query: artist responsible for spreading the influence of the italian baroque style

pos: Gian Lorenzo Bernini Gian Lorenzo Bernini Gian Lorenzo Bernini (; also Gianlorenzo or Giovanni Lorenzo; 7 December 1598 – 28 November 1680) was an Italian sculptor and architect. While a major figure in the world of architecture, he was, also and even more prominently, the leading sculptor of his age, credited with creating the Baroque style of sculpture. As one scholar has commented, "What Shakespeare is to drama, Bernini may be to sculpture: the first pan-European sculptor whose name is instantaneously identifiable with a particular manner and vision, and whose influence was inordinately powerful..." In addition, he was a painter (mostly small canvases

pos: Seicento ("Boy carrying a Basket of Fruit). His paintings were predominantly oil, and used warm, intense colours, and usually having dramatic themes. Having one of the forefathers of Baroque art, and one of the earliest modern painters, his styles influenced other Italian and foreign artists following him, including Gian Lorenzo Bernini. Gian Lorenzo Bernini was a prominent mid to late-17th century Baroque artist and sculptor, known for his statues, such as the "Ecstasy of Saint Theresa". Building styles for Italian 17th-century architecture, most notably the Baroque, were very different all across the country. Turin was well known for its French-style Baroque

pos: Baroque sculpture in Rome made between 1629–33. After the death of Innocent XI in 1655, became the new Pope Fabio Chicgi, one of the descendants of the famous Roman family. Under the new papal name of Alexander VII he continued in spreading of Baroque style in Rome and even in sculpture. During his pontificate, Gian Lorenzo Bernini got again the position of main papal artist and there has been committed several important orders into his hands. Already in 1656 he began construction of Piazza di San Pietro, along with a colonnade decorated with many sculptural figures. 96 sculptures formed along with his

pos: Italian Baroque and spirit of Catholic Christianity. To settle the problem of excess open space within the updated basilica, Pope Urban VII commissioned Gian Lorenzo Bernini to design the internal space. Bernini became responsible for much of the internal appearance of the basilica, notably the baldacchino (1624–33) erected over the dome of St. Peter. It acts as a main focal point in the space, combining both sculpture and architecture into a unified art piece. Complex in form and ornate with sculpture, the baldacchino serves as a great example of the Baroque ‘style’, massive and ornate, glorifying the church and the Catholic religion.

pos: Artus Quellinus the Elder Lowies (1666-67) and Dirick Willekens van Werelt (1667-68). Many of these students would become leading sculptors in their own right who would help spread the late Baroque style across Europe. Artus Quellinus brought the classicizing Baroque style of François Duquesnoy (the so-called "la gran maniera greca") to his native Antwerp on his return from Rome in 1639. He thus introduced into Flemish sculpture the Baroque style developed by François Duquesnoy, which was based on classical sculpture. This style was less expressive than the Baroque style of Gian Lorenzo Bernini, the main competitor of François Duquesnoy in Rome. Another influence on

neg: Bernardo Strozzi have known his work such as the (1620-1625, Museo del Prado, Madrid). Bernardo Strozzi Bernardo Strozzi, named il Cappuccino and il Prete Genovese (c. 1581 – 2 August 1644) was an Italian Baroque painter and engraver. A canvas and fresco artist, his wide subject range included history, allegorical, genre and portrait paintings as well as still lifes. Born and initially mainly active in Genoa, he worked in Venice in the latter part of his career. His work exercised considerable influence on artistic developments in both cities. He is considered a principal founder of the Venetian Baroque style. His powerful art

neg: Bernardo Strozzi Bernardo Strozzi Bernardo Strozzi, named il Cappuccino and il Prete Genovese (c. 1581 – 2 August 1644) was an Italian Baroque painter and engraver. A canvas and fresco artist, his wide subject range included history, allegorical, genre and portrait paintings as well as still lifes. Born and initially mainly active in Genoa, he worked in Venice in the latter part of his career. His work exercised considerable influence on artistic developments in both cities. He is considered a principal founder of the Venetian Baroque style. His powerful art stands out by its rich and glowing colour and broad, energetic brushstrokes.

neg: Baroque architecture and Székesfehérvár (1745–1751). The reconstruction of the territories devastated by the Ottoman Empire was carried out in Baroque style in the 18th century. Intact Baroque townscapes can be found in Győr, Székesfehérvár, Eger, Veszprém, Esztergom and the Castle District of Buda. The most important Baroque palaces in Hungary were the Royal Palace in Buda, Grassalkovich Palace in Gödöllő, and Esterházy Palace in Fertőd. Smaller Baroque edifices of the Hungarian aristocracy are scattered all over the country. Hungarian Baroque shows the double influence of Austrian and Italian artistic tendencies as many German and Italian architects worked in the country. The main

neg: Spanish Golden Age that demonstrate his style and skill. El Greco, another respected artist from the period, infused Spanish art with the styles of the Italian renaissance and helped create a uniquely Spanish style of painting. Some of Spain's greatest music is regarded as having been written in the period. Such composers as Tomás Luis de Victoria, Cristóbal de Morales, Francisco Guerrero, Luis de Milán and Alonso Lobo helped to shape Renaissance music and the styles of counterpoint and polychoral music, and their influence lasted far into the Baroque period which resulted in a revolution of music. Spanish literature blossomed as well, most

neg: Andrea Giganti designed other Sicilian buildings in the baroque style, including: Villa Galetti at Bagheria, Villa Ventimiglia, at Mezzo-Monreale, the church of S. Paolo dei Giardinieri, and the dais and high altar at the church of San Salvatore in Palermo. A trained engineer, Giganti was also responsible for a number of bridges. Towards the end of his life, he began to forsake the baroque style in favour of a more simple neoclassical style. Andrea Giganti Andrea Giganti (1731–1787) was an Italian architect of the Sicilian Baroque era. He was born in Trapani in 1731. In his youth, he studied architecture under Giovanni

neg: French Baroque architecture de Maisons in Maisons-Laffitte, (1630–51), Mansart showed the continuity between the French Renaissance style and the new style. The structure is strictly symmetrical, with an order applied to each story, mostly in pilaster form. The frontispiece, crowned with a separate aggrandized roof, is infused with remarkable plasticity and the whole ensemble reads like a three-dimensional whole. Mansart's structures are stripped of overblown decorative effects, so typical of contemporary Rome. Italian Baroque influence is muted and relegated to the field of decorative ornamentation. Louis Le Vau was another central figure in the early French Baroque style. He designed the Château of

neg: Italian Baroque architecture Bernini in 1680, Carlo Fontana emerged as the most influential architect working in Rome. His early style is exemplified by the slightly concave façade of San Marcello al Corso). Fontana's academic approach, though lacking in the dazzling inventiveness of his Roman predecessors, exerted substantial influence on Baroque architecture both through his prolific writings and through a number of architects whom he trained and who would disseminate the Baroque idioms throughout 18th-century Europe. The 18th century saw the capital of Europe's architectural world transferred from Rome to Paris. The Italian Rococo, which flourished in Rome from the 1720s onward, was profoundly

