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Bernini, Gian. David. 1623-1624, Borghese Gallery and Museum

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Caravaggio. The Calling of Saint Mathew. 1599-1600, Cappella Contarelli, Rome.

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Burgard begins his argument that Mannerism paved the way for Baroque because it established a sense of subversion. However, Baroque art established its subversion in the naturalism of the Renaissance. So, common motifs found in Renaissance art would be drawn to an extreme, creating an intense relationship with the art. This can be seen when comparing Michelangelo's "David" to Bernini's. Bernini captures David in motion, coiled and leaned back, ready to release the stone at Goliath, establishing the dramatic composition of Baroque art. Meanwhile, in paintings, Caravaggio pioneered chiaroscuro which created sharp contrasts in the light and shadows of the painting. Typically, Baroque painters would create a flat, dark background and have the subject be illuminated by a single light. By doing this, the characters seemed to lack a sense of identity since there is no established location.

Burgard, Peter J.. 2019. Baroque : Figures of Excess in Seventeenth-Century European Art and German Literature. Boston: BRILL.

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Gentileschi, Artemisia. Judith Slaying Holofernes. 1612-1613, Parque de Capodimonte.

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Artemisia Gentileschi nacque nel 1593, durante un periodo in cui le donne cominciavano a scrivere per mostrare di erano intellettualmente stesse agli uomini. Le crescenti istituzioni della Controriforma hanno causato un aumento delle idee misogine. Le loro idee hanno incluso le credenze che le donne erano pigre, male, lussuriose, e inaffidabili. Testi di autori come Cassandra Fedele hanno ispirato Gentileschi a concentrarsi sull'autonomia delle donne nei suoi dipinti. Due dei suoi dipinti più famosi si concentrano su teme di intimidazione sessuale e violenza contro le donne.

Mary D. Garrard. 2020. Artemisia Gentileschi and Feminism in Early Modern Europe. Renaissance Lives. London, UK: Reaktion Books.

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Bernini, Gian. The Ecstasy of St. Teresa. 1647-1652, Church of Santa Maria della Vittoria

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Much of our current understanding of Italian Renaissance painting was shaped by Vasari's, a Baroque critist, Lives. His philosophy about critiquing art can be separated into three categories: good art full of errors, art lacking refinement, and perfect art that seems to come alive (reserved chiefly for Michelangelo). Vasari wrote Lives to provide a list of examples that project his idea of perfect art. His repeated use of classical art philosophy also helped to establish a rhetoric for modern art historians.

Goldstein, Carl. “Rhetoric and Art History in the Italian Renaissance and Baroque.” The Art Bulletin, vol. 73, no. 4, 1991, pp. 641–52. JSTOR.

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Borromini, Francesco. The Choir of a Church and other Sketches.Rijksmuseum, Public Domain Mark.

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Gentileschi, Artemisia. Judith and her Maidservant. 1623, Detroit Institute of Arts

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Pietro da Cortona. Allegory of Divine Providence and Barberini Power. 1633-1639, National Gallery of Ancient Art in Barberini Palace.