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By Germain Bazin

The 17th and eighteenth centuries have been years whilst the humanities of Western civilization reached their such a lot various and richest expression, while all of the eu peoples invented the inventive kinds most sensible suited to its personal genius. during this long-awaited quantity on Baroque and Rococo artwork, Germain Bazin, leader Curator of the Louvre Museum in Paris, lines the a number of achievements of these exuberant and paradoxical times—the wealth of masterpieces in sculpture, portray, structure, and ornamental arts that mirrored the expansive diverseness of the Baroque and Rococo artistic impulse.

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J2 Si^ Jfe $?? 9 i S^P E fe P^l P* Ribera was a strange mixture in him the instinct for cruelty characteristic of the Neapolitan School was pushed to the point of masochism yet other works of his, like this Saint Agnes in Prison, Gemaldegalerie, Dresden, are filled with the feeling for femininity that 41 : ; characterizes the Seville School. by Zurbaran, Grenoble Museum. The monumental and ascetic Seville of Zurbaran was not derived from a study of Caravaggio, but from the from people of guise the in saints representing of manner informal His sculpture.

Wife the Archduchess The Isabella, governors of the Southern Netherlands in the seventeenth century, extended their protection to Rubens, as did their successor. None the less, the main artistic centre was not at Brussels but at Antwerp. In 1648 the closing of the Scheldt reduced the economic power of this city, yet during the second third of the century its wealth made a great centre of the arts possible. Here, by virtue of his genius, recognized throughout Europe, Rubens exerted a kind of sovereignty over the painters, and his work has given Antwerp an outstanding position in the history of Baroque art.

In contrast, the Zurbaran time carried their characteristic effects even to include the depiction of wom en painterly one at that - where he found himself in direct contact with [III. 42). decadence of the made them appear The second style half of his illuminated life by an inner coincided with the derived from sculpture, and Zurbaran, having lost his public, tried to imitating - clumsily, adapt himself to the it new painterly style by must be admitted - Bartolome Esteban Murillo (1617-1682). As against the exalted mysticism of Zurbaran, Murillo's paintings display a to ordinary people (///.

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