neg: Romanism (painting) Romanism (painting) Romanism is a term used by art historians to refer to painters from the Low Countries who had travelled in the 16th century to Rome. In Rome they had absorbed the influence of leading Italian artists of the period such as Michelangelo and Raphael and his pupils. Upon their return home, these Northern artists (referred to as ‘Romanists’) created a Renaissance style, which assimilated Italian formal language. The style continued its influence until the early 17th century when it was swept aside by the Baroque. By drawing on mythological subject matter, the Romanists introduced new themes in Northern

neg: Italian Rococo interior design the European cultural leader. Even though Italy still exerted some influence, it was not as much as in the Renaissance and the Baroque periods, and France by then was the cultural leader, from literature, the arts, high culture, architecture and fashion, to science, philosophy, cuisine, music and education. By the early 18th century, the old-fashioned and heavy Baroque style went out of fashion in France, and a new, more feminine and lighter style called the Rococo emerged. Rococo was more delicate and romantic than the heavy and masculine Baroque, and often included features such as "coquilles", or shells, and more

neg: Louis XIII style Louis XIII style The Louis XIII style or Louis Treize was a fashion in French art and architecture, especially affecting the visual and decorative arts. Its distinctness as a period in the history of French art has much to do with the regency under which Louis XIII began his reign (1610–1643). His mother and regent, Marie de' Medici, imported mannerism from her homeland of Italy and the influence of Italian art was to be strongly felt for several decades. Louis XIII-style painting was influenced from the north, through Flemish and Dutch Baroque, and from the south, through Italian mannerism and

neg: Flemish painting important source of patronage. From the early 16th century, the Italian Renaissance started to influence the Flemish painters. The result was very different from the typical Italian Renaissance painting. The leading artist was Pieter Brueghel the Elder, who avoided direct Italian influence, unlike the Northern Mannerists. After the Siege of Antwerp (1584–1585), the Southern Provinces of the Netherlands ("Flanders") remained under Spanish rule and were separated from the independent Dutch Republic. Although many artists fled the religious wars and moved from the Southern Netherlands to the Dutch Republic (see Dutch Golden Age painting), Flemish Baroque painting flourished, especially in the

neg: Guadalajara style invaded the city because of the passion of former president Porfirio Díaz in the trends of French style, also Italian architects were responsible for shaping the Gothic structures that were built in the city. The passage of time reflected different trends from the baroque to churrigueresque, Gothic and neoclassical pure. Even the architectural lines typical of the decades of the 40's, 50's and 60's the Art Deco and bold lines of postmodern architects of the time. Architectural styles found in the city include Baroque, Viceregal, Neoclassical, Modern, Eclectic, Art Deco and Neo-Gothic. The modern architecture of Guadalajara has numerous

neg: Spanish architecture made by Juan Bautista de Toledo and Juan de Herrera where a much closer adherence to the art of ancient Rome was overpassed by an extremely sober style. The influence from Flanders roofs, the symbolism of the scarce decoration and the precise granite cut were established as the basis of a new style that would influence Spanish architecture for a century: Herrerian. A disciple of Herrera, Juan Bautista Villalpando was influential for interpreting the recently revived text of Vitruvius to suggest the origin of the classical orders in Solomon's Temple. As Italian Baroque influences penetrated across the Pyrenees, they gradually

neg: Bartolomeo Schedoni emotional emergency." Schedoni's late manner shows the influence of Ludovico Carracci. Another important influence on Schedoni's style and subjects was Caravaggio, whose "Entombment of Christ" (1603–04) provided the prototype for Schedoni's "Deposition" (c. 1613) in the Galleria Nazionale of Parma. The Parmesan painter Giovanni Lanfranco was among those who found inspiration in Schedoni's theatrical style. Schedoni's masterpieces are in the Galleria Nazionale of Parma, and were the two paintings intended for the altar of the church of the Capuchin convent in Fontevivo, near Parma. Bartolomeo Schedoni Bartolomeo Schedoni (sometimes Schedone) (1578 – 23 December 1615) was an Italian early Baroque

neg: Fabrizio Santafede antiques and paintings. He painted extensively in Naples, including an "Assumption" and "Coronation of the Virgin" for Santa Donna Regina Nuova. The Baroque painter Massimo Stanzione is mentioned as one of his pupils. Legend has it that during the sack of Naples in 1647 by insurgents under Masaniello two houses in which Santafede had painted frescos were spared out of respect for the artist. Fabrizio Santafede Fabrizio Santafede or Fabrizio Santaféde (c. 1560–1623/28) was an Italian painter known for his altarpieces. He painted in a late-Mannerist style and his style marks the transition from Mannerism to Baroque. Born in Naples,

neg: Mannerism Mannerism Mannerism, also known as Late Renaissance, is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, spreading by about 1530 and lasting until about the end of the 16th century in Italy, when the Baroque style largely replaced it. Northern Mannerism continued into the early 17th century. Stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, often resulting

neg: Caravaggisti Lanfranco and Guido Reni. Vouet's success in Rome led to his election as president of the Accademia di San Luca in 1624. Despite his success in Rome, Vouet returned to France in 1627. Vouet's new style was distinctly Italian, importing the Italian Baroque style into France. Other French artists enamored by the new style included Valentin de Boulogne, who was living in Rome by 1620, and studied under Vouet and later Boulognes pupil Nicolas Tournier. Georges de La Tour is assumed to have travelled either to Italy or the Netherlands early in his career. His paintings reflect the influence of

neg: Elizabethan Baroque Elizabethan Baroque Elizabethan Baroque () is a term for the Russian baroque architectural style, developed during the reign of Elizabeth of Russia, between 1741 and 1762. It is also called ‘style rocaille’ or ‘rococo style’. The Italian architect Francesco Bartolomeo Rastrelli is the key figure of this trend, which is still given the name ‘Rastrellian Baroque’. The Russian architect Savva Chevakinsky is also a renowned figure representing this style. Unlike the former Russian baroque styles such as Petrine Baroque, the Elizabethan Baroque tended to appreciate the Muscovite Baroque, and maintained the very essence of Russian architectural elements like the five

neg: Northern Mannerism In the last 15 years of the century, the style, by then becoming outdated in Italy, was widespread across northern Europe, spread in large part through prints. In painting, it tended to recede rapidly in the new century, under the new influence of Caravaggio and the early Baroque, but in architecture and the decorative arts, its influence was more sustained. The sophisticated art of Italian Mannerism begins during the High Renaissance of the 1520s as a development of, a reaction against, and an attempt to excel, the serenely balanced triumphs of that style. As art historian Henri Zerner explains: "The

neg: Annibale Carracci others. The tradition of Italian Renaissance painting and the mature Renaissance artists like Raphael, Michelangelo, Correggio, Titian and Veronese are all painters who had a considerable influence on the work of the Carracci, in his use of colours. Carrci laid the foundations for the birth of Baroque painting. The preceding sterile Mannerist style had its recovery now in the Baroque painting in the early sixteenth century, succeeding in an original synthesis of the many schools. The paintings of Annibale are inspired by the Venetian pictorial taste and especially the paintings of Paolo Veronese. The work that show traces of it

neg: Elizabethan Baroque the Oranienbaum Palace. He refused to imitate the grandiose achievements of Rastrelli and introduced the Rococo style into the architecture of the court. In the years following 1760, Rinaldi, like other renowned architects, abandoned the Baroque style and turned to the aesthetics of Classicism. Elizabethan Baroque Elizabethan Baroque () is a term for the Russian baroque architectural style, developed during the reign of Elizabeth of Russia, between 1741 and 1762. It is also called ‘style rocaille’ or ‘rococo style’. The Italian architect Francesco Bartolomeo Rastrelli is the key figure of this trend, which is still given the name ‘Rastrellian Baroque’.

