French and European Architecutre in 1600 :: essays papers

cut and European Architecutre in 1600The Baroque vogue of house painting during the 1600 and 1700s reflects an unrelenting interest in expressing human emotion through art. Biblical scenes and representations of scriptural characters are a common link between art industrial plant of that time throughout the different areas of Europe. Caravaggio represents the regular(prenominal) Italian Baroque artist at that time but possesses many artistic qualities unmatchedly his own. Bartolome Eseban Murillo, represents the typical Spanish Baroque painter. Both these painters demonstrate Baroque style, yet they hand truly unique styles from each other. Caravaggios St. John the Baptist in the wild is typical of Italian Baroque style during the 1600s and 1700s.Characteristics of Italian Baroque style are sharp contrasts of light and dark, violent movement created through the handling of diagonals, and intense emotional expressions of theatrical scenes. Caravaggios style exhibits many of t hese aforementioned(prenominal) characteristics. The painting was originally intended for an altar component part in a itty-bitty oratory in a town west of Genoa. The massive sizing of the canvas leads to the belief that this painting would have been the focus in the oratory. The coat of St. John is extremely large in comparison to the size of the canvas. His figurehead encompasses most of the canvas making him the focus of the piece. The actual iconography of Caravaggios painting is typical of its time period, yet the portrayal of John the Baptist is what makes this piece unique. Unlike most portrayals of biblical figures, that St. John appears naturalistic and not idealized. Caravaggio expresses this naive realism in the dirty, grimy feet of St. John. The fact that St. John is pictured alone is too nontraditional for this time period. He appears to be resting, his head hung slightly down, in the desolate wilderness, appearing defeated and worn out. The atmosphere intensifies his lone pull outss. The wilderness substructure him feels dark, morose, and lonely. Details are absent from the atmosphere except for a lilliputian plant which sits on the ground by itself. The plant echoes the loneliness of St. John. The atmospherical presence enhances the feel of the subject but is not the focus. Caravaggio possesses a unique style in which he manipulates lighting to create a natural visual effect. The lighting starkly focuses on St. John, putting him into the direct line of view. Caravaggios creative use of lighting also becomes apparent in the sharp contrasts of light and dark in this painting.