Baroque Art

Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, approx. 1' 10" x 2' 1". Mauritshuis, The Hague.

A Dutch Baroque painting, it shows the landscape art of Haarlem, Netherlands, with bleaching fields, and a few homes and the Saint Bavo church and windmills in the distance, under an expanse, cloudy sky. The tiny people blend in the landscape, and the addition of light patches in the field gives off a spiritual feel. Ruisdael uses linear style to give off the 3D effect of the town. The artwork highlights Ruisdael's mastery of rendering foliage to convey heavy naturalism. The naturalism, deep shades of the land, and delicate hues of the sky gives off the feelings of serenity.

Claude Lorrain, Landscape with Cattle and Peasants, 1629. Oil on canvas, 3' 6" x 4' 10 1/2". Philadelphia Museum of Art, Philadelphia (the George W. Elkins Collection).

A French Baroque piece, it depicts a pastoral landscape scene with the common folk streamside. The artwork blends the trees and free sky through painterly lines rather than linear. The landscape mirrors Lorrain's exploration of Rome after his tour in Italy, Germany, and France (which is like the Grand Tour). The artwork reveals Lorrain's landscape style of dark foliage on one side and a stream with tiny people on the other under a misty sky. Lorrain's immensity of nature beautifies even the most mundane activities such as the one seen here.

Francis Mansart, Orleans wing of the Chateau de Blois, Blois, France, 1638.

A fine example of French Baroque architecture, it stands beside Louis XII Flamboyant Wing and the medieval Gothic castle. It was given to Louis XIII's brother Gaston duc d'Orleans as a wedding gift. Greco-Roman classics influence the building's style, using Doric, Ionic, and Corinthian columns in the facade and a pediment with statues. The building plan also shows one of Mansart's first designs of the mansard roof. The wing attributes to Baroque architecture because of its union of the arts, enormous size, and undulating façade. During the French Revolution, revolutionaries ransacked this wing.

Francois Girardon & Thomas Regnaudin, Apollo Attended by the Nymphs, Grotto of Thetis, Park of Versailles, Versailles, France, ca. 1666-1672. Marble, life-size. Park of Versailles.

Apollo Attended by the Nymphs is a French Baroque sculpture created by Girardon in collaboration with Regnaudin. The artwork was commissioned for the Grotto of Thetis at Versailles. The artwork is an allegory of Greek mythology where Apollo is attended to by nymphs of the sea after having carried the sun across the sky. The work is also an allusion to the pleasures of the king. Apollo was often used as a metaphor for King Louis XIV, who was known as the Sun King. Girardon drew heavy classical influence, specifically from Hellenistic works, and visited Rome while creating the artwork.

Rembrandt van Rijn, Self-Portrait, ca. 1659-1660. Oil on canvas, approx. 3' 8 3/4" x 3' 1". The Iveagh Bequest, Kenwood House, London.

Created dozens of self-portraits during his career. They greatly vary in composition, expression, and technique. Later self-portraits convey a record of his aging features; painted when he was 54 years old. The work was created during a time of anxiety for Rembrandt, he had lost everything from his apprentices to some of his works. There is impatience on his face and aging is evident. Technically, this work is the culmination of Rembrandt. The shadows on the face are thin and transparent and are countered with lighter areas, such as the cheek.

Gianlorenzo Bernini

David, 1623. Marble, approx. 5' 7" high. Galleria Borghese, Rome

Rembrandt van Rijn, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca. 1649. Etching, approx. 11" x 1' 3 1/4". Pierpont Morgan Library, New York.

Dutch Baroque etching depicting four moments from Matthew 19. "And great multitudes followed him; and he healed them there," "the group on the left are presumably Pharisees asking Christ about divorce," a young mother steps up to have Christ touch her baby but Peter pushes her back. He then looks at Christ for his approval. Camel in the background refers to a famous parable/allegory saying "it is easier for a camel to go through the eye of a needle than for a rich man to enter into the kingdom of heaven." The camel is shown to the far right and the rich man is the figure to the left of Christ with his mouth over his face. With Christ as a central, powerful figure and the movement of light to dark across the etching, the composition solidifies the narrative qualities. The attention to detail in each of the figures faces and body language tell us their emotions.

Judith Leyster, Self-Portrait, ca. 1630. Oil on canvas, 2' 5 3/8" x 2' 1 5/8". National Gallery of Art, Washington (gift of Mr. and Mrs. Robert Woods Bliss).

Dutch Baroque painting. Flaunts Leyster's prowess as a genre painter and portrait painter. She isn't dressed to paint because artists in the 17th century Europe sought to be treated as professionally as possible. Not wanting to come off as a craftsperson, Leyster depicts herself in the clothing of the class that she aspires to be in. Also, the lavish clothing and elegant dress represent her success. The musician depicted on the easel appears in another one of her works called The Merry Trio and the happy musician was a popular subject for artists such as ter Brugghen and Hals.

Gianlorenzo Bernini

Ecstasy of Saint Theresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645-1652. Marble, height of group 11' 6".

