domenicino

 domenicino

Domenico (1518–1641) was initially an assistant to Ludovico Caracchi. Going to Rome in 1602, he helped Aniwale Caracchi in painting the ceiling of the palace of Farnese.

In the paintings he did in the last 20 years, the paintings of the early period are more classical than the later ones, but the paintings of the later period have more dynamism.

This becomes clear by comparing his painting 'The Execution of Saint Andrew' (1608-10) and another painting of the same title which he made in 1622-28.

'Giovanni Lafranco' (1582-1647) became famous as Domenico's competitor. He soon became a pioneer painter and his artistic creations have the qualities of dominance and originality.

One of Domenico's contemporary painters was a famous painter, Guido Reni, also known as Guido (1575-1642), whom Domenico considered superior to him.

After working under the direction of Caracchi in Bologna, he went to Rome. Adopting dramatic lighting effects from Caravadabhoyo, he developed a style distinct from Domenico.

His fresco paintings 'Sacrifice of Saint Andrew' and 'Aurora' are excellent examples of his personal style, in which every figure appears secondary under the omnipresent rhythm and movement, although each figure has been painted with minute study and detail.

This is a characteristic of the Baroque style. In his paintings after his return to Bologna in 1622, classical ideal beauty was given more importance than the qualities of Baroque style of dynamism, dramatic light and realism.

These paintings have an attractive color scheme and nowhere does any figure appear broken or deviated from the universal rhythm.

After the death of Widow Reni, Guercino (1591-1666) spread the Baroque style in Italy.

He was a disciple of Ludovico Caracchi. Like the painters of Venice, he was especially fond of the attractive color consistency and texture of the surface and he was strongly opposed to shadow and light.

Before coming to Rome in 1621, he made many altar paintings which were according to the style of his master Karachi but became so powerful and lifelike that it was impossible for Karachi to make them. 'Crow feeding Elijah' is a representative picture of his early period.

The fresco painting on the roof of the Building Ludovisi is his most beautiful work. While being built on the roof, it seems as if the view outside the building is visible.

The effect of this picture is amazing, full of qualities like brightness of colors, freshness, proper use of shades and free hand drawing etc. The figures symbolizing day and night seem to be entering Sotsah Bhavan.

The painted recesses have given the building the depth and vastness of the natural sky. (Figure 61) His altarpiece 'Burial of Saint Petronila', made in the same period, is another of his best works.

Orazio Gentileschi (1596-1669) adopted the realism of Caravadgio and made religious paintings, but in them there is not as much opposition of shadow and light as Caravadgio and the use of cooler colors.

These paintings 'Exodus into Egypt' and 'Two Women' can be considered representative paintings of his style, which have fearless realistic depiction.

Bernardo Cavallini (1622-54) was a follower of Caravadjio, but due to his greater interest in elegance and beauty, his paintings do not have the naturalness of Caravadjio.

Among Italy's Baroque works of art, there are many ceiling frescoes that create the impression of a natural sky.

Be it with the idea of infusing religious sentiments or for the purpose of decoration, this kind of optical illusion depiction of the sky was the specialty of Baroque art.

Italy's Baroque style reached its climax in the art of Pietro da Cortona (1590–1669). As an architect, he was not as great as Bernini but he was very famous for his decoration.

The early fresco paintings in the Church of Santa Viviana in Cortona are influenced by the ancient classical style, yet the style of drawing is freer and broader than Domenico's and the composition is more powerful.

Contact with Bernini helped in the development of his art. His painting 'The Abduction of the Sabines' (1629) is more lifelike and its figures have the solidity of statues.

The paintings on the ceiling of Palazzo Barberini are his best works and have a realistic effect of leisure and atmosphere. Cortona's best follower was Luca Giordano (1632-1705) who created huge murals similar to Cortona.

His early work was influenced by Caravadjyo and Rivera. Apart from this, he also adopted the beautiful color consistency of the painters of Venice.