Thus, the five faces in "The eturn 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, embrandt invites the viewer to contemplate the subject matter depicted in "The eturn of the Prodigal Son." Caravaggio spells out emotion brashly on the canvas, whereas embrandt holds back.
Unlike "The Crucifixion of Saint Peter," the mood of embrandt's painting is somber and stoic. Emotions are kept in check, unlike in Caravaggio's "Saint Peter." All five of the figures in embrandt's painting appear contented, but not necessarily overjoyed. The embrandt painting lacks dramatic intensity compared with the overtly baroque Caravaggio. Yet still, embrandt does depict a New Testament scene just as Caravaggio does. Drama is not wholly absent from either canvas, but Caravaggio is certainly more theatrical.

The differences between Caravaggio's and embrandt's work are also noticeable in…...

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References

"Baroque Art." Survey of Western Art. Retrieved 4 April 2010 from  http://loki.stockton.edu/~fergusoc/lesson7/lect7.htm 

Harden, M. (nd). Baroque Art. Artchive. Retrieved 4 April 2010 from  http://www.artchive.com/artchive/baroque.html 

"Protestant Baroque." Lynn University Art Appreciation. Retrieved 4 April 2010 from http://www.cartage.org.lb/en/themes/arts/painting/baroque/protest-baroq/protest-baroq.htm

"Rembrandt van Rijn." Retrieved 4 April 2010 from  http://www.artchive.com/artchive/R/rembrandt.html

e. Jesus hrist, Virgin Mary, St. 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…...

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Caravaggio: The Holy Family with the Infant and St. John the Baptist.  http://entertainment.webshots.com/photo/2434650850037029906dJmCQI 

Diego Rodriguez de Silva y Velazquez: The Supper at Emmaus (14.40.631)." In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-.  http://www.metmuseum.org/toah/hd/vela/hod_14.40.631.htm 

Francisco de Zurbaran: The Young Virgin (1632-3)." In Department of Religious Studies. University of Alabama.  http://www.as.ua.edu/rel/nancarrowlecture.html

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)
ernini 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 of grace and delicacy" (Ingraham). Under these circumstances it can be argued that ernini's statues are architecturally-oriented and this contributes to their elevate expressivity, distinguishing him from other baroque sculptors.

Another important sculptor associated with the Italian baroque current is orromini. It is said that ernini and orromini were direct rivals and they competed for projects as well as for glory. One of the most important works of orromini is represented by the St. Agnese in Agone church. The work is…...

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Bibliography:

Blunt, Anthony. Borromini, The Belknap Press of Harvard University Press Cambridge Massachusetts, Google Books retrieved December 9, 2009 from  http://books.google.com/books?id=j8LlONLlf-cC&printsec=frontcover&dq=borromini&cd=1#v=onepage&q=&f=false 

Findlen, Paula. Athanasius Kircher: the last man who knew everything, Routledge, Google Books, retrieved December 8, 2009 from  http://books.google.it/books?id=6nnokX4nxtcC&pg=PA54&lpg=PA54&dq=fountain+of+the+four+rivers+interpretation&source=bl&ots=u8Z1H4gdLh&sig=DIXnKFtjwoLu5ATbyNHYpCYc8KQ&hl=it&ei=AMQfS9raIIzimwOzj_mfCw&sa=X&oi=book_result&ct=result&resnum=6&ved=0CCYQ6AEwBQ#v=onepage&q=fountain%20of%20the%20four%20rivers%20interpretation&f=false 

Giedion, Sigfried. Space, time and architecture: the growth of a new tradition.Google books, retrieved December 9, 2009 from  http://books.google.com/books?id=ZHZnmKxkGMwC&pg=PA110&dq=borromini&cd=7#v=onepage&q=borromini&f=false 

Ingraham, Catherine. Architecture:, animal, human: the asymmetrical condition. Routledge, Google books, retrieved December 9, 2009 from  http://books.google.com/books?id=_BF4LRSNsPcC&pg=PA38&dq=bernini+sculptures&cd=8#v=onepage&q=bernini%20sculptures&f=false

Bernini and Caravaggio
Baroque art was a style that appeared in response to the 16th century Mannerist period and was characterized by religious iconography and figures but with a focus on the pre-Christian religions such as Greek and Roman mythology. The characteristics of Baroque art can be seen in many branches of the art world such as in sculptures, paintings, literature and architecture. The movement started around 1600 in Italy where the Catholic Church was particularly strong and spread throughout most of Europe very quickly. Many of the artworks from this period show the influence of the church on the daily lives of the people and how the artists fought against this. Following this period, the Baroque era is when the taboos of what was and was not appropriate to paint seemed to deteriorate, if not disappear forever, In many works of art at the time, the complete female and male…...

