Baroque is a form of artistic period that seeks to feature art in 17th and 18th century. Ornate details characterize it, which follows mannerism (Fitzpatrick 20). Most recognized works of the baroque era are the architecture of Bernini in Italy, palace of the Versailles. Today, baroque art is featured mostly through Italian paintings. On the other hand, classism architecture era was during the 17th and 18th century, just like baroque, but it was experienced in Greece and Rome majorly. This era incorporated various aesthetics such as; architecture, painting, literature among other arts (Gazda 240). Despite much difference noted in the regions the various era were adverse, notably, each era entailed specific art with baroque characterized by any art that expresses motion.
Nicholas Poussin is an example of an artist who travelled to Italy, among many, who were driven by the urge to learn the artistic paints (Gazda 234). His works are reflected in his painting, “Discovery of Achilles in Sykrons." This painting describes a mythological scene and incorporates features of a woman and her children. From this, his works can be seen to be composed in a serene backdrop that is controlled and carefully composed under structured composition. The serene setting will be first noticed by the viewer, which expresses drama that is shown by three individuals. Less is focused on the facial expression; which will not serve the viewer right if the viewer focused solely on this aspect. He was a classical artist who incorporated baroque features. Thus, his works are interpreted differently from the original baroque artist (Gardner 532).
Comparing his work to “Ecstasy of St. Teresa," he undermines the illusion of specula presence, which expresses the Bernini art. His art reflects larger on the abstract world and focuses more on philosophical presence that supports his wide range of theme (Fitzpatrick 30). Arguably, he focused on his works as a mirror of individual that sought to impact the viewer on his ideal of painting. On the contrary, Bernini art recognizes presence and seeks to make the art more appealing and felt within by the viewers, following the spiritual views that Saint Teresa constantly had. As much as she wrote many books describing her vision, her artistic works portray what she was experiencing spiritually. Thus, her works were not abstract like Poussins. Saint Teresa’s art ought to express her vision physically with an aim of letting “we” the viewer’s get a glimpse of what she tries to put across and explain her spiritual experiences in an understandable manner to all. This art is aimed art portraying religious ecstasy, and unlike Poussins work, the sculpture is surrounded by paintings and gives more precise and clear details with the environment not too serene (Gaza 230).
Whereas Poussin art represents the classical era, “Ecstasy of St. Teresa” seeks to express a vision, which is a baroque form of art. Poussin art seeks to express a form of painting that is abstract and imaginary, which seeks to express a certain theme to the viewers (Gardner 534). The Bernini art seeks to involve the viewers and express something more real, visual and understandable for the purpose of incorporation in the society (Hollingsworth 305). As noticed, Pousinnin’s work uses more paintings, ornaments and tools in expressing the art such as a spear, different paintings to express the background, ornaments and often, portray images that could easily be adopted in the form of movements. Poussins art movement easily adaptive as it tends to bring out larger picture of what artists should portray, unlike Bernini’s art that uses real features and sculptures; it can be manipulated to fit a wider range of thoughts brought forth by the viewers (Fitzpatrick 20).
Notably, classicism era is a complex form of baroque and seeks to incorporate more factors of art into its work. Its adoption is much owed to the Italian art, although, it can be said to be more modernized and diverse in its appearance, aim and use.
Works Cited
Fitzpatrick, Anne. The Baroque period. Mankato, Minn: Creative Education, 2005.
Gardner, Helen & Kleiner, Fred. Gardner's art through the ages: The Western perspective.
Boston, Mass.: 2008. Wadsworth Cengage is Learning.
Gazda, Elaine. The Ancient art of emulation: Studies in artistic originality and tradition
Hollingsworth, Mary. Art in World History. Firenze: Giunti, 2008. Print.
