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By Germain Bazin

The 17th and eighteenth centuries have been years whilst the humanities of Western civilization reached their such a lot various and richest expression, while all of the ecu peoples invented the creative kinds most sensible suited to its personal genius. during this long-awaited quantity on Baroque and Rococo paintings, Germain Bazin, leader Curator of the Louvre Museum in Paris, lines the a number of achievements of these exuberant and paradoxical times—the wealth of masterpieces in sculpture, portray, structure, and ornamental arts that mirrored the expansive diverseness of the Baroque and Rococo inventive impulse.

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What is certain is that it already marks the work fl of Francisco Ribalta at Valencia (1565-1628), the master ofjusepe (1 591-1652). Ribera went to live in Naples - de Ribera a Spanish possession the followers of Caravaggio. manner further, in a the end of his life, that He was sometimes rather however, In the seventeenth century his art two (1 artificial. Towards grew more relaxed extending , (///. was represented by Pacheco (1 41). met tendencies in Spain. The of Francisco de art 598-1664) was dominated by sculpture, which was the pilot art in Seville during the first third of the century, owing to Juan Martinez Montanes.

His works have a painterly quality foreign to those of Gregorio Fernandez sian painters striving ; this is due over those of Castile altar-pieces in the same to the superiority at this time. of the Andalu- Montanes designed Classical spirit. After Montanes the Seville School of polychrome sculpture degenerated rather quickly. Pedro Roldan (1624 '-1700) introduced Baroque rhythm into the Seville style (1628-1688) of Granada was no (III. more than a 39). Pedro de Mena manufacturer of pious images, of an exaggerated realism often accentuated by theatrical costume.

In these pictures (bodegones) summoned changed portraits, form is have to a place still-life studies of some importance (///. with by of kitchen utensils When he was 44). he adopted a fluid Confining himself almost entirely to manner, all fine shades, in which the and melts into an atmosphere of indeterminate grey. made Like Franz Hals, his contemporary in Haarlem, he me nt sculpture, Madrid and became Court Painter to Philip IV, he his style radically. elusive from often than not, enlivened of the brush the the move- essential factor ofrnctorial expression.

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