Art
Three Baroque Artists

The purpose of this paper is to introduce, discuss, and analyze three works of art, Peter Paul ubens' "ape of the Daughters of Leucippus" - 1618, embrandt Van ijn's "The Descent from the Cross" - 1634, and Caravaggio's "The Death of the Virgin" - 1605/6. Specifically, it will contain an opinion and assessment on each of the works.

ape of the Daughters of Leucippus" is an oil on canvas painting, measuring about 88 x 82 7/8 inches, and the original resides in the Pinakothek Museum in Munich, Germany. This painting portrays the abduction of two nude women by two large and powerful men, with their stallion rearing in the background, and a cherub hovering near the edge of the painting. The colors are rich and vibrant, from the natural skin tones of the women, to the tanned and burly beards of the men. Action and upheaval are at the…...

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References

Caravaggio. "Death of the Virgin." WebGalleryofArt. 2004. 11 March 2004.  http://www.kfki.hu/~arthp/html/c/caravagg/07/45death.html 

Martin, John Rupert. Baroque. New York: Harper and Row, 1977.

Pioche, Nicholas. "Caravaggio." WebMuseum. 27 July 2002. 11 March 2004.  http://www.ibiblio.org/wm/paint/auth/caravaggio/ 

Peter Paul Rubens." WebMuseum. 27 July 2002. 11 March 2004.  http://www.ibiblio.org/wm/paint/auth/rubens/

Manifesto: A Difference between aroque and Modern Art
The manifesto of the aroque artist was in the work itself -- there was no need to explain it in writing as the tools of the artist were fully capable of allowing the artist to present a view that was both pleasing to the artist and/or patron and illuminative/educative for the viewer. The entire aroque artistic movement was rooted in a spirit of counter-reformation that supported a more realistic and visually stunning sense of the wholeness of things as well as of the "nature" of humanity -- neither purely angelic nor brutishly animalistic, but somewhere in between, touched by sin.[footnoteRef:1] [1: Paul Johnson, Art: A New History (NY: HarperCollins, 2003), 16.]

This sense of fallen human nature would gradually be rejected by the modern world, displaced by a more naturalistic, evolutionary perspective. A new definition of man would be established by modern thinkers,…...

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Bibliography

Bauer, Herman. Baroque. Cologne, Germany: Taschen, 2006.

Bussagli, Marco; Reiche, Mattia. Baroque and Rococco. NY: Sterling, 2009

Fuchs, R.H. Rembrandt in Amsterdam. Greenwich, CT: New York Graphic Society,

1969.

Kehinde iley's Santos-Dumont -- The Father of Aviation II from "The orld Stage: Brazil" series (2009) is a work of Baroque art in the sense that it expresses a dramatic scene that invites the viewer to participate in it. The eyes of the central subjects, for instance, gaze out at the viewer as though the viewer were the actual subject of the painting rather than the two dead black men whose eyes are fixed at the public. In this sense, the painting is a throwback to works like those of Rembrandt, the Dutch Baroque painter, who often included characters in his paintings whose eyes were turned towards the viewer as though the viewer were interrupting some important action by approaching the canvas.
Baroque art grew out of the Catholic Church's response to the rise of Protestantism and wanted to emphasize a naturalistic and realistic point in realistic arts (Johnson 178). It…...

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Works Cited

"Afro-Brazilian Baroque." Art Remix: Minneapolis Institute of Arts. Web. 11 Apr

2015.

Johnson, Paul. Art: A New History. NY: HarperCollins, 2003. Print.

Wolfe, Tom. The Painted Word. NY: Picador, 1975. Print.

