Editing Baroque (section)

==Painting==
{{Main|Baroque painting}}
<gallery mode="packed" heights="170px">
File:Annibale Carracci, Resurrezione, Louvre.jpg|[[Resurrection (Annibale Carracci)|Resurrection of Christ]]; by [[Annibale Carracci]]; 1593; oil on canvas; 217 x 160&nbsp;cm; [[Louvre]]{{sfn|Hodge|2017|p=23}}
File:The Triumph of Bacchus and Ariadne - Annibale Carracci - 1597 - Farnese Gallery, Rome.jpg|''Triumph of Bacchus and Adriane'' (part of ''[[The Loves of the Gods]]''); by [[Annibale Carracci]]; {{circa}}1597–1600; fresco; length (gallery): 20.2 m; [[Palazzo Farnese]], Rome{{sfn|Fortenberry|2017|p=246}}
File:The Calling of Saint Matthew-Caravaggo (1599-1600).jpg|[[The Calling of St Matthew]]; by [[Caravaggio]]; {{circa}}1602–1604; oil on canvas; 3 x 2 m; [[San Luigi dei Francesi]], Rome{{sfn|Fortenberry|2017|p=244}}

File:Artemisia Gentileschi - Giuditta decapita Oloferne - Google Art Project-Adjust.jpg|[[Judith Slaying Holofernes (Artemisia Gentileschi, Florence)|Judith Slaying Holofernes]]; by [[Artemisia Gentileschi]]; 1611–1612; oil on canvas; 163 x 126&nbsp;cm; [[Uffizi]], Florence, Italy<ref>{{cite book|last1=Morrill|first1=Rebecca|title=Great Women Artists|date=2019|publisher=Phaidon|isbn=978-0-7148-7877-5|page=150|url=|language=en}}</ref>

File:Peter Paul Rubens - The Four Continents.jpg|''[[The Four Continents]]''; by [[Peter Paul Rubens]]; {{circa}}1615; oil on canvas; 209 x 284&nbsp;cm; [[Kunsthistorisches Museum]], Vienna, Austria
File:Nicolas Poussin - L'Enlèvement des Sabines (1634-5).jpg|''[[The Rape of the Sabine Women]]''; by [[Nicolas Poussin]]; 1634–1635; oil on canvas; 1.55 × 2.1&nbsp;m; [[Metropolitan Museum of Art]], New York City{{sfn|Fortenberry|2017|p=243}}
File:La ronda de noche, por Rembrandt van Rijn.jpg|''[[The Night Watch]]''; by [[Rembrandt]]; 1642; oil on canvas; 3.63 × 4.37&nbsp;m; [[Rijksmuseum]], Amsterdam, the Netherlands{{sfn|Fortenberry|2017|p=256}}
File:Claude Lorrain 008.jpg|''[[The Embarkation of the Queen of Sheba]]''; by [[Claude Lorrain]]; 1648; oil on canvas; 149.1 × 196.7&nbsp;cm; [[National Gallery]], London

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg|''[[Las Meninas]]''; by [[Diego Velázquez]]; 1656; oil on canvas; 3.18&nbsp;cm × 2.76&nbsp;m; [[Museo del Prado]], Madrid, Spain{{sfn|Fortenberry|2017|p=262}}
File:Michaelina wautier-triunfo de baco.JPG|''[[Triumph of Bacchus (Wautier)|The Triumph of Bacchus]]''; by [[Michaelina Wautier]]; before 1659; oil on canvas; 270 x 354&nbsp;cm; Kunsthistorisches Museum<ref>{{cite book|last1=Morrill|first1=Rebecca|title=Great Women Artists|date=2019|publisher=Phaidon|isbn=978-0-7148-7877-5|page=425|url=|language=en}}</ref>
File:Maria van Oosterwijck, Kunsthistorisches Museum Wien, Gemäldegalerie - Vanitas-Stilleben - GG 5714.jpg|''Vanitas Still Life''; by [[Maria van Oosterwijck]]; 1668; oil on canvas; 73 x 88.5&nbsp;cm; Kunsthistorisches Museum<ref>{{cite book|last1=Morrill|first1=Rebecca|title=Great Women Artists|date=2019|publisher=Phaidon|isbn=978-0-7148-7877-5|page=304|url=|language=en}}</ref>
</gallery>

Baroque painters worked deliberately to set themselves apart from the painters of the Renaissance and the Mannerism period after it. In their palette, they used intense and warm colours, and particularly made use of the [[primary colors|primary colours]] red, blue and yellow, frequently putting all three in close proximity.<ref>Prater and Bauer, ''La Peinture du baroque'' (1997), p. 11</ref> They avoided the even lighting of Renaissance painting and used strong contrasts of light and darkness on certain parts of the picture to direct attention to the central actions or figures. In their composition, they avoided the tranquil scenes of Renaissance paintings, and chose the moments of the greatest movement and drama.  Unlike the tranquil faces of Renaissance paintings, the faces in Baroque paintings clearly expressed their emotions. They often used asymmetry, with action occurring away from the centre of the picture, and created axes that were neither vertical nor horizontal, but slanting to the left or right, giving a sense of instability and movement. They enhanced this impression of movement by having the costumes of the personages blown by the wind, or moved by their own gestures. The overall impressions were movement, emotion and drama.<ref>Prater and Bauer, ''La Peinture du baroque'' (1997), pp. 3–15</ref> Another essential element of baroque painting was allegory; every painting told a story and had a message, often encrypted in symbols and allegorical characters, which an educated viewer was expected to know and read.<ref>Prater and Bauer, ''La Peinture du baroque'' (1997), p. 12</ref>

