Baroque Painting Two Centuries of Masterpieces from the Era by Stefano Zuffi

By Stefano Zuffi

This huge and indulgent ebook, jam-packed with full-color reproductions, surveys approximately centuries of eu portray, from the interval following the shut of the Italian Renaissance to the sunrise of the fashionable period. Masterpieces via a hundred of Europes most crucial 17th- and eighteenth-century painters are proven and defined in those pages. Artists comprise Caravaggio, Tiepolo, and Canaletto from Italy Breugel, Hals, Rubens, Rembrandt, and Vermeer from one of the Dutch and Flemish masters El Greco and Velasquez from Spain Reynolds, Hogarth, and Gainsborough from England Watteau and Fragonard from France, and lots of extra. Illustrations exhibit devoted reproductions of work from museums all over the world, representing the complete spectrum of ecu Baroque portray. here's a terrific quantity for vacation reward giving, and a great addition to each artwork fans domestic library. 500 full-color reproductions of significant artistic endeavors.

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Extra resources for Baroque Painting Two Centuries of Masterpieces from the Era Preceding the Dawn Modern Art

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Joseph of Arimathea. i OntraStS the local point group as a whole. Jusepe de Ribera The Holy Family with Saints Anne and Catherine of Alexandria 1642 on canvas, 821/2 x 60 3/4 in. 3 cm) oil Metropolitan Museum of Art, NewYork Toward the end of his career, Ribera 's compositions became increasingly light and serene. After 1640, he painted a group of altarpieces and other religious scenes in which, while never losing contact with reality, he uses bright colors differing greatly from the earthy hues of his earlv works.

L IV an) B il'im Villamanrlquc ndesa Juan de Valdes Leal Time Hieroglyphic of Hieroglyphic of Death 1672 on canvas, 90V4 x 78% in. oil (229 x 200 cm) each Charity Hospital, Seville Constituting a macabre high point in Baroque painting, these two canvases are unquestionably among the most frightening paintings in the entire history of art The two works, known Postrimerias as or images of the after-life, were inspired by the writings of Juan Miguel de Manara author of treatise a dramatic on death.

The theme of the male nude continued to predominate and Cano preferred such scenes as the Scourging of Christ, the Deposition, the Pieta, and the Crucifixion, that is, even subject that allowed him to paint classical figures of Christ. His career as court painter was dramatically interrupted when he was from Madrid unjustly — after forced to flee being accused —perhaps of the murder of his second wife. After a period spent in Valencia, Cano returned to Madrid, but he had bv now lost favor. In 1652, he returned to his hometown and began the great task of decorating the facade of the cathedral, his masterpiece as a sculptor.

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