#baroque movement

[pmamtraveller]

GATES OF HELL /1703/ by GIACOMO DEL PÒ

This work is an impression of the mythological concept of Hell's entrance. It is based on Dante Alighieri's "Inferno" from "The Divine Comedy."Clearly illustrating the suffering of souls and a chaotic atmosphere of hell in cacophony, portraying an image for the consequence of sin.

Del Pò used the great contrasts of light and shadow that were characteristic in Baroque to bring out the dramatic effect and movement. The complexity and emotional impact in the composition is heightened by the swirling forms and figures presented.

The gates represent a threshold between life and death, whereas the figures signify lost souls. The arrangement of the figures highlights the turmoil and despair that occur within eternal damnation. The figures and scenes are heavily inspired by ancient Greek and Roman portrayals of the underworld and its torments.

This painting is characterized by the vividness of color. In his approach, del Pò incorporates very fine detail in the textures of the figures and fiery background. He showcases the theatricality and dramatic flair typical of the period, drawing viewers into the narrative.

[pmamtraveller]

THE ALCHEMIST | 1663 | by CORNELIS PIETERSZ BEGA

This painting is set inside an alchemist's lab. It depicts everything: all the equipment, vessels, and materials that are associated with alchemy. Without a doubt, this piece reflects how much interest there was in occult science during the Golden Age.

Cornelis Pietersz Bega was a Golden Age painter, best known for his genre works and portraits. Like many of the dutch Masters, he was greatly influenced by the work of Rembrandt, which he reflected in his use of chiaroscuro and great attention to detail.

Bega moves the viewer's eye through the cluttered laboratory rather successfully and points out what the alchemist is doing. Intense use of light and shadow gives much depth and drama to the scene, which naturally heightens the mystery of the ambience.

Starting from the symbolic elements, typical for almost all the alchemical art- a presence of the flasks, apparatus for distillation, and arcane symbols-all this represents the alchemist's thought about his quest of transformation, his pursuit of hidden knowledge.

It is Bega's attention to detail and the realistic capture of textures-from that of the roughness of the stone to the metals of the different instruments-that give such a degree of realism to the painting.

People were already so interested in alchemy in the 17th century and thus, "The Alchemist" manifests the very same thing. This piece is also a satire of the vain quest of the alchemist whose work clearly shows the contrast between scientific inquiry and pseudoscience.

[pmamtraveller]

MARTYRDOM OF SAINT PHILIP | c. 1639 | by JUSEPE DE RIBERA

The painting is a powerful and dramatic depiction of the apostle's crucifixion. The work is considered one of RIBERA'S finest and most mature paintings

The canvas presents the martyrdom on an epic scale, with large, imposing figures. SAINT PHILIP is shown in the moment before his crucifixion, as two executioners strain to raise the horizontal beam of the cross while a third holds his leg.

PHILIP'S long limbs are extended and his face turned upwards in anguish, though he is not shown as the elderly man described in hagiographies. RIBERA contrasts PHILIP'S resigned acceptance of his fate with the vigorous physical efforts of his tormentors. The artist's use of CHIAROSCURO dramatically highlights the saint's muscular, sun-tanned body and emphasizes the physical suffering he is about to endure

In the background, a crowd of onlookers gathers, some pitying PHILIP'S fate while others appear indifferent. A woman holding a child provides a tender counterpoint to the cruelty of the scene. RIBERA'S masterful handling of paint is evident in the thick impastos on PHILIP'S flesh and the vibrant transparencies of the background figures

The low viewpoint reveals a vast, beautiful blue sky, suggesting the divine realm that PHILIP is about to enter. However, unlike earlier depictions, there is no heavenly intervention or chorus of angels - for RIBERA, martyrdom is an essentially earthly spectacle

[pmamtraveller]

HEAD OF MEDUSA | c.1617 | by PETER PAUL RUBENS

The painting depicts the severed head of MEDUSA, a GORGON from GREEK mythology, with snakes writhing from her head and blood gushing from her neck. RUBENS masterfully captures the moment of MEDUSA'S death, with her eyes wide open in a look of terror and her mouth contorted in an expression of agony. The composition is dynamic and asymmetrical, creating a sense of urgency and movement. The viewer's gaze is drawn to MEDUSA'S head, which is positioned slightly off-center, while the snakes and blood add to the chaotic and violent nature of the scene.

RUBENS' use of color is equally striking. The warm, earthy tones of MEDUSA'S skin and the bright red of her blood contrast with the cool, grayish-green of the snakes, creating a vibrant and eye-catching palette. The use of chiaroscuro, with strong contrasts between light and shadow, further enhances the dramatic effect of the painting and emphasizes the three-dimensional quality of the subject.

MEDUSA, as a GORGON, was a mythical creature with the power to turn anyone who looked at her to stone. In GREEK mythology, she was slain by the hero PERSEUS, who used a mirrored shield to avoid her gaze. RUBENS' depiction of MEDUSA'S head thus represents the triumph of good over evil and the power of reason over irrationality.

The snakes that emerge from MEDUSA'S head symbolize the destructive nature of unchecked passions and desires. The blood gushing from her neck serves as a reminder of the consequences of sin and the fragility of human life. Together, these elements create a powerful allegory on the dangers of unchecked passions and the importance of controlling one's impulses.

[nanarudzitenq1a]

jean baptiste simeon chardin

a famous french painter who is considered as a master of still life. he was born in rue de seine, paris, france on 2nd of november 1699 and passed on 6th of december 1779, also in paris, france. he was part of the baroque/rococo movement. his paintings consisted of kitchen maids, children and domestic activities and produced by using granular impasto. he was greatly influence by the realism and subject matter of the 17th century low country masters

[abystle]

Belisarius, Salvator Rosa, 1657.

[abystle]

Democritus in Meditation, Salvator Rosa, ca. 1651.

[abystle]

The Flight into Egypt, Bernardo Cavallino (1622-1656), ca. late 1630's.