Egid Asam, Assumption of the Virgin, Rohr Cathedral, Germany, 1717-1725, Marble and Stucco

Influenced by Bernini's Ecstasy of St. Theresa, this piece portrays the Virgin's assumption with Bavarian gaiety and heartiness, while still creating a suspended look of effortlessness. Two angels lift an enamored Virgin towards the heavens, whilst below spectators marvel at the cracked tomb. Those in the celestial sphere are ornately decorated in patterned gold robes, setting them apart from the terrestrial beings. A direct light source is seen in the sculpted clouds above the Virgin, while Corinthian columns and lavish curtains surround the scene, creating this very obvious, late Baroque sculpture.

Artemisia Gentileschi, Judith Slaying Holofernes, ca. 1614-1620. Oil on canvas, 6' 6 1/3" x 5' 4". Galleria degli Uffizi, Florence.

Judith Slaying Holofernes is an Italian baroque painting by Artemisia Gentileschi. Gentileschi learned how to paint from her father and later was the first women to be admitted to Florence's Academia de Disegno. The painting used tenebrism and a "dark subject matter". The piece is from a narrative from the Old Testament in the book of Judith. Judith and her maid servant are shown cutting off Holofernes head. Her painting style is similar to Caravaggio because of the tenebrism. Gentileschi liked to focus on the woman empowerment figures. The head of Holofernes is supposed to be her teacher Tassi, while Judith is Artemisia.

Diego Velazquez, Las Meninas, 1656. Oil on canvas, approx. 10' 5" x 9'. Museo del Prado, Madrid.

Las Meninas by Diego Velasquez was commissioned by the Spanish royal family. The painting features a group portrait. The young Infanta Margarita is surrounded by her maids, attendants, two dwarfs, and a dog. Velasquez shows himself behind a large canvas looking outward toward the viewer in order to advertise himself through his art. In the background there is a mirror with a reflection of the King and Queen. The painting was meant to show the lineage of the royal family. The contrasting darks and lights draw us deeper into the artwork. Velasquez used a dappled effect to create shimmering surfaces.

Annibale Carracci, Loves of the Gods, ceiling frescoes in the gallery, Palazzo Farnese, Rome, Italy, 1597-1601.

Loves of the Gods, by Annibale Carracci, is a monumental fresco cycle, from the Italian Baroque period. It decorates the barrel-vaulted Farnese Gallery located within the Palazzo Farnese. Carracci decorated the gallery with mythological themes. The center panel, the 'Triumph of Bacchus and Ariadne', depicts a riotous procession bringing the couple to their lovers' bed. This work combines quadro riportato with di sotto in su painting. The figures show idealized bodies, overlapping, and vigorous movements. The rich colors were inspired by the Venetians. Carracci's juxtaposition of classic and baroque styles had a grand influence on 17th century paintings in Rome.

Carlo Maderno, Facade of Saint Peter 's Basilica, Vatican City, Rome, 1612.

On the top of this basilica are sculptural statues of Christ as the Redeemer, John the Baptist, and 11 Apostles, Statues of St. Peter and Paul, the patron saints of Rome, are on the side. This was built with travertine stone, and has giant Corinthian columns with a central pediment that stresses the main entrance. This marks the burial site of St. Peter, ordered by Constantine.The dome was designed by Michelangelo, to rival Brunelleschi's dome. The central balcony is the Loggia of the Blessings, where the announcement of the new pope takes place. The relief under the balcony shows St. Peter receiving keys from Christ.

Jacques Callot, Hanging Tree, from the Large Miseries of War series, 1633. Etching, 3 3/4" x 7 1/4". Bibiliothèque Nationale, Paris.

Part of the 18 Miseries of War series, this etching is the first pictorial representation of the toll of war on humanity, depicting a scene from the Thirty Years' War. It was not created as propaganda, and thus was not commissioned. The etching portrays thieves being hung on a cross-shaped tree by peasants in broad daylight from a wide-angle perspective. The scene shows little emotion even as men receive their last benediction. Onlookers, such as other peasants and soldiers, encircle the tree. The bottom of the etching holds a quote by Michel de Marolles Abbe de Villeloin

Francisco de Zurbaran, Saint Serapion, 1628. Oil on canvas, 3' 11 1/2" x 3' 4 3/4". Wadsworth Atheneum, Hartford (The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund).

Saint Serapion or the Martyrdom of Saint Serapion, by Francisco Zurbaran, was commissioned by the Mercedarian Order. It was meant to hang in the funerary chapel hall of their monastery located in Seville. Zurbaran was known for his work depicting martyred saints and monks. Saint Serapion is depicted in a quasi-crucified pose with his wrists bound by ropes and chains. The strain put on his arms can be seen in the heavy folds and dramatic shadows achieved by chiaroscuro. The saint's clothing is white and simple to represent pureness. Tenebrism is used to illuminate the figure.

Francesco Borromini

San Carlo alle Quattro Fontane, Rome, Italy, 1676

Bramante and Raphael, Dome of Sant'Eligio degli Orefici (view into dome), Rome, Italy, ca. 1509; reconstructed ca. 1600.

Sant Eligio degli Orefici is one of the first centrally planned High Renaissance churches, and was commissioned by the Guild of Goldsmiths after they split from the Guild of Ironworkers. The church was designed by Raphael, drawing inspiration from Bramante's style, and was finished by Baldassare Peruzzi. It is the only church that can be truly attributed to Raphael. The dome is supported by four pillars and rests on a drum with eight windows. The dome has a central oculus and is surmounted by a lantern.