neg: Nicolau Nasoni Nicolau Nasoni Nicolau Nasoni (or originally Niccoló Nasoni, 2 June 1691 – 30 August 1773) was an Italian artist and architect mostly active in Portugal. He became one of the most influential figures in Portuguese Baroque architecture with his original and vigorous and theatrical style of Baroque and Rococo architecture. Born in San Giovanni Valdarno, Grand Duchy of Tuscany, he received his education in Siena from Giuseppe Nicolo Nasini (1657–1736) from 1713 and 1720. During this early period he constructed a catafalque for Ferdinando de Medici in the cathedral of Siena and the triumphal arch for the reception of the

neg: James Gibbs this influence. His architectural style did incorporate Palladian elements, as well as forms from Italian Baroque and Inigo Jones (1573–1652), but was most strongly influenced by the work of Sir Christopher Wren (1632–1723), who was an early supporter of Gibbs. Overall, Gibbs was an individual who formed his own style independently of current fashions. Architectural historian John Summerson describes his work as the fulfilment of Wren's architectural ideas, which were not fully developed in his own buildings. Despite the influence of his books, Gibbs, as a stylistic outsider, had little effect on the later direction of British architecture, which saw

neg: Johann Caspar Ferdinand Fischer mid-1690s: by 1695 he was Kapellmeister to Ludwig Wilhelm of Baden, and he may have remained with the court until his death in Rastatt. Much of Fischer's music shows the influence of the French Baroque style, exemplified by Jean Baptiste Lully, and he was responsible for bringing the French influence to German music. Fischer's harpsichord suites updated the standard Froberger model (Allemande - Courante - Sarabande - Gigue); he was also one of the first composers to apply the principles of the orchestral suite to the harpsichord, replacing the standard French ouverture with an unmeasured prelude. Both Bach and Handel

neg: School of Fontainebleau of eroticism. The figures are elegant and show the influence of the techniques of the Italian Mannerism of Michelangelo, Raphael and especially Parmigianino. Primaticcio was also directed to make copies of antique Roman statues for the king, thus spreading the influence of classical statuary. Many of the works of Rosso, Primaticcio and dell'Abate have not survived; parts of the Chateau were remodelled at various dates. The paintings of the group were reproduced in prints, mostly etchings, which were apparently produced initially at Fontainebleau itself, and later in Paris. These disseminated the style through France and beyond, and also record several

neg: Eugène Delacroix 1815 he began his training with Pierre-Narcisse Guérin in the neoclassical style of Jacques-Louis David. An early church commission, "The Virgin of the Harvest" (1819), displays a Raphael-esque influence, but another such commission, "The Virgin of the Sacred Heart" (1821), evidences a freer interpretation. It precedes the influence of the more colourful and rich style of the Flemish Baroque painter Peter Paul Rubens, and fellow French artist Théodore Géricault, whose works marked an introduction to Romanticism in art. The impact of Géricault's "The Raft of the Medusa" was profound, and stimulated Delacroix to produce his first major painting, "The Barque

neg: Hans Leo Hassler Germany the "villanelle", "canzonette", and dance songs of Gastoldi and Orazio Vecchi. As the first great German composer to undertake an “Italian Journey,” Hassler’s influence was one of the reasons for the Italian domination over German music and for the common trend of German musicians finishing their education in Italy. While musicians of the stature of Lassus had been working in Germany for years, they represented the older school, the "prima pratica", the fully developed and refined Renaissance style of polyphony; in Italy new trends were emerging which were to define what was later called the Baroque era. Musicians such

neg: Rosario Gagliardi style evolved so too did the accomplishment of his work. The Church of San Giorgio is thought to be the prototype for all the other churches in the region. Gagliardi was also responsible for numerous other churches and palazzi in Noto and other places on the island. He died in Noto in 1762 aged 64 years old. Rosario Gagliardi Rosario Gagliardi (1698–1762) was an Italian architect born in Syracuse. He was one of the leading architects working in the Sicilian Baroque. In spite of never leaving Sicily his work showed great understanding of the style, but was a progression from

neg: Rome emblematic examples of Baroque art is the Fontana di Trevi by Nicola Salvi. Other notable 17th-century baroque palaces are the Palazzo Madama, now the seat of the Italian Senate and the Palazzo Montecitorio, now the seat of the Chamber of Deputies of Italy. In 1870, Rome became the capital city of the new Kingdom of Italy. During this time, neoclassicism, a building style influenced by the architecture of antiquity, became a predominant influence in Roman architecture. During this period, many great palaces in neoclassical styles were built to host ministries, embassies, and other governing agencies. One of the best-known symbols

neg: Caravaggisti Caravaggisti The Caravaggisti (or the "Caravagesques") were stylistic followers of the 16th-century Italian Baroque painter Caravaggio. His influence on the new Baroque style that eventually emerged from Mannerism was profound. Caravaggio never established a workshop as most other painters did, and thus had no school to spread his techniques. Nor did he ever set out his underlying philosophical approach to art, the psychological realism which can only be deduced from his surviving work. But it can be seen directly or indirectly in the work of Rubens, Jusepe de Ribera, Bernini, and Rembrandt. Famous while he lived, Caravaggio himself was forgotten

neg: Louis XIII style early Baroque. Schools developed around Caravaggio and Peter Paul Rubens. Among the French painters who blended Italian mannerism with a love of genre scenes were Georges de La Tour, Simon Vouet, and the Le Nain brothers. The influence of the painters on subsequent generations, however, was minimised by the rise of classicism under Nicolas Poussin and his followers. Louis XIII architecture was equally influenced by Italian styles. The greatest French architect of the era, Salomon de Brosse, designed the Palais du Luxembourg for Marie de' Medici. De Brosse began a tradition of classicism in architecture that was continued by Jacques

neg: Architecture of Munich church of the inner city is the Karmelitenkirche at Promenadeplatz, which was constructed shortly before the Italian baroque was introduced in Munich under Princess Henriette Adelaide of Savoy. The Italian court architects such as Enrico Zuccalli and Giovanni Antonio Viscardi then controlled the architecture in Munich for several decades. The Theatinerkirche (1663–1690) is a basilica in Italianate high baroque which had a major influence on Southern German baroque architecture. Its dome dominates the Odeonsplatz. Other Italian baroque churches in the inner city which are worth a detour are the Bürgersaalkirche (1709) and the Dreifaltigkeitskirche (1711–1718). St. Anna im Lehel by

