John the Baptist, are not depicted as ideals, perfect exterior forms but as specific and personal figures who are able to inspire and stir emotions. The viewer is no longer separated from the object of the painting, but becomes closer to it. In this sense, the viewer is able to relate to the experience of the characters. Young Mary is much more than an ideal of purity and grace; she becomes a representative of women, of believers, of children. The power is now in the hands of the audience who is able to attribute particular roles to the figures they see on the canvas. The content of the paintings thus becomes more intimate and emotional. Nonetheless, Baroque paintings continued to illustrate form and features similarly to the Renaissance, but it enriched the harsher lines and colors of the painting belonging to the previous centuries with the warmness of the chiaroscuro and the emotional depth of the inner psychological world. This allowed the audience to actively participate in the painting instead of simply looking at it from the outside. The viewer was no longer denied access into the experience on the canvas, but invited in its dynamic and deep setting. To conclude, it is safe to say that Baroque art does not represent an abrupt departure from the Renaissance. Despite important innovations such as the use of colors and lighting, as well as a deeper faithfulness to the details of tangible reality, Baroque art employs to a great extent the same themes and approaches as the art of the Renaissance. Baroque was a movement which resulted from a change in social order juxtaposed...
Moreover, the new Baroque style of the 16th and 17th centuries mirrored the growth of absolutist monarchies and was considered a manifestation of power in art; in fact, it is precisely this sense of dynamism and power that generates a sense of movement and great energy in Baroque paintings, sculptures and buildings. In some sense, Baroque art was a more realist continuation of Renaissance art, a continuation which focused on more or less the same artistic themes, but expanded them with the help of considerable advancement in terms of technique and artistic perspective.
Again, the piece does not shirk on color, spreading the artwork to give Marie de Medici a glorious entrance. The dark golds and the light blues, and even the deep red carpet on the plank give this painting vivid movement. Gentileschi's Judith Slaying Holofernes moves on to the violent once again, though unlike the Rape of the Sabine Women, the colors are much darker, the action even more dramatic and
Baroque Period Annotated Bibliography Chaffee, Kevin. "Baroque sights, sounds at the gallery." The Washington Times, The National Gallery of Art set up a spectacular exhibit of the Baroque period that included scale models of baroque-era churches, palaces, military forts and grand public buildings. They had problems getting nearly 300 guests through the enormous exhibit. The huge exhibit took up the length of two entire corridors on the main and ground floors of the
Each sculpture has a style and beauty all its own, and each shows the style and message of the artist. It is clear the styles changed as these sculptures were created. Michelangelo's DAVID is classical Greek style, with fluid lines and a muscular body that is very pleasant to look at. Bernini's DAVID is a man, while Michelangelo's is clearly a young boy, and Donatello's looks like a dandy or
Thus, the five faces in "The Return of the Prodigal Son" are somewhat blurry. The overall effect is much more intimate and gentle than the brash and obvious messages in Caravaggio's work. Moreover, Rembrandt invites the viewer to contemplate the subject matter depicted in "The Return of the Prodigal Son." Caravaggio spells out emotion brashly on the canvas, whereas Rembrandt holds back. Unlike "The Crucifixion of Saint Peter," the mood
There is a kaleidoscopic plurality of symbols and links among them, but it is easier to decipher the central meaning of the whole: the spiritual supremacy of the pope. Thus a political program was transformed into a beautiful masterpiece." (Findlen) Bernini believed that in architecture the main focus was on the material and the invention, then on the manner in which the parts were ordered and finally on the "perfection
Self-Images in Baroque Art 'Baroque' is a word that is employed to describe 17th- and early 18th- century European art. The art form signified a shift from Renaissance art's classism and linearity (though a few artists from that period carried on with creating artworks in the older style). Baroque was also characterized by a shift towards drama, motion, theatricality, unpredictability, and impulse. This style thrived in many areas of the European
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