Inigo Jones, Banqueting House at Whitehall, London, England, 1622.

The Banqueting hall is classical in concept and carries a large influence from Palladio's work. The Hall consists of three levels when viewed from the outside: first, a basement with storage rooms, cellars, and a low ceiling, then a main floor used for banqueting and festivities, and finally an illusionary second floor which seems to exist when viewing the two orders of columns from the outside, but one inside vanishes into a main hall with a large ceiling. The two orders of columns, which make up the outside of the Hall are Corinthian over Ionic. The first floor when viewed from the outside has windows adorned with alternating pediments, and the second floor is left unadorned. On top of the roof there are balusters lining the edge.

Nicholas Poussin, Burial of Phocion, 1648. Oil on canvas, approx. 3' 11" x 5' 10". Louvre, Paris.

The Burial of Phocion is an artwork illustrating the story of Phocion. He was an Athenian statesman from the 4th century BC. Phocion criticized the Athenian government and refused bribes. He was later condemned for treason and forced to drink hemlock. His burial was not permitted in the city. The piece shows two slaves carrying Phocion's body out of the Athens in the foreground. The background/landscape depicts the Athenian people going about their lives as if nothing happened. Poussin's art features morals, logic, clarity, order, and favors line over color. He was a major inspiration for classically oriented artists.

Caravaggio, Conversion of Saint Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, Italy, ca. 1601. Oil on canvas, approx. 7' 6" x 5' 9".

The Conversion On The Way To Damascus is an Italian Baroque painting by Michelangelo Caravaggio. Along with the Conversion of Saint Paul, it was commissioned for the Cerasi Chapel. The subject is a religious allegory to the Conversion of Paul in which Saul hears the voice of Christ asking him why he is persecuting him. Paul has fallen from his horse after having been blinded after hearing Christ. Caravaggio had made great use of tenebrism, as is evident in this artwork. Tenebrism is a form of chiaroscuro in which the contrast between light and dark is greatly pronounced.

Caravaggio, Entombment, from the Chapel of Pietro Vittrice, Santa Maria in Vallicella Rome, Italy, ca. 1597-1601. Oil on canvas, 11' 1" x 11'.

The Entombment of Christ is an Italian baroque painting. It was commissioned for the Vittrice Chapel in Santa Maria. The altar is from the Chies a Nuova in Rome which is dedicated to the pieta. The painting depicts Caravaggios interpretation of the emtombment of christ. Caravaggios paintings were diff than those of the renaissance because he woulnt portray his human figures as being beautiful and herioc. Instead hes figures were bent, cowering, or reclining. He uses chiarroscirro to highlight Christ and his limb body as he is being put into his tomb.

Jules Hardouin-Mansart & Charles Le Brun, Galerie des Glaces (Hall of Mirrors) Palace of Versailles, 1670.

The Hall of Mirrors is the central gallery of the Palace of Versailles that began. It began construction under King Louis XIV in 1678 and was made up of the most expensive materials of the time, mirrors. The architect was Hardouin-Mansart, who constructed apartments with 3 rooms and a terrace between each set of apartments, which the king used on a daily basis. Charles Le Brun painted the central panel for the ceiling of this central gallery with the title "the Principle Key to everything. This painting depicts the King enthroned with such allegorical figures as Minerva, Mars, Glory and 3 graces.

Jan Vermeer, The Letter, 1666. Oil on canvas, 1' 5 1/4" x 1' 3 1/4". Rijksmuseum, Amsterdam

The Love Letter is a painting by Jan Vermeer that depicts an intimate and private scene of a woman in her private quarters, as she is handed a letter by the maid from her lover. The woman is holding a lute in her hands, which would represent a sign of carnal desire and passion in the time period. Checkered patterns on the ground that lead into the room create a sense of 3-dimensional perspective, as if we are looking through the slightly open door into an intimate scene. The curtain on the top right shows an aspect of trompe l'oeil, as curtains were used to cover Dutch paintings in Vermeer's time. This work is a good representation of Vermeer's tendency to portray indoor, intimate scenes in his works.

Guarino Guarini, Palazzo Carignano, Turin, Italy, 1692.

The Palazzo Carignano is an Italian Baroque building commissioned by Prince Emanuele Filiberto as a place of residence for the House of Savoy and designed by Guarino Guarini. Guarini elaborated on Borromini's principle of architectura obliqua. The building is known for the curvature of its façade. The building was constructed in brick, a common Baroque technique. The façade is divided into three units consisting of an elliptical main body and two block-like wings, and overlooks a courtyard. With the use of brick, Guarini applied much texture and decorated the façade with pilasters as well as high and low reliefs.

Gianlorenzo Bernini, Scala Regia, Vatican City, Rome, Italy, 1666.

