By Victoria Charles, Klaus H. Carl

The Baroque interval lasted from the start of the 17th century to the center of the eighteenth century. Baroque artwork used to be artists' reaction to the Catholic Church's call for for solemn grandeur following the Council of Trent, and during its monumentality and grandiloquence it seduced the good eu courts. among the Baroque arts, structure has, surely, left the best mark in Europe: the continent is dotted with exceptional Baroque church buildings and palaces, commissioned by means of consumers on the peak in their strength. The works of Gian Lorenzo Bernini of the Southern college and Peter Paul Rubens of the Northern institution by myself convey the significance of this creative interval. wealthy in photos encompassing the humanities of portray, sculpture and structure, this paintings bargains an entire perception into this passionate interval within the background of paintings.

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Oil on canvas, 364 x 249 cm. Kunsthistorisches Museum, Vienna. 34. Cristofano Allori, Judith with the Head of Holofernes, c. 1613. 3 cm. Palazzo Pitti, Florence. qxp 2. 1/14/2009 3:51 PM Page 51 Baroque in France A fter the Renaissance, the arts, in France, had led a relatively untroubled existence up to the death of Henry IV. They attempted to mirror the growing might of the Kingdom in a mostly festive increase in magnificence whose means consisted of following a similar path to the Italian art of the Baroque.

Sculpture While the majority of French architects and builders rejected Bernini’s Baroque style, the sculptors adopted it quite willingly. Its most talented exponent in France was the painter, builder and sculptor Pierre Puget from Marseille, who was also active for a time in Italy where he created a sculpture in the church St. Maria da Carignano: Saint Sebastian writhing in the cramps of pain in his fight to the death. He surpassed his role model Bernini in the strength of pathos and movement as is shown in his much admired and important works – the seated figure of Hercules (1680), Perseus and Andromeda (1684) as well as the athlete Milon de Crotone (1671-1682) (p.

Matthew (1599-1600) (p. 44), caused anger in ecclesiastical circles and quickly had to disappear from the church. For the same reason, with the argument that the painting “of the Virgin is unworthy”, the Death of the Virgin (1605-1606) (p. 46) — in which the dying Virgin, appearing like a bloated corpse, surrounded by figures in exaggerated mourning – was rejected by the Carmelites from the Roman church della Scala. And yet, with his Burial of Christ (1602-1604), originally commissioned for the chapel of the Family Francesco Vittrice, Caravaggio created a complete master work in composition, depicting mourning and pain and proving that his skill was second to none.

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