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The Crucifixion of St. Peter

CRUCIFIXION OF SAN PEDRO

We face

one of the masterpieces of the Italian Baroque. This is an oil on large canvas.

The drawing is diluted by merging the shapes of some characters with deep black background.

The colors take on a special role. The entire composition is made based on warm colors to magnify the physical proximity of the scene and plunges us into the action.

The light from a single focus, concentrate, as is so characteristic of the Baroque, the central figure. Meanwhile, all that is beyond the scope of direct light merges into the deepest shade reaching pure black. This technique is so characteristic of Caravaggio, known as tenebrism.

Since the entire composition focuses on a next scene, we can not see the aerial perspective. However, San Pedro's arm is close to us in a foreshortening light also leads us to the Baroque.

The spatial arrangement of the characters in the painting shows a cross-shaped arrangement. Two strong diagonals intersect at a central point slightly shifted to the left. The diagonal compositions that have transmitted a strong sense of dynamism and this is a characteristic of the Baroque.

The theme is designed, as is characteristic of the Baroque, with an intense drama heightened by the play of light and tension of the muscles of the executioners and the awkwardness of the positions of all characters.

All this brings us to ensure that this work is "The Crucifixion St. Peter "by Caravaggio and is framed within the principle tenebrism baroque seventeenth century.

The seventeenth century is a century of crisis for the church not just overcome Reform. In a sharp forge ahead, the Vatican began a construction career to reinforce his image of power. The city of Rome is the setting for this demonstration of power. Are built dozens of temples and many others are reformed. The use of poor materials from the usual because of the deep economic crisis does not seem to deter the popes of this century in his foot building industry. The Vatican itself is completed with an oversized front colonnade and a spectacular way elliptical that appears to represent a symbolic embrace of Church of San Pedro to his flock.

In countries like Spain and Italy, religious themes make up the bulk of the orders and Church is the main patron of Baroque art in both countries.

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San Carlos of the Four Fountains

SAN CARLOS DE LAS CUATRO SOURCES is one of the key works of Italian Baroque. Work of Borromini, was erected in Rome in mid-seventeenth century. The facade of the temple, built in stone with a regular rig, is a paradigm of the Italian Baroque. Divided into two sections separated by a frieze that contains, in Latin (ET TRINITATEM HONOIS IN CAROLI MDCLVI), an inscription and the date of his consecration (1666), each of the floors is marked vertically by four giant columns of composite order ( plain shaft and Corinthian capital). The lower floor is divided into two levels: the bottom are two small windows occupying the spaces between external elliptical while the central intercolumniation contains access door, lintel, flanked by separate columns composed on the podium. At the second level of the lower section, three niches containing images of saints. The upper part repeats the pattern of lower although the columns are shorter. The niches are empty and the central hole on the front door is occupied by a window (preceded by a parapet) and a vacuum elliptical medallion tops the facade. Above a second ledge, a narrow slightly recessed attic completes the whole frontispiece.

But the most unique featuring this building are the curves that describe the facade. The nave appears early and the frieze and the cornice that separates the two sections facing ripple remarks. The second ledge further accentuates the sensation curves of the wall.

both columns composite giant order, as the curvature of the wall and the openings and elliptical medallion reminds us that design is the prototype of the Baroque as prone to the use of ellipses and gigantic columns.

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edilicia fever that seems to affect Rome along the XVII century is a shows the desire of Catholic Church to demonstrate their power. Greatly weakened by the constant struggles against the Reformers, the papacy is determined to demonstrate his power by building magnificent temples and palaces although in many cases, the appearance of luxury and power conceals the poverty of the materials (brick, stucco) that test economic hard times of the church. This constructive effort will give rise to many temples and monuments emblematic city planted milestones that will make history.

The rest of Europe, mired in the conflict of the Thirty Years War, includes the fall of the English Empire and the assumption of Relay France of Louis XIV to give birth to one of the periods of increased political weight of France during the European policy. Meanwhile, Spain is experiencing a deep economic crisis inherited from the previous century, it becomes chronic in addition to moral discouragement to a loss of political primacy in the old continent.

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The palace of Charles V

PALACIO DE CARLOS V IN LA ALHAMBRA DE GRANADA

The building to which we find is a magnificent example of Renaissance classicism typical of the XV and XVI. The construction is made of stone and marble, we suggest a building whose construction expensive spared no means.

