. Rococo style signaled the shift from Rome to Paris as the new capital of culture and
fashion in Europe. Both styles were influenced by political, social and religious factors, and there are profound differences between the two styles.
For this essay, I chose to compare an Italian painting from the Baroque era with a French painting from the Rococo Era. The two paintings I chose to
compare and analyze are Luca Giordano's Martyrdom of St. Bartolomeo, and Jean–Marc Nattier's Terpsichore, Muse of Music and Dance.
Luca Giordano's Martyrdom of St. Bartolomeo from ca 1660 is a painting of martyrdom, in which the human suffering of the saint is shown against a
dark background. The painting is in

Baroque Art: Protestant vs. Catholic Essay
Baroque: Protestant vs. Catholic
Before the purity of Neoclassicism, even before the carefree artists of the Rococo era, there was the dramatic and emotive Baroque. The term
"baroque" is said to have been derived from the Portuguese word for an irregular pearl, and is certainly an adequate description. In the wake of what
has become known as the Protest Reformation, the Catholic Church held the infamous Council of Trent. This eighteen year deliberation addressed
several aspects of Catholicism under scrutiny and led to the requirements that new art depicting religious notions should reach the illiterate masses. Up
until this point most religious forms of art were designated for the highly educated and sophisticated. This led to the ... Show more content on
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This can be seen in examples of Protestant Baroque artists of the time such as Van Dyck and Rembrandt.
One of the more famous artists of the time, Rembrandt, created many paintings as well as etchings and wood carvings. One of his paintings known as
Monk Reading (Fig. 1)demonstrates the stanch influence of Protestant principles. In Monk Reading the solitary monk is seen reading alone almost
concealed by his cowl. This inwardly transfixed individual is brought to the foreground in traditional baroque style by being placed on a dark
background. The Monk's gaze is thoughtfully on the pages in his hand which shed the only luminescence in the painting. Unlike many Baroque
paintings, depicting extreme emotional circumstances such as murder or other foul acts, this Monk appears to be contently in deep thought while
studying the text in his hand. He seems relaxed and reverent which is contrary to most examples of Catholic Baroque art and indeed many examples of
Protestant art.
Most forms of Catholic Baroque art are assertive and, as intended, assault ones senses. The evolution of religious art from the uniform composition
characteristic of the Italian Renaissance through the evolving Mannerism in to the bold and striking Baroque was striking to say the least. The
stylistic changes from Da Vinci's The Last Supper to Tintoretto's version in the 1590's bear a perfect example of this transition. The point of view in
Da Vinci's was central and allowed for a

Baroque Art : Baroque Renaissance
Baroque Art After the idealism of the Renaissance during the 1400–1530's and the Mannerism of the 1530–1600's Baroque art found itself as the
dominant style of art during the decade of the 1600–1700's. The term Baroque derives from the Portuguese 'barocco' term, or irregular peal or stone –
It describes a fairly complex idiom which originated in Rome and became popular during the time period in which Baroque art was prominent which
embraced painting, sculpture and architecture. The Baroque style quite nicely reflected the religious tensions of the decade, one of the most markedly
the desire of the Catholic Church in Rome to reassert itself in the aftermath of the Protestant Reformation. Across Europe many high figures in the
Catholic ... Show more content on Helpwriting.net ...
There are at least 3 different styles of Baroque art, consisting of the religious grandeur which consisted of an extravagant and melodramatic style of
religious arts, a greater realism style that focused on giving paintings a more life–like feel, and Easel Art which was a glossy form of genre–painting –
or pictures depicting situations and scenes of everyday life – aimed at the prosperous bourgeois householder. Despite the Catholic Church's heavy
relevance in Baroque art, in Protestant areas such as Holland there the Baroque style had much less religious content and instead focused on appealing
to growing aspirations of the merchant and middle classes.
Gian Lorenzo Bernini & the Ecstasy of Saint Teresa Gian Lorenzo Bernini is regarded as possibly one of the greatest scultor's of the 17th century, as
well as an outstanding architect during his time. He is considered the man who devised the style of Baroque style of sculpting, mastering it to such a
degree that other sculptors could only dream of becoming as great as Bernini. His career started apprenticing under his father, Pietro Bernini, who was a

