Two Great Innovators in Theological Baroque

Topics: Baroque, Rome, Art history Pages: 3 (923 words) Published: July 25, 2012
Two Great Innovators in Theological Baroque
Baroque is the unique artistic style in the art history, being obvious distinctions from the Renaissance. This art style emerged in the special time, bringing the new thoughts and creative forms in certain history. Great pioneer artists in this time have made their contribution to the art revolution, promoting the advancement of the whole society (Goldstein, 642). Among all these artists, Caravaggio and Bernini are well-known as the Theological Baroque innovators because of their artistic works. This short essay would discuss some characteristics of Baroque by analyzing the works of these two 17th Century Roman artists. Bernini in his works St Theresa described Theresas’ illusion of being loved by God. It reflects originally promotes to use the art to express the true common emotion for human beings. Similarly, in Caravaggio’s works The death of the Virgin, everything is so ordinary that it is near to everyone. In the breaking humble farm cottage, dead Maria lied in bed, Virgin seems have died for poverty and hunger. Her hair is disheveled, pale face is slightly swollen, as if accompanying with the shadow of the sorrow of life. The reasons that both Caravaggio and Bernini can be considered as Theological Baroque innovators can be summarized for the following aspects: First, their works have distinct characteristics of that times. Their works like mirrors with true reflection of 17th Century Roman which is a turbulent era (Davies,Hofrichter, et al. 384). It is the era which gave birth to its art, in turn, the performance of art reflects this era. Second, both Caravaggio and Bernini have their own standard of beauty, which is from the true living atmosphere from bottom of society. These artists were familiar with these people and try to reflect the true life in society and they were always starting to reject against all fictitious works(Davies,Hofrichter, et al. 384). Third, in works of both Caravaggio and...
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