neg: French Baroque architecture traditional gothic floor-plan of Notre-Dame, though they did add façades and certain other decorative features from the Italian Baroque. Saint-Roch (1653–90), designed by Jacques Lemercier, had a Gothic plan but colorful Italian-style decoration. To follow the advice of the Council of Trent to integrate themselves into the city's architecture, new churches were aligned with the street. rather than always facing east-west. The major innovation of French Baroque religious architecture was the introduction of the cupola or dome over the central nave, a style imported from the Italian Baroque. The dome of the Church of the Gesù, Rome (1584)|Church of the

neg: Sacred architecture religious structures include Notre Dame de Paris, the Cathedral of Our Lady of Amiens, and the Chartres Cathedral. The Renaissance brought a return of classical influence and a new emphasis on rational clarity. Renaissance architecture represents a conscious revival of Roman Architecture with its symmetry, mathematical proportions, and geometric order. Filippo Brunelleschi's plan for the Santa Maria del Fiore as the dome of the Florence Cathedral in 1418 was one of the first important religious architectural designs of the Italian renaissance. Evolving from the renaissance style, the baroque style was most notably experienced in religious art and architecture. Most architectural

neg: Czech Baroque architecture were built some late Renaissance or Mannerist buildings with Early Baroque elements in Prague. But it is hard to distinguish between the Mannerist style and the Early Baroque style because there is no clear break, therefore some scholars consider these buildings to be Early Baroque while others consider them to be Mannerist. Among these transitional buildings is the Italian chapel consecrated to the Assumption of the Virgin Mary, adjoining the former Jesuit college called Clementinum built in 1590-1600 for Italians residing in Prague, designed by the Italian O. Mascarino. Although it is a Late Renaissance or Mannerist chapel, it is

neg: Cornelis Schut His early work shows the influence of Abraham Janssens. During his Italian sojourn in Rome during 1624 and Florence in 1627 he adopted elements of the High Baroque style of Pietro da Cortona, Guercino and classical tendencies informed by Domenichino and Guido Reni. This style is characterized among other things by a strong sense of animation and pathos, in which light and color play an important role. Elements of late mannerism are also evident. Schut's style, which is characterized by strong foreshortening, sharp contrasts of light and extreme facial expressions has some affinity with the work of Federico Barocci, who

neg: Jacobean architecture Jacobean architecture The Jacobean style is the second phase of Renaissance architecture in England, following the Elizabethan style. It is named after King James I of England, with whose reign (1603–1625 in England) it is associated. At the start of James' reign there was little stylistic break in architecture, as Elizabethan trends continued their development. However his death in 1625 came as a decisive change towards more classical architecture, with Italian influence, was in progress, led by Inigo Jones; the style this began is sometimes called Stuart architecture, or English Baroque (though the latter term may be regarded as starting

neg: Consequences of War with considerable knowledge of the state of the continent and the consequences war had wrought. Rubens’ work, including Consequences of War, represents the height of Flemish Baroque painting. His style is referred to as pan-European and synthesizes elements of Italian Renaissance and Baroque artists to form his own artistic approach. The work of Michelangelo, Titian, Carracci, and Caravaggio informed Rubens's paintings in varying degrees. Viewers note the influence of Michelangelo in Rubens's interest and brilliance in depicting the human form. Consequences of War contains not only Rubens's trademark women but also the well muscled forms of Mars, Alekto, and the

neg: Igreja de São Roque flanked by two pairs of caryatids, allegorical and theatrical figures characteristic of early-18th-century taste. This chapel, displaying the influence of Italian Baroque, marks the transition between Portuguese Mannerism in its last phase and the succeeding style, typical of John V’s reign, which used a Baroque vocabulary. Seen as the initiation of this change in Portugal, the Chapel of Our Lady of Piety influenced the decoration and composition of several other important chapels elsewhere in the country. This chapel (Capela de São João Baptista) was commissioned in 1740 by King John V; the designs and material were assembled under the direction

neg: Baroque architecture and the Protestant Baroque. In the Catholic South, the Jesuit church of St. Michael in Munich was the first to bring Italian style across the Alps. However, its influence on the further development of church architecture was rather limited. A much more practical and more adaptable model of church architecture was provided by the Jesuit church in Dillingen): the wall-pillar church, a barrel-vaulted nave accompanied by large open chapels separated by wall-pillars. As opposed to St. Michael's in Munich, the chapels almost reach the height of the nave in the wall-pillar church, and their vault (usually transverse barrel-vaults) springs from

neg: The Abduction of Europa (Rembrandt) of Raphael and Michelangelo, they replied that there was an abundance of Italian art already to be viewed in Holland." The presence of Italian art must have been strong, for Rembrandt kept a portrait of Titians' Money-changers in his studio. A sure connection and influence, then, would be Titian's representation of the same Ovidian story. Rembrandt's "The Abduction of Europa" displays much about the artistic influences of his time. His work in mindful of the patron, painted in the popular High Baroque style, and incorporates the influences of earlier artists like Titian. This piece is only one of the mythological

neg: Richard Dering expression; the "Cantica Sacra" (1618) contains 6-part motets that recall a more conventionally expressive Italian madrigal-like idiom. His best-known choral work is his motet for Michaelmas, "Factum est Silentium", a dramatic work which describes the War in Heaven depicted in and : This anthem, first published 1618, has found popularity more recently in the repertoire of Anglican church music. Like Dering's continuo madrigals, its dramatic, declamatory style shows the influence of the new Italian Baroque and demonstrates Dering's ability to embrace new musical styles ahead of his English contemporaries. It is also noted as being one of the few anthems

neg: Dutch and Flemish Renaissance painting combined Netherlandish precision with the lessons of Titian and other Italian painters. Italian Renaissance influences begin to show on Early Netherlandish painting around 1500, but in many ways the older style was remarkably persistent. Antwerp Mannerism is a term for painters showing some Italian influence, but mainly continuing the style and subjects of the older masters. Hieronymus Bosch is a highly individual artist, whose work is strange and full of seemingly irrational imagery, making it difficult to interpret. Most of all it seems surprisingly modern, introducing a world of dreams that seems more related to Gothic art than the Italian

neg: Italian Baroque interior design Paintings on ceilings could, for example, simulate statues in niches or openings revealing the sky. Quadratura may also employ other illusionistic painting techniques, such as anamorphosis. Examples of illusionistic painting include: Other examples were by Paolo Veronese at Villa Rotonda in Vicenza and Baldassare Peruzzi in the Villa Farnesina of Rome. Italian Baroque interior design Italian Baroque interior design refers to high-style furnishing and interior decorating carried out in Italy during the Baroque period, which lasted from the early 17th to the mid-18th century. In provincial areas, Baroque forms such as the clothes-press or "armadio" continued to be made into

neg: Balconies of Lima 16th to the 19th century, when Latin American was conquered by the Spaniards. Balconies in Lima were built in the Renaissance, Baroque, Neo-Baroque and Neoclassical styles and had Mediterranean, Middle Eastern, Moorish, Andalusian and Caribbean influences. The Renaissance and Baroque styles emerged as a result of European influence. The Renaissance idea that the nobility of a building characterized a city's grandiosity permeated in Lima's architecture. Baroque architecture of this period, characterized by exuberance and heavy ornamentation, is prevalent as well. In the 18th century, the Rococo style permeated in Lima, as a result of French influence. This style embraced ornamentation