The Scala Regia is a Baroque architectural piece, commissioned by Pope Alexander VII, was done by Gianlorenzo Bernini and built to connect Vatican Palace with St. Peter's Basilica. Since it is the entrance to the Vatican, Bernini employs the Baroque style to emphasize opulence and theatrics. Above the stairway's arch, two angels flank Alexander VII's coat of arms. The stairwell contains barrel-vaulted colonnades, which make the space appear larger, and a highly decorated arch and ceiling. The opulent and dramatic style used in creating the decoration of this staircase is a precursor to the Rococo movement.

John Vanbrugh, Blenheim Palace, Oxfordshire, England, 1722.

The architecture was intended to be a monument for John Churchill, 1st Duke of Marlborough, for his military victory at the Battle of Blenheim. The Palace was created to be a home, mausoleum and national monument as a response to the Duchess Sarah Churchill's request. Vanbrugh used stone to express strength and power and displayed the Baroque style's extravagance through ornamentation. He also achieved a "castle air" effect which is done through the usage of low towers crowned with massed stone belvederes. The towers also suggest the influence of Egyptian temple pylons making the architecture look more pantheonesque

Rembrandt van Rijn, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas (cropped from original size), 11' 11" x 14' 4". Rijksmuseum, Amsterdam.

The artwork is Dutch Baroque; done in 1642 as oil on canvas and commissioned by Captain Frans Banning Cocq and his seventeen militia guards for the banquet hall of the Musketeer's Meeting Hall. The Captain and his red sash is the main focal point, illuminated by tenebrism, and his lieutenant stands next to him in yellow—a symbol of victory. The girl illuminated in the background is an allegorical figure and she holds a chicken, the claws of which symbolize the arquebusiers. The painting is renowned for colossal size, use of lighting techniques such as chiaroscuro and tenebrism, and motion by use of overlapping in what is typically a stoic military portrait.

Louis Le Nain, Family of Country People, ca. 1640. Oil on canvas, approx. 3' 8" x 5' 2". Louvre, Paris.

The artwork is a genre painting that depicts a family of peasants partaking in everyday life. This is one of the many paintings by the Le Nain brothers that celebrate the natural virtue of the peasants. You'll notice that the portrayal of each of the figures reveals the calm, kind, and respectful nature, a feeling that sharply contrasts with the Thirty Years War that was presently taking place.

Peter Paul Rubens, Allegory of the Outbreak of War, 1638. Oil on canvas, 6' 9" x 11' 3 7/8". Pitti Gallery, Florence.

The commissioned artwork, made for Great Duke of Tuscany, Ferdinando II illustrates Mars who started a war which caused disaster and famine which served as an allegory and Rubens' artistic response for Europe's Thirty Years' War. It also features other gods and goddesses responding to Mars' action. Rubens combined the elements of Italian Renaissance and Baroque art creating his own painterly approach. Rubens portrayed the theatrical chaotic scene of the painting by depicting human forms with fluidity and energy as seen in the works of Michelangelo. The influence of Titian's Venus of Urbino is also evident in Rubens' female nudes.

Georges de La Tour, Adoration of the Shepherds, 1645-1650. Oil on canvas, approx. 3' 6" x 4' 6". Louvre, Paris.

The painting depicts Jesus as a baby surrounded by other figures that include Mary and Jospeh. We first can identify this piece as a La Tour because of the warm red hues used and the shading of the light source with a cupped hand. LA Tour's use of light is similar to Caravaggio's. The tenebrism illuminates the baby Jesus figure, as well as Mary and Joseph slightly, and unlike previous religious allegories with tenebrism, the light source is material, not spiritual. The compositional structure used for this piece is a circular composition that makes you, the viewer, the 6th person overlooking Jesus.

Annibale Carracci, Flight into Egypt, 1603-1604. Oil on canvas, approx. 4' x 7' 6". Galleria Doria Pamphili, Rome.

The painting was commissioned in 1603 by Cardinal PietroAldobrandini for the family chapel in his palace in Rome, later known as Palazzo DoriaPamphilj.The artwork belongs to a cycle of lunettes with landscapes and a religious theme. The painting depicts the event when Mary went to Egypt. Every landscape element is classically balanced and perfectly integrated with the learned citing of ancient buildings. Carracci used this to create the ideal landscape for the journey.

Jules Hardouin-Mansart, Royal Chapel Palace of Versailles, Versailles, France, 1710.

The royal chapel of Versailles is a French Baroque building by Jules Harodouin-Mansart. The interior of the chapel is a rectangular building with an apse that is as high as the nave, giving the building central space. It also adds a Baroque like quality. The light enters through large clerestory windows to highlight the very intricate chiseled details brightly and evenly. The decoration of the building was more restrained so only illusionistic ceiling décor was used. Ceiling painting and décor were done by Antoine Coypel from 1708-1709. These ceiling decorations added a sense of drama and the complexity of Italian baroque art.

Rachel Ruysch, Flower Still Life, after 1700. Oil on canvas, 2' 6" x 2'. The Toledo Museum of Art, Toledo (purchased with funds from the Libbey Endowment, gift of Edward Drummond Libbey).

This Dutch Baroque artwork portrays the popular depiction of still-life artworks during the Baroque period. Ruysch was known for her lush paintings, which she actively conveyed in this work by creating a lavish floral arrangement that causes the blossoms to appear to be falling out of the vase.

Rembrandt van Rijn, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5' 3 3/4" x 7' 1 1/4". Mauritshuis, The Hague.

