However, the Baroque created a distance between the principles and theories of Antiquity, and therefore the Renaissance, to such a degree they were hardly recognizable, especially in painting (ibid). It became a period of enhanced decoration, more building elements, change of the classical forms of building and a preference toward the pictorial, that led to rejection of straight lines, which can also be seen within Jesuit realm as well as in Bernini’s works (ibid). The distance between Antique thought was a purposeful one because to attain their goals of renewal, the church had to deliver more than the standard religious themed Renaissance work that was already criticized by the Protestants, to invigorate the people towards its heavenly promises.
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These two schools were the Eclectics, founded by the Carracci family, and the naturalist school, founded by Caravaggio (baroque art). Both faced the challenges of maintaining their independent style as well as showing their excellence in sacred imagery as expected by the Council decrees, where some faltered and denied these demands, and other excelled and were even highly sought out by ecclesiastic patrons, such as Caravaggio (Hall, 135). Therefore, while both schools were reflective of the creative variability allowed by the Tridentine edicts, Caravaggio and his naturalist school seems to have dominated the scene as the renewal progressed from the 16th-17th (companion 376-77). This could be because the Carracci school of Eclectics were created from the influence of the classical ideal of beauty and Raphael’s work from the Renaissance where they set out to replicate his “simplicity and beauty” using colour as opposed to line (Maland, 96). This almost seems to replicate the Renaissance or even the Mannerist style which was criticized for its false truth and evasion of all things bad or ugly, and therefore unfavourable in terms of propagandist use to encapsulate a viewer back into the faith. This allowed for the Natural style to flourish in the CR …show more content…
Although Caravaggio did not begin in Rome, he transformed it from his arrival in 1590 with his varied stylistic development (hall, 249). He was very against the falsifying of truth in pursuit of beauty and the evasion of “ugliness and pain” which led him to evolve this new dramatic style in which he presented the world as is, neither too beautiful nor too artificially beautiful (maland 97). He expressed his realism in a dark and vivid manner called tenebrism, with carefully selected and brilliant compositions set against a shadowy background that was illuminated by a harsh and mysterious light (ibid-97-100). Most of works consisted of Biblical stories or characters, in which he shared the Jesuit desire to renew their stories and impress the outside world with “their immediacy” as well as embodying the tenants of Post-Tridentine are and the CR (ibid
These two schools were the Eclectics, founded by the Carracci family, and the naturalist school, founded by Caravaggio (baroque art). Both faced the challenges of maintaining their independent style as well as showing their excellence in sacred imagery as expected by the Council decrees, where some faltered and denied these demands, and other excelled and were even highly sought out by ecclesiastic patrons, such as Caravaggio (Hall, 135). Therefore, while both schools were reflective of the creative variability allowed by the Tridentine edicts, Caravaggio and his naturalist school seems to have dominated the scene as the renewal progressed from the 16th-17th (companion 376-77). This could be because the Carracci school of Eclectics were created from the influence of the classical ideal of beauty and Raphael’s work from the Renaissance where they set out to replicate his “simplicity and beauty” using colour as opposed to line (Maland, 96). This almost seems to replicate the Renaissance or even the Mannerist style which was criticized for its false truth and evasion of all things bad or ugly, and therefore unfavourable in terms of propagandist use to encapsulate a viewer back into the faith. This allowed for the Natural style to flourish in the CR …show more content…
Although Caravaggio did not begin in Rome, he transformed it from his arrival in 1590 with his varied stylistic development (hall, 249). He was very against the falsifying of truth in pursuit of beauty and the evasion of “ugliness and pain” which led him to evolve this new dramatic style in which he presented the world as is, neither too beautiful nor too artificially beautiful (maland 97). He expressed his realism in a dark and vivid manner called tenebrism, with carefully selected and brilliant compositions set against a shadowy background that was illuminated by a harsh and mysterious light (ibid-97-100). Most of works consisted of Biblical stories or characters, in which he shared the Jesuit desire to renew their stories and impress the outside world with “their immediacy” as well as embodying the tenants of Post-Tridentine are and the CR (ibid