Early evidence of Italian Baroque ideas in painting occurred in Bologna, where [[Annibale Carracci]], [[Agostino Carracci]] and [[Ludovico Carracci]] sought to return the visual arts to the ordered Classicism of the Renaissance. Their art, however, also incorporated ideas central the Counter-Reformation; these included intense emotion and religious imagery that appealed more to the heart than to the intellect.<ref>"Elements of the Baroque Style." In ''Arts and Humanities Through the Eras'', edited by Edward I. Bleiberg, James Allan Evans, Kristen Mossler Figg, Philip M. Soergel, and John Block Friedman, 466–470. Vol. 5, The Age of the Baroque and Enlightenment 1600–1800. Detroit, MI: Gale, 2005.</ref>

Another influential painter of the Baroque era was [[Michelangelo Merisi da Caravaggio]]. His realistic approach to the human figure, painted directly from life and dramatically spotlit against a dark background, shocked his contemporaries and opened a new chapter in the history of painting. Other major painters associated closely with the Baroque style include [[Artemisia Gentileschi]], [[Elisabetta Sirani]], [[Giovanna Garzoni]], [[Guido Reni]], [[Domenichino]], [[Andrea Pozzo]], and [[Paolo de Matteis]] in Italy; [[Francisco de Zurbarán]], [[Bartolomé Esteban Murillo]] and [[Diego Velázquez]] in Spain; [[Adam Elsheimer]] in Germany; and [[Nicolas Poussin]] and [[Georges de La Tour]] in France (though Poussin spent most of his working life in Italy).  Poussin and de La Tour adopted a "classical" Baroque style with less focus on emotion and greater attention to the line of the figures in the painting than to colour.

[[Peter Paul Rubens]] was the most important painter of the [[Flemish Baroque painting|Flemish Baroque]] style.  Rubens' highly charged compositions reference erudite aspects of classical and Christian history. His unique and immensely popular Baroque style emphasised movement, colour, and sensuality, which followed the immediate, dramatic artistic style promoted in the [[Counter-Reformation]]. Rubens specialized in making altarpieces, portraits, landscapes, and [[history painting]]s of mythological and allegorical subjects.

One important domain of Baroque painting was ''[[Illusionistic ceiling painting|Quadratura]]'', or paintings in ''[[trompe-l'œil]]'', which literally "fooled the eye".  These were usually painted on the [[stucco]] of ceilings or upper walls and balustrades, and gave the impression to those on the ground looking up were that they were seeing the heavens populated with crowds of angels, saints and other heavenly figures, set against painted skies and imaginary architecture.{{sfnp|Ducher|2014|p=92}}

In Italy, artists often collaborated with architects on interior decoration; [[Pietro da Cortona]] was one of the painters of the 17th century who employed this illusionist way of painting. Among his most important commissions were the frescoes he painted for the [[Palazzo Barberini]] (1633–39), to glorify the reign of [[Pope Urban VIII]].  Pietro da Cortona's compositions were the largest decorative frescoes executed in Rome since the work of Michelangelo at the [[Sistine Chapel]].<ref>Ducher (1988) pp. 108–109</ref>

[[François Boucher]] was an important figure in the more delicate French Rococo style, which appeared during the late Baroque period.  He designed tapestries, carpets and theatre decoration as well as painting.  His work was extremely popular with [[Madame de Pompadour]], the Mistress of King [[Louis XV]]. His paintings featured mythological romantic, and mildly erotic themes.<ref>Cabanne (1988) pp. 102–104</ref>

===Hispanic Americas===
{{Main|Cusco School|Quito School|Indochristian art}}
[[File:Angel letiel.jpg|upright=0.7|thumb|Example of Bolivian painting (part of the [[Cusco School]]): an [[Ángeles arcabuceros|Arquebusier Angel]]; by [[Master of Calamarca]]; 17th century]]
In the Hispanic Americas, the first influences were from [[Seville|Sevillan]] [[Tenebrism]], mainly from [[Francisco de Zurbarán|Zurbarán]]—some of whose works are still preserved in Mexico and Peru—as can be seen in the work of the Mexicans [[José Juárez]] and [[Sebastián López de Arteaga]], and the Bolivian [[Melchor Pérez de Holguín]]. The [[Cusco School]] of painting arose after the arrival of the Italian painter [[Bernardo Bitti]] in 1583, who introduced [[Mannerism]] in the Americas. It highlighted the work of [[Luis de Riaño]], disciple of the Italian [[Angelino Medoro]], author of the murals of the [[Church of San Pedro, Andahuaylillas]]. It also highlighted the Indian ([[Quechua people|Quechua]]) painters [[Diego Quispe Tito]] and [[Basilio Santa Cruz Pumacallao]], as well as [[Marcos Zapata]], author of the fifty large canvases that cover the high arches of [[Cusco Cathedral]]. In [[Ecuador]], the [[Quito School]] was formed, mainly represented by the [[mestizo]] [[Miguel de Santiago]] and the [[Criollo (people)|criollo]] [[Nicolás Javier de Goríbar]].

In the 18th century sculptural altarpieces began to be replaced by paintings, developing notably the Baroque painting in the Americas. Similarly, the demand for civil works, mainly portraits of the aristocratic classes and the ecclesiastical hierarchy, grew. The main influence was the [[Bartolomé Esteban Murillo|Murillesque]], and in some cases—as in the criollo [[Cristóbal de Villalpando]]–that of [[Juan de Valdés Leal]]. The painting of this era has a more sentimental tone, with sweet and softer shapes. Its proponents include [[Gregorio Vasquez de Arce y Ceballos]] in Colombia, and [[Juan Rodríguez Juárez]] and [[Miguel Cabrera (painter)|Miguel Cabrera]] in Mexico.