This Dutch Baroque artwork, done in 1632 as oil on canvas by Rembrandt, was commissioned by the Amsterdam Guild of Surgeons. It displays Dr. Tulp demonstrating an anatomy lesson to his colleagues on a corpse—most likely an executed prisoner. It is in a pyramidal structure and focus falls on the corpse through use of tenebrism, a style of painting characterized by high contrast between light and shade. There is umbra mortis, "shadow of death", shown on the corpse's face—half is in the light and half is shaded. The people seen paid to be included in the artwork.

Gerrit van Honthorst, Supper Party, 1620. Oil on canvas, approx. 7' x 4' 8". Galleria degli Uffizi, Florence.

This Dutch Baroque genre scene shows an informal congregation of non-idealized figures. The atmosphere is lighthearted as a musician serenades the festive group. Taking influence from Caravaggio, Van Honthorst sets the scene in a mundane tavern with nocturnal light, making deep contrasts between light and darkness. In the foreground, the dark figure covers the light and causes the others to fade behind, giving the effect of 'repoussoir'. Moreover, the use of tenebrism and chiaroscuro create a sense of depth. There is clear reflection of light on some figures, though the light source is unknown. Van Honthorst also used reddish-yellow tones in order to reduce the harshness of his painting.

Jan Steen, The Feast of Saint Nicholas, ca. 1660-1665. Oil on canvas, 2' 8 1/4" x 2' 3 3/4". Rijksmuseum, Amsterdam.

This Dutch Baroque work is a domestic genre scene of a family during the Feast of Saint Nicholas. Steen's use of color draws attention to the focal point: the young girl with gold locks and a gold dress, illustrating that she is the "golden child". The young boy on the left is seen as her foil, crying because he only received coal. But the grandmother motions behind the curtain, as if to say she has a present for him. Steen is famous for the chaotic, yet organized portrayal of simple subject matter and themes. He divides the artwork up by use of furniture, such as the canopy in the background and the table in the front.

Rembrandt van Rijn, Return of the Prodigal Son, ca. 1665. Oil on canvas, approx. 8' 8" x 6' 9". Hermitage Museum, Saint Petersburg.

This Dutch baroque painting is a biblical parable that depicts the return of the prodigal son to his father. The son has returned after wasting his inheritance and he kneels for forgiveness and a renewed place in the family. His father shows a tender gesture but in the back, his brother crosses his hands in judgment and stands next to two bankers. Tenenbrism is present as the father and son are illuminated by a light. The son's clothes are extremely drab while everyone else wears vibrant attire. Rembrandt wanted to focus on creating an honest Christian image rather than an ornate one. The image was primarily to convey emotion and the Christian idea of mercy to its audience.

Frans Hals, Archers of Saint Hadrian, ca. 1633. Oil on canvas, approx. 6' 9" x 11'. Frans Halsmuseum, Haarlem.

This Dutch painting is a group portrait so the Dutch civic militia group that claimed credit for liberating Denmark from Spain. They are shown on Saint Feast's Day, a grand banquet. The composition is crowded and dense to include each member. He uses vibrant colors and visible brushstrokes that are soft curling lines. The uniformity of their attire (consisting of sashes, white ruffles, and military clothes) creates a rhythm. Their fleeting facial expressions show the impromptu effect. Each of the individuals has different facial expressions and details in their faces. Hals effectively represents each individual adequately without losing action and variety

Christopher Wren, New Saint Paul's Cathedral, London, England, 1710.

This English Baroque Cathedral was commissioned to be redone by Charles I of England. The original Cathedral was partially destroyed by the Great Fire of 1666. Wren was the assigned to remodel it on July 30, 1669. The King gave Wren a lot of leeway and definitely took advantage of the permission. The most significant change in structure was the dome. There are 3 domes. With these three domes nested inside of one another, he achieved a balance between the interior and the exterior. Other things Wren added to the cathedral were thick walls to avoid the need for external buttresses, external buttresses on the floor level, Based on St. Peters Basilica in Rome.

Clara Peeters, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1' 7 3/4" x 2' 1 1/4". Museo del Prado, Madrid.

This Flemish Baroque genre painting depicts a typical 17th century meal. The artist, Clara Peeters, is well known for advancing still-life paintings, influencing those such as Peter Claesz. She created "breakfast pieces" in which food and flowers were depicted together, as evidenced by this artwork. In each of the four piece series, Peeters demonstrates her adept skills, contrasting between the textures of smooth glass, silver goblets, and soft petals. While Peeters usually employs black backgrounds to eliminate the depth of space, she utilizes pictorial space in this genre painting where the leaves of the flower invade the viewer's space.

Anthony Van Dyck, Charles I Dismounted, ca. 1635. Oil on canvas, approx. 9' x 7'. Louvre, Paris.

This Flemish baroque painting is a full length standing portrait of Charles I. The king is taking a rest from hunting as the Thames River runs in the background. Van Dyck uses iconography, the use of symbols, to show the king's status. The king is wearing a teardrop earring which was a sign of being a gentleman. His clothes look expensive and luxurious to depict his wealth. There is tenebrism as the king stands in a spotlight and the figures in the back are in the dark. His hand lies on his hip as he holds a walking stick to depict his confidence. This painting shows absolutism and propaganda to show his divine right to rule.

