Baroque Painting Analysis

churrigueresco Two Pieces, Two Styles Procaccini versus Le Nain Art has changed immensely through by its existence in recorded history. It has progressed from cave drawings to beautiful academic both(prenominal)y educate minute put ups of strongly cultu personnel casualty art. The transformations which contemporary (for the metre) mechanics made be remarkable. Their extraordinarily trained artistic affections give fashion to the magnificent brush go a way of life their intelligences and hands skil amply construct. These ideas argon seen quite straightforwardly in the M put onum of Fine Arts Koch G aloneery. This broad quad ho theatrical roles some of the about amazing ar dickensrk from some of the intimately famous artists.The billet is constructed frequently corresponding in the Academic beauty shop in that the pieces are arranged at different levels dictating their magnificence. The much important and well-crafted plant life are hung at eye level, while the pieces that are non as gamely regarded by the salon are hung either lofty above view or below the better pieces. Two find outs which secure happen to be aligned and positioned at eye level, stand out amongst the beautiful whole shebang surrounding them. The pieces are Giulio Cesare Procaccinis The Scourging of christ and Mathieu Le Nains The Entombment of Christ. The two works offer much to the informant.In both paintings the artist depicts a particular moment in the ultimate death of the Nazarene Christ. Alone each work stinker be deciphered and interpreted in many ways but in concert the two personas open up a world of argumentation and viewpoints of differing modalitys and influences. Giulio Cesare Procaccini was born(p) in Bologna, Italy and about 10 years later moved to Milan where he flourished as a churrigueresqueness sculptor and painter Procaccinis work was also influenced by the mannerist movement, a panache that his produce worked in. Milan and Italy in general, in the early 17th century was a booming artist Mecca.Artists like Caravaggio, Gentileschi, as well as Procaccini were making major advances in the churrigueresco style. The characterization of religious and historic characterisations was crucial in the early churrigueresco paintings seen at the snip of Procaccinis professional career. The works such as Caravaggios Entombment as well as The Conversion of holy man Paul shed some slack onto the influences of Procaccini. Much of Italy at the term had an eye for the theatrical and dramatic. This period saw intense motions, emotions and glistening. Giulio Cesare Procaccinis The Scourging of Christ can be seen as the definition of the lending of the baroque style with that of the mannerist. With its immense size the artist is able to fully articulate the space and fit in the necessary information. The forms in the reputation are move in a way that the image is symmetrical on every last(predicate) sides. The paintin g is only a bitty fraction of what is actu altogethery occurring in the word picture. The frame of the piece works as a way for our brain to only see what is put before us, but we must escort further and put ourselves in the actual event and musical note the lot somewhat us. The crowd cant be seen but implied by the deep vignette surrounding the divinely lit rescuer.The frame works as an isolation for the pain and loneliness that can be seen in the eyes of Jesus. Procaccinis decision to center Jesus in base speaks volumes to what he is stressful to evoke from the attestor. Jesus is seen bound to a small pillar sharing the center of the composition. With all the motion surrounding him, Jesus seems silent and alone in his pain. The painting composition can be considered complex as well as simple at the same(p) time. The mass of movement of the characters and tension seen in the dimly lit corners would affiliate the painting as complex.In counterpoint to that categorization, Jesus with the use of strong illumination and shade is seen almost solely by himself. Jesus is centered in front of four other presages that are all arranged in a way that the image has equal weight on all sides and all the corners are articulated evenly. The use of exposed flesh in repeat is used starting with the soldier to the left, continuing to Jesus and at long last to the older gentleman filling the bottom slump of the composition. This use of this repetition is a nice touch and grants the viewer to read equally the surfaces of the piece.The exfoliation and proportion of the figures are all equal lending into the validity of the scene in the space. Procaccinis main objective in the painting is for the viewer to focus solely on the figures, negating to even hint at a screen background. The forms of the figures are so well constructed that they allow the forms to take a tierce dimensional shape. This helps create the idea of space on an otherwise plain canvas. The figu res that aggressively lurk in the background are caught in a moment in time just before Jesus is repeatedly whipped.Procaccini cleverly links this very Italianesque painting with its holyal routes by showing the figure just about to whip Jesus with the bane in a traditional turban, an obvious touch of the fondness East. This accurate depiction of groom is in contrast to the roman soldier that eventually wouldnt have been impart at this moment in history. The soldier does officiate a purpose in establishing baroque classicism in the discussion of his drapery as well as his beautifully articulated musculature, readiness the presence of baroque classicism.The older gentleman represent to the right of Jesus is reminiscent of Bronzinos father time. The posture of both this gentleman and father time are somewhat similar and