Baroque period examples

Rich in deep colour and piercing contrast of shadows, 17th century Baroque mental pictures tended to show the most striking and culminating moments of a scene, whose simplicity and clarity was supposed to appeal to the ravishers senses rather than mind. Caravaggios The victorious of Christ (1602) represents Judas treacherous kiss and the sequester of Jesus Christ by soldiers. A contrast between raw Christs humility and the guards formidable armour and determination is escalate by the use of light and dark shadows, known as chiaroscuro and natural of Baroque painting.The scenes horny intensity is accentd by the horrified expression of St Mark fleeing out of the painting (Lubbock, 2007). Both Rubens testimony (Lilles version) and Rembrandts The Descent from the Cross (1633) represent Jesus d.o.a. body, the central figure, being lowered from the cross and surrounded by His express feelings followers. A similar contrast between light and dark, although to a antithetical ext ent, is used to intensify the dramatic moment (Jones, 2004 Lussier).Caravaggio, Rubens, and Rembrandt produced their masterpieces at a meter when the Roman Catholic Church was conjureing against the spreading Protestant reformation in Europe. Trying to strengthen its position and authority, the Church encouraged painting representing religious scenes which, along with preaching, could help inspire devotion and promote its authorized doctrine. Although various biblical scenes proliferated in ruse at that time, most artists likewise introduced their own features to the new artistic style.Caravaggio used models when depicting Christ and former(a) biblical figures often introducing dirty reality in his works (Lubbock, 2007). Rubens was absent-minded in his paintings with the description of life as it was realistic whollyy depicting physique of both living and dead naked valet beings. The subject of finish is one of his favourite themes (Jones, 2004). Rembrandt was inte appease ed in capturing the psychological aspect of human actions and expressions and showing it in his paintings. His subjects ar dynamic and his works acquire the viewer with sadness and compassion (Lussier).All three works of art helped promote the ideals taught by the Roman Catholic Church and rise the authority of biblical figures. Caravaggios Christ does not resist His fate, and by showing humility and belief He emphasizes the importance of spiritual strength rather than physical fight and encourages His followers to do the aforesaid(prenominal) (Caravaggios The Taking of Christ). Rembrandts figures argon dressed in contemporary clothes emphasizing that the Saviours death has been the central event of human existence at all ages.The beaten dead body of Christ is realistic and not dissimilar from an ordinary human being arousing compassion and inspiring devotion (Lussier). A realistic depiction of Christs dead body by Rubens is similarly compulsive, and the sorrowful faces and de sperate gestures of the surrounding women are supposed to fill the viewers with compassion and make them bow their heads in worship (Campbell, 2004). These masterpieces are simple in terms of subject matter, produce immediate emotional impact on viewers, and make them emotionally participate in the reverend scenes.All three paintings represent scenes from Jesus Christs life and death. The report in Rubens Deposition and Rembrandts The Descent from the Cross gives us the purpose of a movement from the upper part of the paintings to their lower part, as if to enhance the idea of the Saviours death and His descent into the tomb. In Caravaggios The Taking of Christ the figures are moving from right to left as though through Jesus who is not moving. Caravaggios composition seems to emphasize the spiritual difference which exists between Him and the rest of us.The way the figures are represent in all three works is in addition different to some(prenominal) extent. Caravaggio did not depict the whole bodies of his figures, but only parts of them, the rest of the space being filled with fragments of clothes, armour, and dark shadows (Lubbock, 2007). Rembrandt and Rubens realistically and with great detail depict Christs dead body and those of other figures. Rubens also depicts the ideal human bodies of the men lowering Christ in the same way classical painters did (Lussier).References Campbell, P. (2004, April 1). In Lille. Retrieved January 30, 2009 from the World Wide Web http//www. lrb. co. uk/v26/n07/ target/camp01_. html Caravaggios The Taking of Christ. Retrieved January 30, 2009 from the World Wide Web http//www. nga. gov/exhibitions/caravbr-2. htm Jones, J. (2004, April 3). skeleton of Genius. The Guardian on the Web. Retrieved January 30, 2009 from the World Wide Web http//www. guardian. co. uk/artanddesign/2004/apr/03/art Lubbock, T.(2007, April 6). Caravaggio The Taking of Christ (1602-3). The Independent on the Web. Retrieved January 30, 2009 from the World Wide Web http//www. independent. co. uk/arts-entertainment/art/great-works/caravaggio-the-taking-of-christ-16023-744398. html Lussier, L. The Descent from the Cross Two Paintings once assumed to be painted by Rembrandt. Retrieved January 30, 2009 from the World Wide Web http//www. geocities. com/Hollywood/ bungalow/2201/cross/rembrandt. html