Baroque and Rococo by Ian Barras Hill

By Ian Barras Hill

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11. Charles Lc Brun Chancellor Segu'wr. 1660 Canvas, 295 x 357 cm Paris, Musee National du Louvre A pupil of Poussin and Vouet, Le Brun rose to a position of dictatorial power under the French King Louis XIV. To support the King's political programme, French art became uniform and propagandist. We may sense the prevailing mood of hierarchy and authority in this where the subservient and dehumanized. Even the sensitive horse seems nervous of the illustrious rider painting, figures are decorative black looks of smug disdain echoed by the dark clouds behind him.

He dominated the Naples school after Ribera with his dramatic, dynamic paintings. Luca Giordano (1632-1705), also from Naples, earned a reputation for Italian painting. While some derivative frescoes The Archangel Michael drops the rebel angels into the fiery depths hell, of 1666 painting by Luca Giordano Vienna, Kunsthistorisches Museum of other painters it is said that he could imitate Rembrandt's style. He was a nimble worker who could paint a huge altarpiece in one day. He went to Spain and left the Escorial Palace littered with his work.

It robs the garden must be a balance of bridled The landscaping of a park was a crea- tive and entertainment, and shows, was a time for artistic this painting considerable public participation. as 20. The Orazio Gentileschi h/ttp/jyiT. c. , National Gallery of Art Gentileschi was a friend of Caravaggio and developed a style that was a decided improvement upon that ot his friend. He travelled to Paris and to London, and he is credited with bringing the beautitul new styles of the Early Baroque to the English capital.

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