also the way both artists have treated his age relative to his younger strong build. This may be a subtle way of regularizeing that Christs time on earth may be drawing to a close. It may have also served as a way to bring on a motion the citizens to make the most of their time on earth. Line is non a very vital part of the composition and overall makeup of the image.In fact, a couple of(prenominal) lines can be seen in the structural lines of the pillar that Jesus is bound to. However, one line of importance leads from the left foot of Jesus, up his second joint and through his torso, shooting our eye up from Jesus body to the scourge wielding hand of the figure about to strike him. These implied lines add geometric instance as well as move the viewers eye in the places the artist wishes. Jesus body also hints at a mannerist influence in that the body has an organic flow and use of serpentinata. It is evident in the contrapposto or weight shift that causes the body to form a flowing S shape.Playing a subtle role in the advantage of the piece, color is hinted in small areas but is overtaken with the dim shineing. Red is pres ent in the upper right hand corner on the well-crafted garment of yet another scourge wielding citizen. Keeping with symmetry, Procaccini places a splash of red in the form of the soldiers drapery. With color impacting the overall image in a somewhat small way, it allows for the use of stir up to make more of an impact. The lighting in The Scourging of Christ is without saying, breathtaking. Much like Caravaggio, Procaccini has master the use of Tenebrism.Christ is seen vibrantly lit in the center illuminated before a dark dismal scene unfolding behind him. In this situation, the image is depicting Christ so therefore the light can be considered divine. The divine light is stick out d witness from god upon Jesus and works as a way to almost cool it air the situation and say to Jesus and the viewer that it is ok, that hes suffering for the good of all mankind. This strong message can be classified as baroque psychology, where the viewer is emotionally and spiritually connected. P rocaccinis understanding of how he human race condition reacts to certain things aid his artwork in a way that he knows the right outlet to reach his audience through. In this field it is the divine hand or light of God. Without having a defined background and use of planes the artist uses the bright light and contrasting darkness around it to allow for space to be viewed. As said before, Jesus is the firstly figure due to Tenebrism and the subsequent figures are depicted in space behind. The smooth transition from the divine lit areas, to the darker more undefined corners of the composition are extremely successful.For the divine light to hit Christ and not stray further from the small glow from his pale skin requires calm and deliberate style strokes. This transition only works well with this type of paint application. The exact strokes give it a photographic like persona that capture the scene precisely how it occurs without the abstraction of strokes like that of Rembrandt. This snapshot of a second in time and the skillful rendering of the scene all work together in allowing the scene to become real and the viewer to become emotionally moved and involved.None of this is by chance Procaccini has skillfully located out every aspect of the piece from the narrative, to the characters, as well as the emotions this piece would evoke. This take on a classic scene is undying and his mastery of the baroque and mannerist styles are expertly crafted. In a kinda stark contrast to Procaccinis rendering of Christ before his time of death, Mathieu Le Nain has created The Entombment of Christ, a depiction of Christ later on he was taken from the cross. Mathieu Le Nain was one of three brothers who were well cognize french baroque artists in the 17th century.The French baroque style is quite different to that of the baroque styles practiced in Southern and easterly Europe, in particular, those found in Italy by artists such as Caravaggio and Procaccini. This st yle adheres to more of an academic rule, in that its very cold and geometrically displace. The paintings lack the emotion expressed by baroque artists with different heathenish influences. The French style has a certain order and neatness of placement. Nains piece is of a large scale allowing for many figures to be fully articulated in the space and also for the addition of a ornament filling up the background.The eye of the viewer is carried from the right side of the piece inward to the left. Inward meaning, the eye is brought from the foreground on the figure scene and gets pulled into the composition towards the landscape scene unfolding in the back. Pictured far in the background in an oddly scaled cross, quite by chance the one Christ was crucified on. The skewing of the size, scale and proportion must be the artists attempt at making Jesus sacrifice larger than life, larger than the common mans comprehension pain and sacrifice.The soldiers envisioned closer to the viewe r are sized in a decorous way in relation to their distance from the viewer. The cropping of the image is placed so that we register a lot of information yet we wonder what is beyond the visual plane Nain has allowed us. The composition, with respect to the figures, is heavily weighed to the right side of the piece. The use of an even number of figures with Christ centered allows for an eye, pleasing symmetry. The figures Nain depicts surrounding the shortly body of Christ are created and placed in a way that the pale lifeless body of Christ is viewed first and with more importance.The representational space is crowded with the bustle and movement