Baroque Painters
The Techniques of Five Baroque Painters

The Baroque era painters, different as they were in terms of personal style, approach, and technique, had in common the ability to imbue their works with a certain dramatic quality much in demand in the era. The Baroque had followed on the heels of the High Renaissance with its humanism and emerging scientifically revolutionary theses. The Protestant Reformation had begun and religious and political wars were raging through Europe. The Baroque style of painting has been linked with the Church's Counter-Reformation, an artistic expression of those mysteries taught by the Church regarding fallen human nature. The word "baroque" means "imperfect pearl" and was applied by later critics, who sought to criticize the artistic works of the period for their elaborate, or excessively detailed, or highly dramatic compositions. It was precisely for these reasons that the Church supported the Baroque painters -- they contrasted with…...

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Works Cited

Bauer, Herman. Baroque. Cologne, Germany: Taschen, 2006. Print.

Bomford, David. Art in the Making: Rembrandt. CT: Yale University Press, 2006.

Print.

Brown, Jon. Painting in Spain: 1500 -- 1700. CT: Yale University Press, 1998. Print.

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 continent including Italy, Spain, Flanders, and the Netherlands, and was marked by some common elements despite the existence of major distinctions between regions and artists. Baroque sculptures and paintings were structured around unpredictable diagonal lines, instead of the traditional pyramid or triangle.[footnoteRef:1] Self-portraits grew into a progressively ambitious form that took the aspects of self-awareness and self-promotion to new heights.[footnoteRef:2] In this paper, three Baroque self-images will be discussed, namely, Rembrandt, 1660; Salvatore Rosa, 1647; and Anthony van Dyck, 1620-21.…...

Baroque Art:
PETE PAUL UBENS & CAAVAGGIO

The artistic period known as the enaissance continued without any sharp stylistic changes well into the 17th and 18th centuries; however, the art of this later period is often called Baroque, although there is no single Baroque style or set of stylistic ideals. Yet within the last one hundred years or so, Baroque has taken on the overall designation for the art of the period from circa 1600 to 1750. More recently, scholars have come to understand that Baroque styles were very different from those linked to the enaissance. For example, during the enaissance, art tended to be rather static, but during the Baroque, art became very dynamic and encompassed passion, opulence, a taste for the theatrical and introduced the virtuoso, being an artist that stood out from his contemporaries as a truly gifted genius.

Historically, the Baroque Period entailed many artistic ideals, especially those associated…...

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REFERENCES

"Caravaggio: 1571-1610." (2005). Internet. Olga's Gallery. Accessed May 16, 2005. http:www.abcgallery.com/C/caravaggio/caravaggio.html.

Held, Julius S. (1954). Peter Paul Rubens: 1577-1640. New York: Harry N. Abrams.

Payne, Robert. (1969). Caravaggio. London: W.H. Allen.

"Peter Paul Rubens." (2005). Internet. The Artchive. Accessed May 16, 2005.  http://www.artchive.com/artchive/R/rubens.html#images .

Baroque Art
An examination of "Virgin and Child with St. John the Baptist" by Jacopo del Sellaio, 1480-85 and "St. Sebastian Attended by Holy omen" by Nicolas Regnier (called Nicolo Renieri) 1615-1626 reveal the differences between early and later Renaissance painting in Italy. Jacopo del Sellaio's word dates to the late fifteenth century, and Renieri painted more than a century after that. The historical context of their work also signals the differences between Sellaio and Renieri. Sellaio studied under Fra Filippo Lippi and his style inevitably reveals his connection with the Lippi school. Sandro Botticelli studied under Lippi at the same time; Renieri and Botticelli influenced each other and this is especially evident in "Virgin and Child with St. John the Baptist." For instance, Botticelli's style is evident in Sellaio's work "in such traits as the texture and color of hair, the tilt of the Virgin's head and the elongation of…...

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Works Cited

Castelvecchi, Davide. "Renaissance Painting Restoration Leads to Unusual Collaboration." Stanford Report. July 21, 2004. Retrieved online:  http://news.stanford.edu/news/2004/july21/jacopo-721.html 

Regnier, Nicolas. "St. Sebastian Attended by Holy Women," 1615-1626.