Fascinated by the beauty of the area, Carlos V, who visited the Alhambra on their honeymoon, a famous architect in charge painter, sculptor of his time, Pedro Machuca, this building designed as a residence of the monarch in the periods pass it on Granada. Machuca, who has worked in Rome with Bramante and Michelangelo, has been impressed by the new style and design embodied in a building prototypical Renaissance classicism.

works begin in 1527 and run for over a century and a half, so that neither the architect will come to see them completed, or the emperor will enjoy a stay in their facilities. However, successive architects who will take charge of the work fairly consistently respected the original scheme proposed by Machuca.

The end result, we can see in the image is a carefully proportioned Renaissance building with a facade divided by a defined cornice highlighting the horizontal longitudinal construction to divide the two halves facing similar dimensions. The bottom half of the wall, regular blocks, is finished in a very strong cushion that suggests strength and power. The upper part, covered by large windows, is marked by pillars attached to simulate a podium at the bottom and are crowned by Ionic capitals chosen as an order for outdoor use.

The openings around the perimeter are lintels in the case of windows and doors but on every window upstairs two separate open circular oculi to increase the brightness of the interior. The rhythmic and harmonious repetition of the openings, and the elements sustentantes conveys a sense of order and stability highly sought after by the authors of Renaissance classicism. While the lower floor windows have a simple header, the upper floor ledges alternate with triangular gables on your heads.

The front door is also topped by a triangular pediment reliefs decorated tympanum and jambs repeat the plea of \u200b\u200bthe pillar house with Ionic capitals. The whole is flanked by paired Ionic columns, banked on plinth on which rests a simple undecorated frieze.

The floor of the building is another of the features of this building, because while the outside presents a quadrangular layout, the interior courtyard surrounded by an impressive colonnade on two levels, is circular. With this combination of geometric shapes considered perfect by the canons of the sixteenth century building linking them with the characteristics of the English monarch's reign.

The decor is what one would expect in a monument of this time: architectural elements themselves, cleverly arranged alternately and are the only decoration. Especially in the bottom. The second floor was built at the end of the early seventeenth century and has some mannerist or baroque decorations on the lintels of the windows provided por los arquitectos que continuaron la labor del toledano.

Durante el reinado de Carlos V, cargado de problemas con una nobleza que no aceptaba de buen grado el nuevo papel que la monarquía absoluta encarnada en el Austria (rebelión de los comuneros) y los conflictos con Francia que ya eran tradicionales entre ambos reinos (las cinco guerras con Enrique II y Francisco I), el estilo predominante en la construcción era aún el gótico, considerado el “arte cristiano” por excelencia. Es notable que, pese a ello, las obras realizadas en estilo clásico por los arquitectos españoles del tiempo constituyan algunos de los más bellos ejemplos de pureza del clasicismo renacentista como en el caso de la Cathedral of Jaén, Granada and the same palace.

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Portico of Magdalena de Vezelay narthex

Santa Magdalena de Vezelay is one of the masterpieces of French Romanesque later. Building started towards 1120, its nave is completed twenty years later. The cover that we see in the picture is that of the narthex and is one of the key pieces of Romanesque sculpture.

Your eardrum is a classic final trial scene in low relief, so widespread in the eardrums of many temples of this period. In its center, a seated Christ in majestic attitude, surrounded by an almond or almond with legs bent to the left. The Christ appears to show the viewer, with your palms open and arms outstretched, the two roads that follow the soul (represented on the lintel of the door) when the time of the final confrontation with divine justice. In the tympanum, under Christ, the Apostles with books in their hands, receiving the Holy Spirit, represented as light beams emerging from the fingers of Christ. In the radio boxes of the archivolts will represent the people who may be mission. In the mullion appears monumental figure of San Juan Bautista. The archivolts are decorated with symbols of the signs zodiac.

are unnatural images as representations usually in the Romanesque period. Tympani figures are grouped on either side of the image of Christ-centered and have a provision almost juxtaposed although given the time of your bill, next to 1140, the figures will communicate with each other as regularly in the Gothic period.

Vezelay is one of the last works of French Romanesque. Its construction was sponsored by Bernard of Clairvaux, St. Bernard, who heavily promoted the Second Crusade from his pulpit. The building has three naves and a treaty provision at the time. What all of us remember it is the arrangement of the segments of the central nave displayed alternately colored red and white with their vision immediately reminds us of the mosque of Cordoba.