Nicholas Poussin, Et in Arcadia Ego, ca. 1655. Oil on canvas, approx. 2' 10" x 4'. Louvre, Paris.

This French Baroque painting is a pastoral painting and is considered memento mori. The title of the painting roughly translates into "Even in Arcadia, I am there." Death is insinuating that in Arcadia, an idyllic utopia, it is present. Idealized shepherds inspect the tomb inscribed with these words and they realize that there is no refuge from death. The lighting and grouping of the painting is balanced. The draped figures and classical composition show influence from Raphael and ancient Rome. He uses glowing colors and predominantly blue, green, and red. The painting peaceful background and haunting meaning provide a sharp contrast. The woman standing beside the men is believed to symbolize reason. This work was commissioned by Giulio Raspigolio, later known as Clement IX).

Hyacinthe Rigaud, Louis XIV, 1701. Oil on canvas, approx. 9' 2" x 6' 3". Louvre, Paris.

This French Baroque painting, by Rigaud, depicts Louis XIV as an absolute monarch ruling by divine right. He slowly walks through his palace, wearing a wig, elaborate velvet robes, with a scepter in hand, crown at his side, and a sword at his other side. Tenebrism highlights his legs in this posed painting. The French symbol, fleur de lys, covers his robes. Despite Louis's idealized appearance, the painting focuses on the majesty of the king. The oils show the detail of the ermine, velvets, and silk. Louis's pose is reminiscent of Van Dyck's Charles I.

Pierre Puget, Milo of Crotona, 1671-1683. Marble, approx. 8' 10" high. The Louvre, Paris

This French Baroque sculpture was made for Louis XIV's garden at Versailles, although the contract signed for a smaller reproduction. The sculpture depicts a 6th Century BC wrestler from the Magna Graecian City of Croton in Southern Italy. The wrestler, Milo, won many victories in the most important athletic festivals in ancient Greece. The story behind Milo's actions here are, he tried to tear a tree apart but his hand gets stuck. While his hand is stuck, he is devoured by a lion. The artist uses the idea of contrapposto to show the figures angles and struggle. Milo was a subject of fantastic tales of strength and power, some perhaps based on misinterpretations of the many statues done of him. This particular image of Milo has been done many times by different artists. The original animal was a wolf but Puget wanted a nobler animal.

Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesci Rome, Italy, 1601

This Italian Baroque work shows the scene from the Bible in which Christ calls upon Matthew to be his apostle. Caravaggio uses tenebrism by directing two sources of light that come from the right onto the painting. The characters in this work are seen wearing Baroque fashion. In this painting Caravaggio shows sensual figures, with everyday characteristics, which is why it is hard for the viewer to identify Christ immediately. The lighting points directly to Saint Mathew who seems unsure that Christ would select him. Michelangelo's influence can be seen in Christ's hand gesture.

Francesco Borromini, Chapel of Saint Ivo College of the Sapienza, Rome, Italy, 1642

This Roman Catholic Church is located in Rome, Italy. This Italian Baroque work uses a centralized plan that probably was modeled after the Star of David. Borromini began his work on the building when the lower stories of the court were already present. The architect emphasized the building's sculptural qualities and adjusted the façade to have a drum like pattern. The building is supported by buttresses and spirals. The most significant feature of the structure is the corkscrew lantern. Borromini used convex and concave forms and was able to merge the façade with the courtyard.

Carlo Maderno, Santa Susana, Rome, Italy, 1603.

This Roman church represents the earliest expression of the spirit of Baroque art. This symmetrical facade is similar to that of Giacomo's Il Gesu. It's tall central area juts out, and the narrow scroll buttresses join the two levels of the building. There is an absence of an arch around the pediment, which enhances the vertical thrust of the building. The columns and the pilasters emphasize the central axis. The recessed niches, which hold statues, have shadows in them, accentuating the sculptural effect. Later redecorated by Pope Leo III, it shows a twist on a classical design.

Diego Velazquez, King Philip IV of Spain (Fraga Philip), 1644. Oil on canvas, 4' 3 1/8" x 3' 3 1/8". The Frick Collection, New York.

This Spanish Baroque painting was commissioned by King Phillip IV of Spain. Philip wanted it done for his campaign in the town of Fraga (why it is also called Fraga Philip). The particular attire the King is wearing is the type of clothing he would wear when he went out to campaign and join his armies. With this clothing, you can tell that Philip is a military leader. Because of the King's "Habsburg Jaw" and not so commanding presence, Velazquez had to find creative ways to "ennoble" the King. Velazquez uses tenebrism and chiaroscuro to highlight the King and contrasts this by having a dark background. Velazquez was the main portrait painter of the King and he was so impressed by Diego's skill and talent, he appointed him as the chamberlain of his rapidly growing art collection.

Diego Velazquez, Surrender of Breda, 1634-1635. Oil on canvas, 10' 1" x 12' 1/2". Museo del Prado, Madrid.

