New PDF release: Baroque and Rococo

By A. C. Sewter

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Learnt CHAPTER FOUR French Baroque painting Baroque Baroque established itself, it inclined markedly towards the more classical aspects of the style. The French painter Le Valentin was among the earliest followers of Caravaggio, but he spent the whole of his career in Rome, and hardly painter of influenced the course of French painting. Flemish origin, Louis Finson (known as Finsonius), who also absorbed some elements from Caravaggio's Roman works, mixed with typically late^Mannerist ones, was active for a number of years in Provence, until his death in 1617.

Wellington House, London 52 Museum, Apsley the period o{ one of Michel above the Medici tombs in Florence, the naturalism of the treatment makes one more aware of the model posing in the studio than of any con/ Though his pose faintly recalls that angelo's seated statues Baroque painting in Spain cept of martial valour. Perhaps the pensive attitude, the f^ce - details its almost lost in the and shadow of helmet - deliberately provoke a question. What the does it mean; There is a gentle irony, too, in the pictures of dwarfs and buffoons, such as that of the grinning and squinting Don Jtmn artist's attitude is Ccilabazas (Madrid, Prado).

Illusion, whether at the service of a theatrical sense of decoration, or of religious emotion, is an essential This style element of the Baroque reached Italian its known from Pietro Berrettini, generally birth as Pietro style. climax da Cortona. As in the work of the place of his an architect he is less important than Bernini and Borromini, but as a decor^ ator he fresco is pre-eminent. His early work, for example the of Santa Bihhiam 24), painted in in Rome, is still 1624-6 undertaken for much very classicism, derived the refusing to worship pagan gods from his studies after the antique, antiquarian Cassiano del Nonetheless, his touch (III.

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