neg: Mattia Preti also can find many paintings of Preti in private collections and in parish churches. His increased reputation led to an expanded circle of patrons, and he received commissions from all over Europe. Preti was fortunate to enjoy a long career and have a considerable artistic output. His paintings, representative of the exuberant late Baroque style, are held by many great museums, including important collections in Naples, Valletta, and in his hometown of Taverna. Mattia Preti Mattia Preti (24 February 1613 – 3 January 1699) was an Italian Baroque artist who worked in Italy and Malta. He was appointed a Member

neg: Louis de Deyster Louis de Deyster Louis de Deyster (1656 – 18 December 1711), also known as Lodewyk Deyster, was a Flemish artist and maker of musical instruments. His baroque paintings show a clear influence of Italian masters like Giordano, Maratta, Barocci and southern Dutch painters like Rubens, Van Dyck and Boekhorst. His daughter, Anna Deyster, born in 1696, also became a painter and maker of musical instruments. Deyster was born in 1656 in Bruges. He was a scholar of Jan Maes, a respectable artist of that city. He spent the years from 1682 to 1688 in Italy, and when he returned to

neg: Architecture of Switzerland of construction. Both local and foreign artists were active in Switzerland leading to rapidly spreading ideas. North of the Alps, each area had local families who specialized as sculptors, plaster workers and wood carvers. As they learned of the new style they incorporated its aesthetics into the numerous new churches. In the early 17th century artists from Ticino began to travel to Rome to learn the Baroque style of painting. Some of them, such as Giovanni Serodine from Ascona and Pier Francesco Mola from Coldrerio, remained in Rome, while others returned to Ticino to work. As the Baroque style spread,

neg: Giovanni Antonio Galli (artist) says "the quality of lighting, the silky effects of the sleeves and elegiac tone of the work are typical of Spadarino’s style." Ponzi says that Galli's later works, such as the Palazzo Madama frescoes, show a stylistic decline resulting from his ambivalence toward new trends in Roman art. After 1943, Roberto Longhi attributed six additional works: Giovanni Antonio Galli (artist) Giovanni Antonio Galli, also called lo Spadarino (baptized January 16, 1585 – after June 1651) was an Italian Baroque artist who was a member of the Caravaggisti (followers of Michelangelo Merisi da Caravaggio). He was born in Rome to a

neg: Rococo in Spain Baroque. Keep in mind that this style was born in France, where the art of the previous century, known as the "Grand Siécle" was substantially different to the Spanish case, for its character more classicist. Therefore, the style born as rather more like reaction than as an evolution of 17th century French. Moreover, the Rococo is an art eminently bourgeois and secular, difficult to reconcile with the religious art, the most abundant of the Spanish Baroque. This traditional terminological confusion has contributed to the presence in the 18th century Spanish XVIII of Italian architects and solutions brought of Italian Baroque

neg: Italian Hospital of Montevideo of its population is of Italian origin or descent. Among the most prominent societies they formed are included the "Unione e Benevolenza", the "Scuola Italiana" and the more recent "Federazione Italiana de Paysandú". The hospital is built in the neoclassical architectural style, which has its origins in Italy. From this architectural phase come other famous monuments, like the Puerta de Alcalá in Madrid, work of Francesco Sabatini. The architect responsible for directing and planning this structure of historicist influence was Luis Andreoni, also responsible for the foundation of the Estación Central General Artigas and the Club Uruguay. He is based

neg: Claudio Saracini texts, including serious, humorous, and erotic. His style varies from diatonic to chromatic, and is comparable to that of contemporary monodist Sigismondo d'India in its experimental qualities. A unique feature of Saracini's compositions is the occasional influence of folk music, including that of the Balkans, an extreme rarity in early Italian Baroque music. Presumably he heard folk music in those regions when he traveled there during his youth. This influence is most evident in his strophic songs, one of which is in 5/4 (although actually notated in duple meter); asymmetrical meters are a normal feature of Balkan folk music but

neg: Noli me tangere (Sustris) white bindweed around the trunk of the tree behind him symbolises the fall of sin. A woman's shadow stretches along the passageway, possibly symbolising Mary Magdalene spreading the news of the Resurrection to the Twelve Apostles. It was produced during Sustris' first or second stay in Augsburg, probably for count Fugger of Kirschberg and Weissenhorn, whose coat of arms are in the bottom left of the work. Around the time of his stay there the artist assimilated the Italian style and combined the Venetian style with the mannerism of Francesco Salviati and Parmigianino. This and other works of that period

neg: Italian Baroque architecture sober classicizing academic style, with equal attention to aesthetics and engineering, a style that would make an easy transition to Neoclassicism. Sicilian Baroque is the distinctive form of Baroque architecture that took hold on the island of Sicily, off the southern coast of Italy, in the seventeenth and eighteenth centuries. The style is recognizable not only by its typical Baroque curves and flourishes, but also by its grinning masks and putti and a particular flamboyance that has given Sicily a unique architectural identity. The Sicilian Baroque style came to fruition during a major surge of rebuilding following a massive earthquake

neg: History of Italy Italian unification. The 17th century was a tumultuous period in Italian history, marked by deep political and social changes. These included the increase of Spanish influence over the Peninsula, as well as of the power of the Pope and the Roman Catholic Church at the peak of the Counter Reformation, the Catholic reaction against the Protestant Reformation. Despite important artistic and scientific achievements, such as the discoveries of Galileo in the field of astronomy and physics and the flourishing of the Baroque style in architecture and painting, Italy experienced overall economic decline. Effectively, in spite of Italy having given birth

neg: Jacob van der Kerckhoven in animals and fruits or other foods. The Italian influence reveals itself in the bright Italian light, which he often tempered by the use of chiaroscuro. He painted large and ambitious compositions similar to those he had seen in the workshops of Antwerp and in the studio of his master Fyt while at the same time developing a personal language of almost naive charm. Some of his compositions are in the very dynamic Flemish Baroque style of still life painting. An example of this is "" (Collection of Burghley House, Lincolnshire, England), which represents a dynamic whirlwind of violence. At

neg: Jean-Baptiste Lully Jean-Baptiste Lully Jean-Baptiste Lully (, ; ; born Giovanni Battista Lulli, ; 28 November 1632 – 22 March 1687) was an Italian-born French composer, instrumentalist, and dancer who spent most of his life working in the court of Louis XIV of France. He is considered a master of the French Baroque style. Lully disavowed any Italian influence in French music of the period. He became a French subject in 1661. Lully was born on November 28, 1632, in Florence, Grand Duchy of Tuscany, to a family of millers. His general education and his musical training during his youth in Florence

neg: Assumption Cathedral, Koper views of the city and the bay, is four stories, follows the style of an Italian bell tower and houses one of the oldest bells in Slovenia, dating back to 1333. Early 18th century, Koper was under Venetian influence, and was again an architectural transformation in the Baroque style. Under the direction of Giorgio Massari, additional landscaping elements were added to the church, including valuable paintings of Venetian painters Pietro Liberi, Celesti Andrea, Antonio Zanchi and Vittore Carpaccio. The most important painting is the Holy Conversation of Vittore Carpaccio, dating from 1516. Assumption Cathedral, Koper The Cathedral of the Assumption