This Spanish Baroque painting was done by Velazquez for his good friend Ambrogio Spinola, the Italian general who conquered Breda on in 1625. The particular painting is one of 12 life-size battle scenes intended to commemorate the victories won by Phillip IV's armies that were hung in the Salon de Reinos in Buen Retiro. It depicts the exchange of keys that occurred 3 days after "the capitulation between Spain and the Netherlands." The actual focus of the painting is the key being exchanged. Velazquez wanted it to be the literally and figuratively the center and middle of the painting. He wanted it to be the focus and center of the painting as well as directly in the middle of it. The piece shows examples of atmospheric perspective. This is known to be Velazquez's most famous paintings. He dedicated to Spinola as well.

Diego Velazquez, Water Carrier of Seville, ca. 1619. Oil on canvas, 3' 5 1/2" x 2' 7 1/2". Wellington Museum, London.

This Spanish Baroque painting was done by Velazquez when he was around the age of 20. It depicts a necessity of a common and un-wealthy man who carries around a pitcher to water to give to people. The plebian man is giving water to two young boys. The boy in the background of the two main figures is now faded in color but has said to possibly be the face of a boy depicted in another work of Velazquez's. The whole scene has a deeper significance than simply giving water. It shows the contrast and comparison of the rich and the poor. Velazquez wanted the viewer to see the simplicity of the poor man giving water and the rich, especially during this time period in Spain. The 3 jugs of water symbolized the three ages of men at work as well as their social class and status. You can see the boy gazes at his tattered clothing as a sign of the wealthy looking down upon the poor. He also wanted artists to be more respected at this time period as well so he chose to paint something that had meaning amongst a simple scene and issue. His obvious use of tenebrism and chiaroscuro is an evident attribute of Caravaggio. They are used to highlight the jugs and drips of water and the main figure depicted, (the man). Velazquez was extremely influenced by Caravaggio. Also, having figs in the water was a delicacy and tradition that is still done there today.

Peter Paul Rubens, Elevation of the Cross, Antwerp Cathedral, Antwerp, Belgium, 1610. Oil on panel, 15' 2" x 11' 2".

This artwork displays the influence of Italian Art, specifically works of Michelangelo, Tintoretto and Caravaggio, to Rubens' work. This is the central panel of the triptych that Rubens created for the church of Saint Walburga. Foreshortening is evident in the heavily muscled men who are struggling to lift Christ on the cross. Christ is diagonally positioned cutting the artwork in half to depict ascent and descent. Rubens theatrically painted the artwork using chiaroscuro in the Mannerist Style while maintaining the warm and picturesque color scheme of the Venetian School.

Peter Paul Rubens, Arrival of Marie de Medici at Marseilles, 1622-1625. Oil on canvas, approx. 5' 1" x 3' 9 1/2". Louvre, Paris.

This artwork is part of a twenty-four painting series called Marie de' Medici Cycle that Marie de' Medici commissioned to celebrate her career and design her palace in Luxembourg, Paris. The painting portrays Marie's arrival in Marseilles after her marriage to Henry IV while an allegorical figure of France, identified with his cloak decorated with fleur-de-lis (French royalty's floral symbol) welcomes her. Other allegorical figures symbolizing the sea and sky are also depicted celebrating her presence. Rubens used foreshortening to contort his figures and fashioned them with raw strokes of paint to invoke movement and drama in the composition.

Hendrick ter Brugghen, Calling of Saint Matthew, 1621. Oil on canvas, 3' 4" x 4' 6". Centraal Museum, Utrecht (acquired with the aid of the Rembrandt Society).

This artwork was painted by ter Brugghen after a trip to Italy. Carvaggio's influence can be seen in the naturalism of the figures and the specific moment of the narrative. However, this version of the religious painting reduces the contrasts of light and darkness, using a more colorful palette of softer tones. The scene takes place in a small but well-lit setting, and the figures are half-length rather than full-length, thus evoking a sense of intimacy. A wide beam of light enters from the left, illuminating the room. The quality of light is far richer and more atmospheric compared to Caravaggio's.

Gianlorenzo Bernini, baldacchino Saint Peter's, Vatican City, Rome, Italy, 1624-1633. Gilded bronze, approx. 100' high.

This baldacchino marks the high altar of this church and St. Peter's burial site, but also draws worshippers who enter the nave with a compelling presence.This canopy-like structure is 100 feet tall, with four huge angels standing guard at the corners of the canopy. Four bronze spiral columns, which are somewhat fluted and wrapped with vines, were created by the lost-wax process, and frame the grand sculpture that depicts St. Peter's throne. The extremely decorative aspects reflect the power of the Catholic church and Pope Urban VIII. The serpentine brackets form the apex of the canopy, elevate the orb and cross, and symbolize the Church's triumph.

Jules Hardouin-Mansart, Eglise de Dome Church of the Invalides, Paris, France, 1706

This church was built as part of a complex for French veterans. The dome of the church consists of 2 huge drums with an attic and a large cupola. The entire church has a double column motif, but doric columns are used on the ground floor, while corinthian columns are used on the rest of the facade. There are deep niches and reliefs which are meant to recess so that the light does not catch in, creating a difference between light and dark. This is characteristic of Baroque architecture, however, the lack of undulating and non-linear effects is not.

