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PAINTING The Council Of Trent (1545-63), in which the Roman Catholic Church answered many questions of internal reform raised by both Protestants and by those who had remained inside the Catholic Church, addressed the representational arts by demanding that paintings and sculptures in church contexts should speak to the illiterate rather than to the well-informed. Due to this Baroque art tends to focus on Saints, the Virgin Mary, and other well known bible stories. This turn toward a populist conception of the function of ecclesiastical art is seen by many Art Historians as driving the innovations of Caravaggio and the Carracci brothers, all of whom were working (and competing for commissions) in Rome around 1600. Baroque art is characterized by great drama, rich deep color, and intense light and dark shadows. As opposed to Renaissance art, which usually showed the moment before an event took place, Baroque artists chose the most dramatic point, the moment when the action was occurring: Michelangelo, working in the High Renaissance, shows his David composed and still before he battles Goliath; Bernini's baroque David is caught in the act of hurling the stone at the giant. Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. See also Baroque Illusionistic Painting Notable Baroque painters Italian
French
Spanish Dutch Flemish SCULPTURE The most important sculptor of the Baroque period was undoubtedly Gianlorenzo Bernini (1598-1680), who approached Michelangelo in his multiple skills. Bernini sculpted, worked as an architect, painted, wrote plays, and staged spectacles. In the late 20th century Bernini was most valued for his sculpture, both for his virtuosity in carving marble and his ability to create figures that combine the physical and the spiritual. He was also a fine portraitist in high demand among the powerful for bust-length likenesses. Baroque sculptors and architects
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