The Judgment of Paris and The Miracle of the Fishes Artwork
How often do we see things in life that require a double–take, a second glance, a follow–up look, or even multiple subsequent studies? The answer is
quite simple: everyday. The things we often look at a second time are often not intellectually worth the look, whether it be an irrational teenager
attempting some outrageous skateboarding stunt, a monkey drinking its own urine, or even a two–headed cat, people have stopped spending their
second or third glances on things that are meaningful and sensible. As a result people have lost the appreciation of evaluating and scrutinizing art and
often don't think of looking at it a second or third time to really "look" at it. Sure people go to museums and galleries, but nowadays, how many of them
... Show more content on Helpwriting.net ...
In the first painting, Paris is giving the gift of the Golden Apple to the Goddess Aphrodite for her stunning and blinding beauty; whereas in the
second painting Jesus is giving the gift of food to the famished fishermen, who up until then had no food for themselves. This theme is always seen
in many different ways due to the fact that the range of gifts is vast and can contain a plethora of different types of things. Despite having the same
theme and basic ideas, the paintings differ in the motives for the gift giving. In The Judgment of Paris, Paris gives the Golden Apple to Aphrodite
partially because it was commanded of him by Zeus and partially because of his personal gain. Contrary to that idea of gift–giving to raise the already
magnificent even higher, is the idea of Jesus' selfless contribution to those in need. The two paintings also have one major difference; their styles differ
in that the first has very prominent and refined looking characters and the second has more moderate and somewhat petty ones. In The Miracle of the
Fishes the focus is on the modesty of the fisherman, whereas, in The Judgment of Paris the characters–the goddesses especially–appear dignified and
distinguished. In both of these paintings Jordaens uses aspects that are inherent in the majority of his works. He incorporates two well–known details;
the anatomy of human bodies–men appear robust, hardy and strong, while the

Analysis Of The Poem ' Bacchus Discovering Ariadne '
Jacob Jordaens, Bacchus Discovering Ariadne, late 1640's
This painting that I have found while venturing the Museum of Fine Arts has definitely caught my eye for infinite reasons. Bacchus Discovering
Ariadne by Jacob Jordaens was definitely a painting that has a story, but the thing is, there isn't much about it, which is a challenge. Most of the focus
in this painting is set on Ariadne and the meeting between her and Bacchus. Not only that but the painting, and all other paintings associated with this
myth, focus on the shift from divine perfection to humanity that is found in Renaissance and Baroque artwork. The oil painting made by Jacob
Jordaens tells the story of Ariadne, the princess of Crete, being deserted on the Island of Naxos by Theseus, the Athenian prince who she helped escape
from her father's labyrinth. Bacchus, whom is the god of wine, and his satyrs discover her, and he falls in love with Ariadne. As a testimony of his
devotion he holds up her crown, which he will then toss into the heavens to create a constellation in her honor. In this painting he shows Ariadne as an
extremely feminine figure that's not only fair but regarded as beautiful The body of Bacchus is sculpted showing the muscles in his legs and throughout
the rest of his body. But the contrast in this painting is striking. The contrast of this painting lies between the structural elements of Bacchus and of the
three satyrs that have accompanied him. These satyrs are in dim lighting and less

Comparison of Paintings of Irene and St Sebastian
The subject of this painting is Irene pulling an arrow from the body of St. Sebastian. Each figure in the painting looks to contribute to a different
part of a healing process; Saint Sebastian's body conveys the idea of being sick or dying. His hands are tied up with rope, which gives the idea
that he was injured by the shadowy figures in the background and left for dead. Irene is kneeling to the right wearing the red clothe and is being
assisted by a servant is helping him by pulling an arrow from the saint's leg. Life is being restored to Saint Sebastian, which is depicted by the two
angels fly overhead, the crown being held by the angels may suggest him becoming a saint for sacrificing himself for a belief. The figures in the
foreground take up most of the painting and are telling most of the stories happening. Only a little of the figures in the background are being shown,
but these figures are being directed to by circular shape in the middle of the frame, that is showing an important connection to the foreground. Most of
the lines in the painting run horizontal and cross each other to drag the viewer's eyes around the frame. The body of Saint Sebastian intersects the arm
of the woman, also the direction of the heads in the foreground creates implied lines that connect bring the viewer back and forth across the painting.
The in this painting like most of this era use lines help to convey motion. The uses of foreshortening added not only depth to the painting but

A Brief Look at Mary Magdalene
As an influential biblical figure, Mary Magdalene has been the subject of numerous works of art. She has been represented in a variety of tropes and
styles; which were subject to the religious, political, and social standards of the time. Giacomo Galli's Saint Mary Magdalene was painted in the early
seventeenth century in Italy, at the beginning of the Baroque era. By contorting Magdalene's body, bathing her in light and encompassing her in
darkness, Galli was able to present the viewer with an image representative of her divided identity.
Galli likely chose to paint the Magdalene because she was one of the most popular saints in Baroque Italy. As Susan Haskins (author of Mary
Magdalen: Myth and Metaphor) notes, "from the thirteenth century, the penitent Magdalene became the most popular image of the saint in Italy," as
the perfect example of a reformed sinner. Magdalene's ______ demonstrated a realistic path of personal improvement. Her reputation, at the time,
revolved around her supposed past as a prostitute. Historically, this meant that she was cured of a physical ailment and not of prostitution. However, as
it was believed that Magdalene's transformation from prostitute to apostle made her accessible to the Catholic community, the church exemplified this
notion in order to make Magdalene a suitable role model for repentance.
Religiously charged Baroque paintings of the seventeenth century, such as Galli's Saint Mary Magdalene, were created by two distinctly

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