Artemisia Gentileschi, Self-portrait as the allegory of Painting (La Pittura), 1638-9, Oil on canvas, 96.5 x 73.7 cm, In the collection of Charles I; recovered at the Restoration

This early Italian Baroque painting was commissioned by Charles I of England which remains a state treasure. Artemisia was one of the first female artists to be recognized by the general public. The painting shows Gentileschi in the act of painting (allegory). She was said to have placed to angled mirrors to achieve the unusual side view of herself. The gold chain around her neck symbolizes imitation, and the garment she is wearing expresses the artist's skill. You can identify her use of tenebrism and chiaroscuro. This particular painting of hers was often ignored because it is less interesting and less violent than her other artwork titled, Judith Slaying Holofernes.

Pietro da Cortona, Triumph of the Barberini, ceiling fresco in the Gran Salone, Palazzo Barberini, Rome, Italy, 1633-1639.

This fresco is an illusionistic ceiling fresco commissioned by Pope Urban VIII, a member of the Barberini family. This fresco uses Di soto in su and quatratura to create the illusion that the viewer is looking up at the sky, part the architectural elements that are painted on the ceiling. The scene depicts "divine providence" being given to the Barberini family through a crown of laurels. There are many bees flying around the scene which are symbols of the family, as well as the laurels. The virtues of hope, faith and charity are also represented in the fresco.

Frans Hals, The Women Regents of the Old Men's Home at Haarlem, 1664. Oil on canvas, 5' 7" x 8' 2". Frans Halsmuseum, Haarlem.

This is a Dutch Baroque work. It depicts the female regents of the Old Men's Home, a charitable institution that cared for elderly men. Unlike many of Hals's portraits or most Baroque work, this group portrait is somewhat stiff and lacks obvious movement. This is because Hals wanted to convey the puritanical formality of the regents. All the figures are clothed in somber black against a dark background (the shadow is chiaroscuro), further emphasizing their formality and seriousness. Only their collars are white, lending the work contrast and bringing attention to their faces. All of the figures except one look off to the side, while the woman toward the center stares directly at the viewer. Typical of Hals's works, this portrait has loose, visible brushstrokes and uses an impasto technique.

Giovanni Battista Gaulli, Triumph in the Name of Jesus, ceiling fresco with stucco figures in the vault of the Church of Il Gesù, Rome, Italy, 1676-1679.

This is a fresco and stucco ceiling painting of the Last Judgement commissioned by the Jesuits during the Baroque period. It is an emotional work that uses quadratura to make the architectural elements look real, and di soto in su, which is a technique of foreshortening to make the scene look realistic from the viewer's perspective. Those who are saved are depicted on clouds, and those who do not accept Jesus are falling to Earth and hell. Gaulli uses a painterly style in his works, and painted other parts of the church as well, including the pendentives, and window recesses.

Jose de Ribera, Martyrdom of Saint Bartholomew, ca. 1639. Oil on canvas, approx. 7' 8" x 7' 8". Museo del Prado, Madrid.

This painting depicts St. Bartholemew (or St. Philip) being crucified. Ribera was influenced by Caravaggio, as seen in the sfumato and chiarascura, and unidealization in the faces. This painting also shows the Spanish tendency towards courageous resistance towards pain. The muscles of the saint are very well defined, due to the emphasis of the motion on the musculature. The painting looks dynamic, as if the saint is being lifted up to his crucifixion, and the figure in the back is hoisting him up. Ribera used foreshortening, as in the torso of the figure on the right, to give perspective.

Jan Vermeer, Allegory of the Art of Painting, 1670-1675. Oil on canvas, 4' 4" x 3' 8". Kunsthistorisches Museum, Vienna.

This painting is the Allegory of the Art of Painting by Jan Vermeer and is a Dutch Baroque painter. The painting is a realistic representation of an artist's workplace notable with light illuminating the interior. The style is genre painting. The painting depicts an artist painting a female subject with a large map of the Netherlands in the background. The artist in the painting is thought to be a self portrait of Jan Vermeer.

Claude Perrault, Louis Le Vau and Charles Le Brun, East facade of the Louvre, Paris, France, 1670.

This was the first great architectural project of Louis XIV. He originally summoned Bernini, but then hired the three architects mentioned above. This facade shows the combination of Italian and French classical aspects. Perrault's colonnade is made of multiple paired columns. There are reliefs all throughout the facade depicting the symbol of Louis XIV. The even roofline is broken only by the central pediment. The facade is also divided into 5 parts. The Gallic rooster on the pediment represents the unofficial national symbol of France. The Louvre's monumentality and gigantic size represents the power and authority of Louis XIV.

Pieter Claesz, Vanitas Still Life, 1630s. Oil on panel, 1' 2" x 1' 11 1/2". Germanisches Nationalmuseum, Nuremberg.

Vanitas Still Life is a Dutch Baroque painting. It depicts still life of a table with clutter such as a book, metal objects, and a skull with a monochromatic background. The artwork uses earthy tones of brown to convey transient vanity (Vanitas). The purpose of the skull is to reference memento mori; you must remember you aren't immortal; you must die. Vanitas Still-Life, much like the rest of Claesz's work, uses light effects like that of Frans Hals, a Dutch Golden Age artist who may have influenced Claesz.