Thus a political program was transformed into a beautiful masterpiece." (Findlen) Bernini believed that in architecture the main focus was on the material and the invention, then on the manner in which the parts were ordered and finally on the "perfection of grace and delicacy" (Ingraham)
It has been argued that "Francesco Borromini succeeded in creating, through purely architectonic means, an din open air, something which is equivalent to the mild chiaroscuro of his contemporary, Rembrandt, at work on his own last paintings at this same time." (Giedion) If Bernini is very careful about a variety of details which he included in the fountain, his rival is more oriented towards simplicity
Thus a political program was transformed into a beautiful masterpiece." (Findlen) Bernini believed that in architecture the main focus was on the material and the invention, then on the manner in which the parts were ordered and finally on the "perfection of grace and delicacy" (Ingraham)
The overall quality of the work is soft and "painterly," which creates a sensual overtone. Peter Paul Rubens painted in the Baroque style, and was one of the leading painters of this movement, and has long been known as the "Flemish Master" in art circles (Martin 38)
It is an example of the Rembrandt style in which the characters in the work become the audience and the audience becomes the subject of the characters' interest. Rembrandt puts the viewer at the center of the work by turning the eyes of the officials on him, thus eliminating the barrier between "real space" and "pictorial space" (Bauer 29)
For example, Rembrandt often used lead white or lead-tin yellow. Lead white was particularly useful for Rembrandt's purposes because as it dries, it does not lead to cracking with age, but rather keeps the paint firm but yielding (Bomford 36)
By embracing the naturalistic aims of the Baroque era and depicting life as it was, as it appeared to him, without the fineries of the Mannerist method of art, Velazquez became a chronicler of the present as well as a depicter of the past. Velazquez did this by developing a technique that was "fluid" and broke with conventional methods of painting (Brown 18)
By embracing the naturalistic aims of the Baroque era and depicting life as it was, as it appeared to him, without the fineries of the Mannerist method of art, Velazquez became a chronicler of the present as well as a depicter of the past. Velazquez did this by developing a technique that was "fluid" and broke with conventional methods of painting (Brown 18)
Thus, his canvases offer a stunning variety of form to the viewer, with unexpected moments of brilliance balanced by unexpected moments of complete opacity -- both of which are capable of producing a vivid third dimensional effect in their own ways, one using light and the other using the physical attributes of built-up paint. Rubens was also a fast painter like Rembrandt and utilized the sprezzato method to complete paintings quickly and with vibrant results (Bruce-Gardiner 580)
The same technique is evident in the Gerbier Family (1629). The underpainting is evident in the areas where shadows and translucent areas meet, allowing the picture to a holographic feel and a hypnotizing appearance (Buck 32)
He also did a series of paintings of musicians, which are character portraits, lively, jovial pictures of musicians that are as colorful as they are eye-catching. The Caravaggio technique is evident in these paintings as well, but to a less serious degree (Bussagli, Reiche 63)
Rembrandt's themes were diverse, though he has been characterized as a history painter (Johnson 372). He examined Jewish, Christian, and Dutch lives and stories, focusing on real people rather than idealistic beauty (Fuchs 136) as was common in the earlier Renaissance era
The action stands out for the contrast of Judith's white blouse and creamy features with the shadowy backdrop. The sheen with which Caravaggio produces his picture is said to have been made by the application of "a thin layer of tempera" over the oil, giving it a subtle gloss in order to help capture and retain light (Gash 104)
Caravaggio also employed a "sprezzato" technique, exemplified by "rapid, cursory" strokes which would later be utilized by the Impressionist painters centuries later. This technique allowed Caravaggio to cultivate a simpler form of expression that still remained true to the naturalistic aim of the artist (Gregori 310)
His ability to depict reflections stemmed from his nuance of accent, using a "silvery transparency" to "heighten the mirrored reflections" of objects within the paintings (Serullaz 21). This ability to attain a gloss that carried with it real depth of space would rival that of the Dutch painter Vermeer, who also depicted realistic scenes by applying layer after layer of translucent paint until the characters and their settings leapt from the canvas like a hologram (Gudiol 87)
This is a particularly dramatic technique that Honthorst uses to compel the viewer to feel a part of this very intimate scene, hidden from the world in the prison cell where Christ is mocked. The effect is of being invited to the spectacle and ones feels helpless to intervene, which may perhaps be the purpose of the artist (Hagen 224)
This candlelight technique was what distinguished Honthorst from others: it was his niche way of producing a dramatically effective work of art. Whereas other painters of tenebrism and chiaroscuro would play with light and darkness by highlighting and illuminating certain passages without ever directly referencing the source of light, as is often the case in Caravaggio's technique, Honthorst does not do this: he portrays scenes which include the source of light, giving them a more realistic, robust, hearty, and naturalistic effect (Hoogewerff 22)
But even his works contain a Dutch quality that is unmistakable. Rembrandt's themes were diverse, though he has been characterized as a history painter (Johnson 372)
In Woman with Guitar (1631), the backdrop is blue and matches the yellow and blue dress of the musician as well as her wood paneled guitar and the feather in her hat. There is a tonal harmony in these paintings that is reminiscent of the tonal harmonies produced by Velazquez (Judson 67)
This is the Caravaggio technique being utilized by the Dutch sensibility, striving for realism but also for dramatic and artistic appeal. Honthorst frames the scene with alternating shadows and glows, ultimately bringing the viewer's eyes to rest on the merriment of the Matchmaker and her prominently displayed bosom, indicating and reinforcing the theme of the narrative: she holds the keys to the happiness of the supplicating figures who are enshrouded in the darkness of bachelorhood (Marucci 345)