Art and Architecture in Italy, 1600 to 1750 by Rudolf Wittkower

By Rudolf Wittkower

This vintage survey of Italian Baroque artwork and structure makes a speciality of the humanities in each heart among Venice and Sicily within the early, excessive, and overdue Baroque classes. the center of the research, notwithstanding, lies within the structure and sculpture of the exhilarating years of Roman excessive Baroque, whilst Bernini, Borromini, and Cortona have been all at paintings below a chain of enlightened popes. Wittkower’s textual content is now followed by means of a severe creation and tremendous new bibliography. This version also will contain colour illustrations for the 1st time.

this is often the second one e-book within the 3 quantity survey.

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Although the of this statement is is no logic unassailable, whether or not the beholder will regard the art of the seven- great reformers had been dead for at least two teenth century as a truly religious art depends generations, and on further it is comment evident even without any that nothing could be more averse to the spirit in which they had worked. No doubt is possible, then, that the Counter- Reformation made necessary reformatory iconography ; a specific counter- nor that the icono- his own, partly subconscious, terms of refer- ence.

The inn-keeper of the disciples is The incomprehension of contrasted with the reaction who recognize Christ and ex- press their participation in the sacred action by movements. In keeping with the tradition stemming from W- rugged, berti almost compulsive and Leonardo, Caravaggio, at this stage of his development, regarded striking gestures as necessary to express the actions of the With Caravaggio the other distinct meaning; device, not unknown draw the beholder mind. great gesture had anit was a psychological in the history of art,'** to into the orbit of the picture CARAVAGGIO 12.

Nereo and Cardinal Pietro Aldobrandini's of , (S. Maria size. in Vallicella) [135] Nuova was begun for St S. Niccolo in Carcere, and Cardinal Sfondrate's of S. Cecilia in the days of Clement VIII as well Philip Neri's Oratorians by Matteo di Citta di as those of S. Francesca Castello and continued by the elder Martino S. ^'' The building was consecrated in 1 599, but Fausto Rughesi's traditional fa9ade was not yet finished in 1605. S. Andrea stone's throw from the Chiesa signed by Giacomo della Valle, a Nuova, was de- della Porta (not by Pietro Sebastiano fuori nati, and S.

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