neg: Portuguese art Portuguese art Portuguese art includes many different styles from many different eras. Portuguese sculptures can be best analysed by studying the many tombs of the 12th and 13th Centuries that are found throughout Portugal. In the late 1700s, the colony of Brazil was the main influence in Portuguese sculpture. This can be seen by the increase in Baroque wooden sculptures during this time. Joaquim Machado de Castro, a famous Portuguese artist who lived around this time, is responsible for a lot of these works. The Classical and Romantic styles of painting, brought to Portugal from Italy and France, had an

neg: Architecture of Mexico time. However, the more technical term for this very exuberant, anti-classical style is ultra Baroque. It originated in Spain as architectural decoration, spreading to sculpture and furniture carving. In Spain, the definitive element of ultra Baroque was the use of the Salomonic column along with the profuse decoration. In Mexico, the Salomonic column appears as well but the main distinctive aspect of Mexican ultra Baroque is the use of the estipite column in both buildings and altarpieces. This is not a true column, but rather an elongated base in the form of an inverted, truncated pyramid. This can be seen

neg: Lazzaro Morelli Lazzaro Morelli Lazzaro Morelli (1619 – 1690) was an Italian sculptor of the Baroque period. Born in Ascoli Piceno, the son of the Florentine sculptor Fulgenzio Morelli, who also trained Lazzaro's cousin, the artist Giuseppe Giosafatti. Lazzaro initially came to Rome to work under "Francesco Fiammingho" (François Duquesnoy), but left that studio to work under Bernini. He participated in Bernini's Funereal Monument for Pope Alexander VII Chigi, found in St. Peter's Basilica. He also was responsible for the "Angel with the scourge", based on a sketch by Bernini; this is one of the angels on the Ponte Sant'Angelo in Rome.

neg: Dutch and Flemish Renaissance painting Renaissance, although some Venetian prints of the same period show a comparable degree of fantasy. The Romanists were the next phase of influence, adopting Italian styles in a far more thorough way. After 1550 the Flemish and Dutch painters begin to show more interest in nature and beauty "in itself", leading to a style that incorporates Renaissance elements, but remains far from the elegant lightness of Italian Renaissance art, and directly leads to the themes of the great Flemish and Dutch Baroque painters: landscapes, still lifes and genre painting - scenes from everyday life. This evolution is seen in the

neg: Italian Baroque interior design Italian Baroque interior design Italian Baroque interior design refers to high-style furnishing and interior decorating carried out in Italy during the Baroque period, which lasted from the early 17th to the mid-18th century. In provincial areas, Baroque forms such as the clothes-press or "armadio" continued to be made into the 19th century. In the late 16th century, Rome was the seat of an extremely powerful and influential papacy which were struggling with the advent of Protestantism. As a response to the Protestant Reformation, the Curia started the Counter-Reformation, (after the Council of Trent), a period in which the church's policies

neg: Palais Porcia Palais Porcia The Palais Porcia is a Baroque mansion in Munich, southern Germany, which served as residence for Count Fugger. It is Munich's oldest still existing Baroque style palace. Enrico Zuccalli built the mansion in Italian baroque style in 1693 for the Count Fugger. In 1710 it was bought by Count Törring and in 1731 by Elector Charles Albert. His architect François de Cuvilles restored the mansion in 1736 in Rococo style for the countess Topor-Morawitzka, a mistress of Charles Albert. The mansion was named after her husband, Prince Porcia. In 1819, a concert hall was integrated by Métivier for

neg: Altes Museum the embodiment of divine authority. The museum to the north of the garden, which was to provide for the education of the people, stood as a symbol for science and art—and not least for their torchbearer: the self-aware bourgeoisie. Schinkel had developed plans for the "Königliches Museum" as early as 1822/23, but construction did not begin until 1825. Construction was completed in 1828 and the museum was inaugurated on 3 August 1830. Schinkel was also responsible for the renovation of the "Berliner Dom" in the neo-classical style (which was originally a "baroque" cathedral), and he exercised considerable influence on Peter

neg: Italian Rococo interior design curved edges. Italy was not immediately influenced by the Rococo, since by the early 18th century rich Italian landowners were still constructing their palaces in the conservative Baroque style, but by the 1710s and 1720s, Italian architecture and interior design became more feminine and lighter. Despite Rococo influences in the early 18th century, true Italian Rococo interiors began to be made in the late 1720s and early 1730s. The grace and charm of Rococo furnishing succeeded the heavy and imposing Baroque style. Italian Rococo interior design was in essence copied from that of the Régence and Louis XV styles. However,

neg: Sacred architecture historians regard Michelangelo's design of St. Peter's Basilica in Rome as a precursor to the Baroque style. Baroque style can be recognized by broader interior spaces (replacing long narrow naves), more playful attention to light and shadow, extensive ornamentation, large frescoes, focus on interior art, and frequently, a dramatic central exterior projection. The most important early example of the baroque period was the Santa Susanna by Carlo Maderno. Saint Paul's Cathedral in London by Christopher Wren is regarded as the prime example of the rather late influence of the Baroque style in England. Temples of The Church of Jesus Christ

neg: Historical dance The large number of dances with Spanish origin reflect the cultural influence of the dominating power of the age. Dance types: It was during the baroque era that Londoner John Playford published "The Dancing Master", which, along with similar publications, provides us with a large repertoire of baroque English country dances. Apart from country dances, the most well-documented baroque dance style was that which was developed at the French court during the 17th century. The term "baroque dance" is often used to refer specifically to this style, reflecting the dominating power of the era. Dance types include: The French style

neg: Spanish architecture kings Philip V and Charles III. The Royal Palaces of La Granja de San Ildefonso, in Segovia, and Aranjuez, in Madrid, are good examples of baroque integration of architecture and gardening, with noticeable French influence (La Granja is known as the "Spanish Versailles"), but with local spatial conceptions which in some ways display the heritage of the Moorish occupation. Rococo was first introduced to Spain in the (Cathedral of Murcia, west façade, 1733). The greatest practitioner of the Spanish Rococo style was a native master, Ventura Rodríguez, responsible for the dazzling interior of the Basilica of Our Lady of the

neg: Czech Baroque architecture of Baroque style in the Czech lands can be seen in the early 18th century. Many of the Baroque architects who worked, lived and often also died in the Czech lands came from different countries or were of foreign origin, mainly Italian, some came also from Bavaria, Austria or France. The Baroque style penetrated Bohemia in the first half of the 17th century. Prague was one of the main centers of Mannerist art (a late Renaissance style, foreseeing early Baroque) under Rudolph II (1576–1611). At the end of his reign and during the reign of his brother Mathias (1611–1619) there

neg: Francesco Zahra known of Zahra's early life, but he likely received a good education. Zahra's career as an artist lasted for four decades, and he came to be considered as the greatest painter from Malta of the 18th century. He painted in the Baroque style and was strongly influenced from the art scene of Naples. Zahra's works include many religious paintings, including altarpieces or other large paintings for churches, vault murals and devotional paintings for private commissions. He is also responsible for a number of portraits, drawings for reredoses, some furniture in churches and works in marble. He probably began to paint

