Baroque and Rococo by Ian Barras Hill

By Ian Barras Hill

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Complex arrangement of figures, lost in gloom and ghostly spaces, all cut with gleams and bursts of light. His subjects are the overpainted religious themes for which he showed One little The Rococo Museum Maulpertsch was the leading Viennese painter of church frescoes. It is said that his style is a fusion of Rembrandt and the Venetian school. His inaccessible ceiling paintings are a religious decoration. Art originality. senses the routine repetition of nation. is becomes true spirit of the Prussian in this decorative determi- 49.

The eye is carried from figure to figure by way of stray gestures or glances. It is a considered painting and rewarded by a little time and attention despite the look of fixed distrust by the King. 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.

Rembrandt Harmensz van Rijn Danae, 1636 Canvas, 186 x 201 cm Leningrad, The Hermitage The Dutchman, Rembrandt, was university educated man who a absorbed the Caravaggio style of the Early Baroque. Some early paintings exploit the atmospheric use of shadowy light in scenes of scholars in cavernous cellars or studies. This painting has an overdesigned quality and looks back to Mannerism. A decade before, Rembrandt was taught by a belated Mannerist painter, Pieter Lastman. The movement of the girl, slowly turning in the bed to register gentle surprise at the entrance of the man, (recognisably Rembrandt himself) as he steals in behind the curtain, creates a powerful erotic moment, heightened by golden tones.

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