The Rape of the daughters of Leucippus (Rubens)
The Descent from the Cross (Rubens) 
To continue our approach to the European Baroque painting and before our eyes back to Spain, where we find Ribera, Zurbaran, Murillo and Velázquez's great, here are a scheme on the Flemish school. Rubens is by far one of the artists, but the artist, that best encapsulates the diverse trends of Baroque painting. In his work can accommodate everything from naturalistic tenebrism Caravaggio, through the classic colors and the roundness of an anatomical Michelangelo, down to the exuberance and opulence of forms and colors that are so characteristic. Front introspective pessimism Rembrandt optimism, energy and vitality of the Flemish painter who was once much more than a painter. The Catholic Belgium, and with it the whole of Europe Counter, surrendered to the "Homer of painting. MOTION 
schemes propose a brief overview of the various trends of European Baroque painting. A deeper insight require the consultation of submissions on Caravaggio, Rubens (Flemish) and Rembrandt (Dutch school), hosted on slideshare. Of Spain will be discussed later. 
Gian Lorenzo Bernini: Ecstasy of St. Teresa this work by taking the text of St. Teresa in the mystical sense in which it was written. His purpose was that the amazing event that the saint told, it becomes evident in the most accurate and realistic as possible, though it was too human and carnal this materialization of mystical ecstasy. The text says:
" the Lord wanted him to see here a few times this vision: I saw an angel it to the left side in bodily form, which does not usually do but wonder. Although often I represent angels, is without seeing them, but as the last view, I said first. This vision saw the Lord did so. It was not big, but small, beautiful lot, so on the face of the angels seemed very uploads, which all seem to be scorching. Should be called cherubim, that names do not say to me, rather I see that in heaven there is so much unlike other angels, and others to others who do not know what to say. One appeared in my hands a long dart of gold, iron and finally seemed to have a little fire. This seemed to put me through the heart sometimes, and I came to the bowels. To get, I thought he carried with him, and left me burning in love all large God. So great was the pain that made me take those complaints, and so excessive softness that makes me great pain, no wish to be removed or satisfied unless the soul with God. Not physical pain, but spiritual, but it continues to engage the body somewhat, and even sick. It is a compliment so soft that passes between the soul and God, I beseech your goodness to give it to appeal to those who will think about that growth. "
Twenty years after the group Apollo and Daphne, Bernini presents a similar theme as old as the tradition of images: the feminine principle transformed by the intervention the male principle. The two figures are positioned in space with a delicate displacement: it is almost impossible to describe the gesture of the angel satyr, captured while removing the dart of the female body, which is suspended for a moment before falling back. The device comes to life before our eyes. The center of gravity of the complex sculpture moves: the saint is slightly leaning backwards (with the symbolic walk coming out), and the little satyr turns to the front of the stage. The "fire", of course, is that fiery dart that the rapture us out of the ordinary.
The work was commissioned by the patriarch of Venice, Cardinal Federico Cornaro, who wanted to build his funerary chapel in the left arm of the transept of the little church of the Carmelites, Santa Maria della Vittoria, which are represented in the chapel along with other family members .
This work Bernini created the first portrait sculptures of baroque group. Dramatic play between the gaze and expression psychological penetration depth to reach a real speech group that rivals the pictorial compositions contemporary of Rembrandt and Frans Hals.
is not a sculpture in the conventional sense but we have a pictorial scene framed by the architecture that includes us as participants in a religious celebration that may not be so represented as disclosed. Bernini used the painting, sculpture and architecture, which added the use of natural lighting to create this amazing revelation. Created a show that surprises the viewer. Unsatisfied by the limited capacity of isolated figures or groups to create a calm atmosphere, Bernini's Cornaro chapel set in a theater with an active composition that directs our gaze, which highlights the effort to provide the whole picture an integrated unit; and looking for scenic effects as real as possible, covered the ceiling of the Cornaro chapel with a realistic picture of the sky.
Located at this group of sculptures, if we look up we see God's glory, it seems as if the sky gets into the church, as Bernini had built stucco clouds covering part of the architecture and ornamentation vault, and on this stucco appears realistic Lord of angels, the bearer of the divine flame: the cherub that runs through the heart of St. Teresa seems, therefore, be dropped from group painting.
The group is made of marble white (although the set consists of twenty different marbles, jasper and marble from gap, alabaster and lapis lazuli, red marble, black marble from France and Belgium). The cherub seems to materialize on the radiant sun, the effects of natural light and golden rays staged. Santa Teresa is literally taken away ("I live without living in me / and I hope life so high / I die because I do not die"), a frequent victim of mystical levitation appears on a cloud made of cotton, however, with marble. He leans back while bending forward and seems to levitate through the action of a supernatural force. Under a heavy-lidded eyes, blinded eyes reveal the mystical vision, her lips parted, emitting the sound that she herself tells us in his life. It thus appears that the action has already been consummated, that the angel has gone through the heart with an arrow, and Bernini, with a heavy sensual, shows the state of Transverberation where the holy remains.
Draperies (a mass in a cascade that plays with the shapes and reflects the turmoil of the soul) reflects the emotional movement that mystical experience has resulted in the holy. His left hand hangs insensitive, while your feet are airborne. The body of the asexual angel, half naked, covered with a garment that clings to your body forms, recalling the classic technique of "wet wipes" can guess your anatomy without the nude. The direction of stress the diagonal downward undulations with which Bernini marks the entrance of the divine power.
Arrest of Christ 
Yesterday, at night instead of going about data review I started web design and puuuras Nordic nice things like this crazy and this ... data Emma
the Rape of Proserpine. Bernini (1621-1622). White marble. 
Plaza de San Pedro. Rome. GL Bernini 
Dome of the church of San Carlos of four sources, San Carlino (Roma) 
Church of San Carlos of the four sources San Carlino. 