neg: French Baroque architecture French Baroque architecture French Baroque architecture, sometimes called French classicism, was a style of architecture during the reigns of Louis XIII (1610–43), Louis XIV (1643–1715) and Louis XV (1715–74). It was preceded by French Renaissance architecture and Mannerism and was followed in the second half of the 18th century by Neo-classicism. The style was originally inspired by the Italian Baroque style, but, particularly under Louis XIV, it gave greater emphasis to regularity, the colossal order of facades, and the use of colonnades and cupolas, to symbolize the power and grandeur of the King. Notable examples of the style include the

neg: Giustino Menescardi and the work "Aci e Galatea". He painted the canvas of "St Augustine triumphs over Heresy" for the church of Santo Stefano, Venice. he also painted for the Sala dell'Archivio of the Scuola Grande dei Carmini and in the Ducal Palace of Venice. A "Resurrection of Christ" attributed to Menascardi is in the Hood Museum of Art at Dartmouth College. Giustino Menescardi Giustino Menescardi (1720–1776) was an Italian painter and scenic designer, active in Northern Italy and Venice in a late Baroque style. Little is known about his training. His works appear to display the influence of Tiepolo. In the

neg: Giustino Menescardi Giustino Menescardi Giustino Menescardi (1720–1776) was an Italian painter and scenic designer, active in Northern Italy and Venice in a late Baroque style. Little is known about his training. His works appear to display the influence of Tiepolo. In the Carnavals of 1756 and 1757, he collaborated with Francesco Grassi in the scenography for the Teatro Ducale and in the commedie francesi being enacted in the Theater of Colorno. On the 28 of January he was paid 704 lire for his work as a scenographer in the French opera "Zelindor e Gl'Inca in Perù", the work "il balli de Selvaggi",

neg: Art history individual paintings to each other, he was able to make distinctions of style. His book "Renaissance and Baroque" developed this idea, and was the first to show how these stylistic periods differed from one another. In contrast to Giorgio Vasari, Wölfflin was uninterested in the biographies of artists. In fact he proposed the creation of an "art history without names." Finally, he studied art based on ideas of nationhood. He was particularly interested in whether there was an inherently "Italian" and an inherently "German" style. This last interest was most fully articulated in his monograph on the German artist Albrecht

neg: Stefano Bernardi Stefano Bernardi Stefano (or Steffano) Bernardi (ca. 1577 – 15 February 1637), also known as "il Moretto", was an Italian priest, composer and music theorist. Born in Verona and "maestro di cappella" at the Verona Cathedral from 1611 to 1622, he later moved to Salzburg, where he was responsible for the music at the Salzburg Cathedral and composed a "Te Deum" for 12 choirs performed at the cathedral's consecration in 1628. Bernardi's career spanned the transition from late Renaissance music to early Baroque, with some of his works in the polyphonic style of Palestrina and others in the new "concertato"

neg: Flemish Baroque painting influence from Rubens with knowledge of classicism and Italian Baroque qualities. Artists in the vein include Erasmus Quellinus the Younger, Jan van den Hoecke, Pieter van Lint, Cornelis Schut, and Thomas Willeboirts Bosschaert. Later in the century, many painters turned to Anthony van Dyck as a major influence. Among them were Pieter Thijs, Lucas Franchoys the Younger, and artists who were also inspired by Late Baroque theatricality such as Theodoor Boeyermans and Jan-Erasmus Quellinus. Additionally, a Flemish variant of "Caravaggism" was expressed by Theodoor Rombouts and Gerard Seghers. Rubens is closely associated with the development of the Baroque altarpiece. Painted

neg: Maltese Baroque architecture by neoclassical architecture and other styles in the early 19th century, when Malta was under British rule. Despite this, Baroque elements continued to influence traditional Maltese architecture. Many churches continued to the built in the Baroque style throughout the 19th and 20th centuries, and to a lesser extent in the 21st century. Prior to the introduction of the Baroque style in Malta, the predominant architectural style on the island was Mannerist architecture, a variant of Renaissance architecture which was popularized in Malta in around the mid-16th century. The most notable Mannerist architect in Malta was Girolamo Cassar, who designed many

neg: Czech Baroque architecture The architects of early Baroque in the Czech lands were foreigners, mostly Italians. The first Baroque palace in Prague and probably also the first in Central Europe was built in 1621–1630 for a Czech nobleman, general of the imperial army in the Thirty Years' War, Albrecht von Wallenstein. Wallenstein Palace (Czech: "Valdštejnský palác") was designed and built by Italian architects Giovanni Pieroni and Andrea Spezza and was inspired by the newest Italian architecture of its time but the influence of Mannerism can be also seen. The Church of Our Lady Victorious in the Lesser Town of Prague is considered to

neg: Sicilian Baroque neoclassical French influence is very pronounced, highlighted by the central curved bay. The Sicilian Baroque was gradually and slowly being superseded by French neoclassicism. Sicilian Baroque is today recognised as an architectural style, largely due to the work of Sacheverall Sitwell, whose "Southern Baroque Art" of 1924 was the first book to appreciate the style, followed by the more academic work of Anthony Blunt. Most of the Baroque palazzi continued in private ownership throughout the 19th century, as the old aristocracy either married middle-class money or fell further into debt. There were a few exceptions and some of these retain

neg: Ignaz Unterberger brother. Christoph Unterberger (1732-1798)'s influence as a member of the Accademia di San Luca provided Ignaz with access to a pivotal group of Italian artists when he arrived in Rome in 1769. His ability to capture the Italian style was such that his painting 'Maternal Love' was thought to have been Correggio's. Unterberger was a highly capable artist, with experience in creating frescoes, altarpiece paintings, bambocciata and marble work. The artist stated that he only painted for a livelihood, but printmaking was his real passion. Unterberger's printmaking is not particularly well-known, although some of his prints were included in the

neg: Richard Dering chapel, and they were used for private devotion during the Commonwealth (when they were reputedly Oliver Cromwell's favorite music). Dering wrote three books of motets with continuo, two of canzonets and one of continuo madrigals, and is represented in many MSS and anthologies. His music shows varying degrees of Italian influence; his innovative use of a basso continuo part in his madrigals is considered to be an early example of the nascent Baroque style in English music. The continuo madrigals and small "concertato" motets are very much in the idiom of Alessandro Grandi or d'India, with wayward modulations and dramatic

neg: All Saints Church, Warsaw of Częstochowa, a porch and two tall bell towers, all built in the neoclassical style. There are paintings by the 17th century artist M. L. Willman, a representative of Silesian baroque. The restored marble figure of Jesus the Preacher is by Wiktor Brodzki. The pulpit of wrought iron is based on a design by Dziekinski and Nieniewski. On the 15th anniversary of the office of Pope John Paul II a monument in his honour was placed in front of the church, a donation from the Italian artist Giorgio Galletti. All Saints Church, Warsaw All Saints Church is a Roman Catholic

neg: Baroque architecture dominated the field. However, Austria came soon to develop its own characteristic Baroque style during the last third of the 17th century. Johann Bernhard Fischer von Erlach was impressed by Bernini. He forged a new "Imperial" style by compiling architectural motifs from the entire history, most prominently seen in his Karlskirche in Vienna. Johann Lucas von Hildebrandt also had an Italian training. He developed a highly decorative style, particularly in façade architecture, which exerted strong influences on southern Germany. Frequently, the Southern German Baroque is distinguished from the Northern German Baroque, which is more properly the distinction between the Catholic

