Baroque Art Depicted the Religious Tensions During that Period

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

This paper will compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

With new developments in the world of science, both everyday life and art during the Baroque period would change accordingly. The theory of gravity, the laws of mechanics, calculus, and the inventions of the microscope and telescope are a only few of the momentous advancements in technology as well as philosophy. Not only in the minds of the great thinkers of the time, but in the ordinary individual there was a definite shift towards contemplating life from a more scientific viewpoint. This mindset affected everyone, including Baroque musicians, who, while striving for magnificence and extravagance, exercised control and calculation over their art at the same time, thus creating an interesting duality within their music. This fascinating combination

My intent in this essay is to illustrate that the arguments regarding the existence of God and the fear of deception in Descartes’ Meditations on First Philosophy, are quite weak and do not justify his conclusions. To support these claims, I will begin by outlining two specific meditations and explain the proposed arguments. Later, I will critically analyze his arguments, revealing unjust conclusions. Doubts surrounding the text include the suggested characteristics of God, the condition of perfection, and the nature of deceit. A wrap up will include a discussion on whether or not Descartes (also referred to as Renatus) succeeded in his project.

Italy can be looked at as the home of the renaissance and consequently the immergence of great art. Artists such as Michelangelo, Botticelli, Da Vinci, and Raphael are some of the greats and are looked at for standards. But what about the artists whose lives are mysteries, and their works that were influenced by the greats? These artists hold just as much importance in the history of art as do the artist’s whose names can be recalled off the top of an average person’s head. During the sixteenth century things began to change in the art world, and that change was the Baroque. This new style of art brought a revolution to how subject matter was painted, it brought upon “… a radical reconsideration of art and its purposes…” (249) and how artists of all ranks could learn to paint the up and coming style of Baroque.

Most forms of Catholic Baroque art are assertive and, as intended, assault ones senses. The evolution of religious art from the uniform composition characteristic of the Italian Renaissance through the evolving Mannerism in to the bold and striking Baroque was striking to say the least. The stylistic changes from Da Vinci's The Last Supper to Tintoretto's version in the 1590's bear a perfect example of this transition. The point of view in Da Vinci's was central and allowed for a

The Renaissance and Baroque era entailed very different characteristics, due to the Renaissance composers writing more freely and being more individual then those of the Baroque era where they followed more ‘rules’ and experimented less. This essay will show the difference in two pieces by different composers, even though they were written less than a century apart.

The scientific revolution is traditionally considered to be framed between 1543—the year of On the revolutions of the heavenly spheres by Nicolaus

The selection from Leon Battista Alberti’s On painting is mainly divided into 5 paragraphs numbered 25 through 29. Just as the title suggests, the text deals with the art of painting and its virtues. It talks about the benefits painting offers to the artist and why they are valuable, as well as showing the importance a work of art gives to the object being painted. While referring to many examples in history, Alberti also compares painting to the other “crafts” and explains why it is more noble, as well as more enjoyable and self-satisfactory.

A number of modern artists have focused on reflecting personal perception of the world through a contemporary Baroque style in art. The increasing popularity of Baroque nowadays is due to the complex processes that took place in society and the solutions the modern culture has to offer to resolve them. Truly, through the history, the emergence of Baroque elements has always reflected the complexity of human life, followed by technological progress and cultural exchange. Eventually, Baroque, the style characterized by extravagance and drama, has been defined as anti-classical, innovative and experimental, intended to touch directly the beholder, individual of diverse and pluralistic society.

The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth century, and The Elevation of the Cross by Peter Paul Rubens, a seventeenth century Flemish artist and diplomat. Following, by comparison, a thorough account of the two works' features, careful observation reveals more than one interpretation.

     This paper will compare the themes found in the paintings “Madonna and Child with St. John the Baptist and an Angel” by Domenico di Bartolomeo Ubaldini (Puligo) and “Madonna Enthroned” by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

This essay looks at the time in history beginning in the 1400’s to the mid-1700’s which we identify in art history as The Renaissance, Baroque, and Rococo periods. Focusing on the influence new scientific knowledge had in the art produced during this time with specific examples from each period and artists of the time.

To understand the characteristics of Baroque style is to truly understand artistic measures of the sixteenth to eighteenth centuries. Baroque, a single word describing an entire period of art, can be broken down into more than one actual form of art. The new European age birthed this developing style of architecture, coming from ideas on religion and politics. Set apart in three different countries, visitors of St. Peter’s Basilica, Versailles, and Hampton Court Palace, engulf themselves in historic Baroque styles and beauty. The international style “was reinterpreted in different regions so that three distinct manifestations of the style emerged” (Matthews 392). The florid, classical, and restrained baroque design of the three different buildings gives us a historic lesson on the reasoning behind its purpose.

Upon talking about the history of modern philosophy, one of the most important philosophers, who is considered as the father of the philosophy in this period, is Descartes. He was a pioneer for the movement of the new trend of philosophy and became a break between the medieval philosophy and the modern philosophy. Being educated in the environment of medieval philosophy, specifically in the school of Jesuits, Descartes received the system of scholastic philosophy as his foundation for making a new start into the history of philosophy. In his life, Descartes tried to establish a system of philosophy which was suitable to the development of society and science. To do that, he did not collapse pre-philosophical systems, but somehow he ignored their values. In his Meditations he says “Once in my life I had to raze everything to the ground and begin again from the original foundations, if I wanted to establish anything firm and lasting in the sciences.” Therefore, he just could begin a new system of philosophy which, he thought, would be a certain and firm foundation to get knowledge. However, to build up the principles for this foundation, Descartes had to use the concept of God in his arguments. The existence of God became an important means for the construction of his new philosophical system. Hence, I will emphasize on the importance of God in this paper by discovering the role of God as a means in Descartes’ main points of reasoning, particularly God with the method of