Sellaio, Jacopo del. "Virgin and Child with St. John the Baptist." Painting. 1480-85

According to Henry a. Millon, the sparkling gaiety of this style "was cultivated by a new age associated with the regency that followed upon the death of Louis XIV and then with the reign of Louis XV," meaning that these two French kings and their opulent lifestyles highly influenced the art that came about during the beginning and middle years of the 18th century in Europe (156).
Essentially, the Rococo is an interior style or, in other words, pertains mostly to the decoration of objects designed for the interior of palaces and royal residencies. As compared to the art of the aroque Era, that of the Rococo style is far removed from religious and national influences. Architecturally, one of the best examples of the Rococo style can be found in the Rococo room of the Salon de la Princesse at the Hotel de Soubise in Paris, decorated by Germain offrand…...

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Bibliography

Millon, Henry a. Baroque and Rococo Architecture and Art. New York: Doubleday, 1975.

Tapie, Victor L. The Age of Grandeur: Baroque Art and Architecture. New York: Phadeon Books, 1966.

Art
Impressionism in art developed in the 19th century. Impressionist paintings were characterized by visible brush strokes, and subject was drawn from ordinary life and outdoors, rather than being confined to still life, or portraits and landscapes drawn in studios. Emphasis was laid on the effect of light changing its qualities as well as movement. These characteristics of impression can be well observed in the works of art by Gustave Caillebotte, Edgar Degas and Edouard Manet in their paintings Paris: A ainy Day, The Absinthe Drinker and The Bar at the Folies Bergere respectively.

Paris: A ainy Day is an oil painting drawn in 1877 encompasses the Impressionist use of landscape scene. The curator of the Art Institute of Chicago was quoted describing the painting by Hedy Weiss in the Chicago Sun-Times (December 12, 1995) as "the great picture of urban life in the late 19th century." The masterpiece gives of view…...

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References:-

1. Gaustave Caillebotte, Paris Street: A Rainy Day, retrieved on July 9, 2012 from  http://sites.google.com/site/beautyandterror/Home/bourgeoisie-and-proletariat 

2. L' Absinthe-Degas, retrieved on July 9, 2012 from  http://labsinthedegas.blogspot.com/ 

3. Edouard Manet, A Bar at the Folies-Bergere, retrieved on July 9, 2012 from  http://sites.google.com/site/beautyandterror/Home/capitalism-and-the-death

It would have been as ridiculous for a working class man or woman to make art as it would have for that same person to become an accountant. Still, artists throughout time have snuck in their personal values in their paintings. Hieronymous Bosch is one of the artists I believe to have inserted personal values into Church-commissioned art.
Even in the modern era, art is still entwined with money. The artist needs to live, sure. But that is not the only connection between art and money. Art galleries exist because art has become big money. Art symbolizes wealth. No ordinary person can afford "real" art. Ordinary people purchase prints and reproductions, not original pieces by known or up-and-coming artists.

Art is like any other commodity now, for better or for worse. Artists have a greater chance than ever of making a viable living, given the plethora of opportunities in graphic art…...

Art of classical antiquity, in the ancient cultures of Greece and ome, has been much revered, admired, and imitated. In fact, the arts of ancient Greece and ome can be considered the first self-conscious and cohesive art movements in Europe. Style, form, execution, and media were standardized and honed to the point where aesthetic ideals were created and sustained over time. The art of classical antiquity in Greece and ome reverberated throughout history, impacting the art of subsequent eras in Europe. In fact, there can be no absolute "neoclassical" era in art history because of the way neoclassicism evolved throughout the centuries since the fall of the oman Empire. The arts of the enaissance borrowed heavily from classical antiquity, as can be seen in enaissance icons such as Michelangelo's David. Some suggest that medieval art pays homage to classical antiquity, even if the quotations from classical Greek and ome are…...

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References

Castelijn, D. (2012). The Influence of Classical Antiquity on the Renaissance. Oxford Department for Continuing Education. Retrieved online:  http://www.conted.ox.ac.uk/courses/details.php?id=V350-130#pagetop 

"Classical Antiquity in the Middle Ages," (n.d.). The Metropolitan Museum of Art. Retrieved online:  http://www.metmuseum.org/toah/hd/anti/hd_anti.htm 

"Greek Art," (n.d.). Retrieved online:  http://www.ancient-greece.org/art.html 

"Jacques-Louis David," (n.d.). Retrieved online:  http://www.jacqueslouisdavid.org/