neg: Francesco Stringa Francesco Stringa Francesco Stringa (1578–1615) was an Italian painter of the early-Baroque era, active mainly near his native city of Modena. He apprenticed initially, in 1595, in the Roman studio of Federico Zuccari, but soon came under the influence of the ascendant style of the Carracci. He returns in 1602–1606, to work for the Este court at Modena. In 1607, he worked with Ercole dell'Abate in decorating the ceiling of the Sala del Consiglio in the Palazzo Comunale. He also painted an "Annunciation" for Formigine and a "Madonna and saints" for the parish church of Fanano. In 1608, he became

neg: Church of Our Lady of Victories, Bowen Hills on the Bowen Hills church suggest a strong influence of this style, most obviously in the baroque parapeted gables, groups of round-headed arched openings, textured stucco render and several semi-octagonal projections. The interior of the church does not exhibit the strong stylistic intention apparent externally. Hall and Prentice formed when TR Hall formed a partnership with GG Prentice in 1919. The partnership was responsible for several notable examples of Spanish mission inspired architecture in south-east Queensland. Examples include two bathing pavilions (1934) and a surf life saving club (1936) at Southport and Breffney, a large house in Clayfield (1929). The

neg: Saint Jerome in Meditation (Caravaggio) introverted mood of this painting is strikingly similar to that of "John the Baptist", now in Kansas City at the Nelson Atkins Museum, painted at about the same time. Saint Jerome in Meditation (Caravaggio) Saint Jerome in Meditation (c. 1605) is a painting by the Italian Baroque master Caravaggio, now in the Museum of Montserrat, next to the Monastery of Santa Maria, Montserrat (Museu del Monestir de Santa Maria). Saint Jerome, hermit, Father of the Church, and responsible for the translation of the Bible into Latin, (the Vulgate Bible) was a popular figure in Caravaggio's time, and the artist painted

neg: Saint Jerome in Meditation (Caravaggio) Saint Jerome in Meditation (Caravaggio) Saint Jerome in Meditation (c. 1605) is a painting by the Italian Baroque master Caravaggio, now in the Museum of Montserrat, next to the Monastery of Santa Maria, Montserrat (Museu del Monestir de Santa Maria). Saint Jerome, hermit, Father of the Church, and responsible for the translation of the Bible into Latin, (the Vulgate Bible) was a popular figure in Caravaggio's time, and the artist painted him at least eight times (only three survive). Whether this was from personal choice or at the request of patrons is unknown, but it gave Caravaggio the opportunity to

neg: Culture of Portugal royal painters. It is during this century that Gothic art was replaced by a more humanistic and Italian-like art. During the reign of King Alfonso V, an important Portuguese artist Nuno Gonçalves shaped Portuguese art, leading it to gain local characteristics ("Escola Nacional", National School). His influence on Portuguese art continued after his death. He was the royal painter for the famous "Retábulo do Altar das Relíquias de São Vicente" in the Cathedral of Lisbon ("Sé de Lisboa"). The painting caught fire and was replaced by a Baroque structure. Parts of his work still exist and can be found in

neg: Northern Mannerism scenes in styles based on local traditions at the same time they were working on highly Mannerist paintings. After his return from Italy Goltzius moved to a quieter proto-Baroque classicism, and his work in that style influenced many. Joachim Wtewael, who settled in Utrecht after returning from Italy in 1590, drew more influence from Italian Mannerists than from Prague, and also continued to produce kitchen scenes and portraits alongside his naked deities. Unlike many, notably his fellow Utrechter Abraham Bloemaert, once Wtewael's repertoire of styles was formed, he never changed it until his death in 1631. For painters in the

neg: Baroque Churches of the Philippines shaped by limited access to certain materials, and the need to rebuild and adapt to natural disasters including fires and earthquakes, creating a style sometimes referred to as Earthquake Baroque. The four baroque churches of the Philippines are classified as UNESCO world heritage sites as they have important cultural significance and influence on future architectural design in the Philippines. The churches display certain characteristics that express a ‘fortress baroque,' such as thick walls and high facades that offer protection from marauders and natural disasters alike. The four churches further exemplify the baroque style with elaborate iconography and detailed scenes from

neg: Francesco Stringa court painter for Duke Ranuccio I Farnese in Parma, where he painted a number of canvases now in the Capodimonte Museum in Naples. He died in Parma. Among his pupils were Jacopino Consetti and Jacopo Zoboli. Francesco Stringa Francesco Stringa (1578–1615) was an Italian painter of the early-Baroque era, active mainly near his native city of Modena. He apprenticed initially, in 1595, in the Roman studio of Federico Zuccari, but soon came under the influence of the ascendant style of the Carracci. He returns in 1602–1606, to work for the Este court at Modena. In 1607, he worked with Ercole

neg: Luigi Primo lifes with flowers, insects and animals, executed the decorative borders that frame the various episodes. Luigi Primo Louis Cousin, in Italy mainly known as Luigi Primo or Luigi Gentile (c. 1605–1667) was a Flemish painter of the Baroque period, who was active in Italy for a major part of his career. Working in a style, which combined his Flemish roots with the profound influence of Italian art, he was known for his portraits and altarpieces. His birthplace was probably the village Breivelde near Ninove in present-day Belgium but it is also possible that he was born in Brussels. A birth

neg: Giulio Belli wrote numerous masses, many with basso continuo, showing his familiarity with contemporary practice. He also wrote psalm settings, and "sacred concertos" in the concertato style — one of the most distinctive forms of the Italian early Baroque. His earlier music is mostly in the Palestrina style of balanced polyphony, though he used polychoral techniques, in keeping with northern Italian practice. His secular music includes madrigals and canzonettas; some were famous enough to be anthologized by Thomas Morley in England. Giulio Belli Giulio Belli (ca. 1560 – 1621 or later) was an Italian composer of the late Renaissance and early Baroque

neg: Luigi Primo Luigi Primo Louis Cousin, in Italy mainly known as Luigi Primo or Luigi Gentile (c. 1605–1667) was a Flemish painter of the Baroque period, who was active in Italy for a major part of his career. Working in a style, which combined his Flemish roots with the profound influence of Italian art, he was known for his portraits and altarpieces. His birthplace was probably the village Breivelde near Ninove in present-day Belgium but it is also possible that he was born in Brussels. A birth before 1606 is also considered possible. He was apprenticed to Gillis Claeissins the younger in

neg: Scipione Borghese in 1605 for a chapel in the Basilica of Saint Peter's, but rejected by the College of Cardinals because of its earthly realism and unconventional iconography. Recent archival research has established that Borghese intended from the early stages of the commission that the altarpiece would end up in his own collection. Borghese's early patronage of artist Gianlorenzo Bernini assisted to establish him as the leading Italian sculptor and architect of the seventeenth century. Between 1618 and 1623, Bernini worked primarily for the Cardinal, creating innovative pieces that would become early touchstones of the Baroque style. For the decoration of the