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This composition embodies baroque naturalism. The figures appear very fluid and in motion. Caravaggio paid attention to the scale of the figures which complements the foreshortening of their bodies. It is clear that Christ's head is smaller than the the man in orange, who is closer to the front of the painting. He also achieved this illusion through the positioning of the bodies. The two woman and man in orange are leaning so that they are parallel with christ. By doing this, Caravaggio has created diagonal lines that run off straight into space to foreshorten. Like the other two paintings, the dark background that contrasts with the bright highlights on the figure's bodies instantly draws the eye to the figures. This painting was intended to be placed above an alter so that christ's body would look as if it is being lowered onto the alter. Caravaggio reflected catholic ideology in this painting to support the counter-reformation.

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This exhibition focus' on the Catholic response to the religious/political shift that occurred in 16th and 17th century Europe. This era is categorized by the Baroque style. Fueling the counter-reformation and reviving catholic art, these paintings capture dramatic biblical moments and concepts that produce emotional responses from the viewer. We know that the artists intentionally contributed to the counter-reformation because catholic beliefs are purposely promoted. With no background, only darkness, this exhibition depicts the moments before, during, and after death. The figures exude drama through the movement of their arms and open facial expressions. However, I believe the drama felt through the stillness of the victims is the most overwhelming.

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This dramatic depiction of the Judith and Holofernes story shows the viewer the peak of the action. Gentileschi was influenced by Caravaggio's version of this moment, except she embraced and achieved the baroque style in a way that he had not. The angles at which the women are at, their effort in holding Holofernes down, and the blood splatter is what makes Gentileschi's version more natural and realistic. The tenebrism is the most intense in this part of the exhibition, the figures appear illuminated against the black background. This gives the painting a theatrical feel and highlights the gruesomeness of the composition.

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This piece representing sacrifice is the simplest yet most emotional of the three. Because the lamb is tied up and not struggling, the viewer can assume it has given up and accepted its fate. Zurbarán intended Christ to be referred as the lamb of God by titling it "Agnus Dei". His religious subject painted during the 1930's indicates that it was intended to support the counter-reformation. This piece is still, but dramatic. The contrast of the dark background and the bright figure is extravagant but probably the most obvious baroque style. The fluff of the lamb looks like you could touch it and it would be very soft, which is Zurbarán tapping into the naturalism of the baroque style.