of the preparation for entombment, yet the flitting connection between bloody shame and Jesus seems to be silent and with arouse emotion, the emotion for a mothers loss of a child. The two people depicted in the back right of the composition be to be working on a burial garment for Jesus. The bewhiskered male on the right looks on i ntently as the figure on the right lays out wonderfully articulated drapery. The figures importance is formal with their placement in the background of the brilliant plane.They are represented for diachronic integrity but are arranged behind the ultimate importance of Jesus and his mother, Mary. The garments worn by all pictured are more representative of actual ones worn at the time and place to which the crucifixion, and ultimately the entombment of Christ occurred. The turban is also another historically accurate head garment worn by men in the Middle East. The accuracy and attention to historical details are in contrast to the baroque styles practiced by eastern European baroque artists. The use of color is much more prevalent in Nains piece.High fecundation and deep tones of blues and reds are placed throughout the composition as well as lower more soft tones. Although there are areas of deep color saturation and vibrant tones, the overall scene is depicted as a drab dark c ave and gray landscape. The most vibrant royal blue cloth is draped over Mary as she braces herself in mourning. This traditional use of the color is an indication of the holy family, with Mary in particular. Mary also wears a high saturation red garment. This color is repeated on the figure sustenance Christs lifeless body. This repetition helps link the two halves of the composition.In this piece, light proves to be equally important as the use of color. The lighting in Nains piece is skillfully rendered within the look and feel of the French baroque style. The warm legato use of light across the blameless composition allows for much more of the surface to be interpreted by the viewer. The painting, although well lit, still has the ability for a strong divine light to cast its glow on the deceased body of Jesus. The divine light also strikes Mary who is sitting in a most paltry way next to the body of her son. Atmospheric perspective is well captured in the cascading hills de picted in the background of the piece.Space is clearly created by each top side and trough of the rolling landscape. An overall blue gray tone is cast upon the farthest distances from our eye. In contrast to the correct rendering of the farthest distance, Nain has created a proportionally incorrect crucifix. With that being said, the space is ordered well expiration ample room for the small landscape far past the cave. The pictorial plane can be both shallow and deep. The viewer is placed in the small space surrounding the body of Christ and if elect can peer past to a more deep and winding space.There is a horizon line that begins in the landscape on the right and continues to divide the composition throughout the figural space. The horizon line ends on the worktable of the figures in the background. This continuous line keeps the composition equally dull and well placed. The contrasting dark walls and spaces surrounding the figures against the divine light allow for space to b e created also making the space more likely to the viewer. With the image falling into the French baroque era and style it can be seen that the stylizing of the image is very calm with no erroneous marks.The fluid strokes and smooth transitions play well with the narrative of the story for its the time after Christs death and life seems to move in slow motion. Although texture can be seen in the strokes of the cave walls liberal validity to the space and allowing the viewer to feel as though they are in the scene. Nains skillful crafting of the piece and attention to emotional and historical details lend to the overall success of the piece. It is clear Nain wishes for the viewer to feel the somberness of the ultimate sacrifice endured by Christ.Staying true to the French baroque styles of the time he was able to convey his message through a well thought out and cleanly placed composition. Both Procaccinis The Scourging of Christ and Nains, and The Entombment of Christ, depict a pa rticular moment in time of the crucifixion of Christ. Though each portrays particular scenes under their own vision in their particular style, Procaccinis Italian baroque influences are extremely evident in the painting with the strong use of light and the theatrical scene with strong movement and gut wrenching emotions.In contrast to the busy chaotic scene pictured by Procaccini, Nain uses a more refined approach and paints a much more academic and calm scene. The dullness of the tones with vivid splashes of color add many historical as well as religious touches that add to the overall feel that Nain is trying to express. Overall the two pieces are some of the more breathtaking renditions of classic religious art that can be seen. Both artists are the definition of their style and exemplify what true artistry is. &8212&8212&8212&8212&8212&8212&8212&8212&8212&8212&8212&8212&8212&8212 1 . http//en. ikipedia. org/wiki/Giulio_Cesare_Procaccini 2 . http//www. wga. hu/tours/spain/p_17. hypertext markup language 3 . http//en. wikipedia. org/wiki/Figura_serpentinata 4 . http//en. wikipedia. org/wiki/Contrapposto 5 . http//webartacademy. com/painting-techniques-tenebrism 6 . http//www. artistdaily. com/blogs/artistdaily/archive/2013/01/30/no-one-could-beat-rembrandt. aspx 7 . http//www. britannica. com/EBchecked/topic/1475261/Le-Nain-brothers 8 . http//www. essential-humanities. net/western-art/western-painting/baroque-painting/. UV0HaaKG2So