Baroque painting is the painting associated with the Baroque cultural movement. The movement is often identified with Absolutism, the Counter Reformation and Catholic Revival, but the existence of important Baroque art and architecture in non-absolutist and Protestant states throughout Western Europe underscores its widespread popularity.
Nicolas Poussin was a French painter who was a leading painter of the classical French Baroque style, although he spent most of his working life in Rome. Most of his works were on religious and mythological subjects painted for a small group of Italian and French collectors. He returned to Paris for a brief period to serve as First Painter to the King under Louis XIII and Cardinal Richelieu, but soon returned to Rome and resumed his more traditional themes. In his later years he gave growing prominence to the landscape in his paintings. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne.
Claude Lorrain was a French painter, draughtsman and etcher of the Baroque era. He spent most of his life in Italy, and is one of the earliest important artists, apart from his contemporaries in Dutch Golden Age painting, to concentrate on landscape painting. His landscapes are usually turned into the more prestigious genre of history paintings by the addition of a few small figures, typically representing a scene from the Bible or classical mythology.
Luca Giordano was an Italian late-Baroque painter and printmaker in etching. Fluent and decorative, he worked successfully in Naples, Rome, Florence, and Venice, before spending a decade in Spain.
The three Le Nain brothers were painters in 17th-century France: Antoine Le Nain (c.1600–1648), Louis Le Nain (c.1603–1648), and Mathieu Le Nain (1607–1677). They produced genre works, portraits and portrait miniatures.
The Adoration of the Shepherds is an episode in the story of Jesus's nativity in which shepherds are near witnesses to his birth in Bethlehem, arriving soon after he is actually born. It is recounted, or at least implied, in the Gospel of Luke and follows on from the annunciation to the shepherds, in which the shepherds are summoned by an angel to the scene of the birth. Like the episode preceding it, the adoration is a common subject in art, where it is often combined with the Adoration of the Magi. In such cases it is typically just referred to by the latter title.
Events from the year 1648 in art.
The Adoration of the Shepherds, sometimes still known as the Allendale Nativity, after a former owner, is a painting by the Italian Renaissance painter Giorgione, completed in about 1505 to 1510. The attribution is now usual, although not universal; the usual other view is that it is an early Titian. It is certainly a Venetian painting of that period. It is displayed in the National Gallery of Art of Washington, D.C., United States.
The Orleans Collection was a very important collection of over 500 paintings formed by Philippe d'Orléans, Duke of Orléans, mostly acquired between about 1700 and his death in 1723. Apart from the great royal-become-national collections of Europe it is arguably the greatest private collection of Western art, especially Italian, ever assembled, and probably the most famous, helped by the fact that most of the collection has been accessible to the public since it was formed, whether in Paris, or subsequently in London, Edinburgh and elsewhere.
Landscape with Ascanius Shooting the Stag of Sylvia is a painting of 1682 in oil on canvas by Claude Lorrain, a painter from the Duchy of Lorraine who spent his career in Rome. It was painted in Rome for Prince Lorenzo Onofrio Colonna (1637–1689), Claude's most important patron in his last years, and is now in the Ashmolean Museum, Oxford. It is signed, dated with the year, and inscribed with the subject, as Claude sometimes did with his less common subjects.
The Four Seasons was the last set of four oil paintings completed by the French painter Nicolas Poussin (1594–1665). The set was painted in Rome between 1660 and 1664 for the Duc de Richelieu, the grand-nephew of Cardinal Richelieu. Each painting is an elegiac landscape with Old Testament figures conveying the different seasons and times of the day. Executed when the artist was in failing health suffering from a tremor in his hands, the Seasons are a philosophical reflection on the order in the natural world. The iconography evokes not only the Christian themes of death and resurrection but also the pagan imagery of classical antiquity: the poetic worlds of Milton's Paradise Lost and Virgil's Georgics. The paintings currently hang in a room on their own in the Louvre in Paris.
By his absolute humility, by his effacement of himself, by his refusal to use any tricks or overstate himself, Poussin has succeeded in identifying himself with nature, conceived as a manifestation of the divine reason. The Seasons are among the supreme examples of pantheistic landscape painting.
Jamais peut-être, dans toute la peinture occidentale, des choses aussi nombreuses et parfois si difficiles n'avaient été dites avec une telle simplicité. Jamais un peintre ne s'était aussi pleinement identifié à l'ordre du monde. Mais cette identification n'est ni « une projection » ni une confidence : là est le sens de cette impersonalité que l'on a pu reprocher à Poussin, et qui fait sa grandeur.
The Seven Sacraments refers to two series of paintings of the seven sacraments by the French painter Nicolas Poussin.
The Adoration of the Kings is a large oil-on-oak painting by Jan Gossaert, dated to 1510–15, depicting the Adoration of the Magi. Although Gossaert's name is signed on the border of Balthazar's richly embroidered headdress, and on a collar worn by Balthazar's turbaned attendant, the painting was occasionally attributed to Albrecht Dürer in the 17th and 18th centuries. In 2010, Ainsworth suggested that the work was a collaboration between Gossaert and Gerard David.
The Crossing of the Red Sea is a painting by Nicolas Poussin, produced between 1633 and 1634. It depicts the crossing of the Red Sea by the Israelites, from chapter 14 of the book of Exodus. It was made as part of a pair of paintings commissioned by Amadeo dal Pozzo, Marchese di Voghera of Turin, a cousin to Cassiano dal Pozzo, Poussin's main sponsor in Rome. By 1685 the pair had passed to the Chevalier de Lorraine and in 1710 they were bought by Benigne de Ragois de Bretonvillers.
The Adoration of the Shepherds is an oil-on-canvas painting by the Italian master Domenichino, executed c. 1607–1610. It has been in the National Gallery of Scotland in Edinburgh since 1971, and was previously in the Dulwich Picture Gallery in London.
The Master of the Lille Adoration, was an Early Netherlandish painter active in Antwerp, as one of the Antwerp Mannerists. He was first suggested as a distinct but unknown figure in 1995 in an article by Ellen Konowitz, a proposal which has been widely accepted. In 2014, Christie's gave his dates as "active Antwerp by c. 1523/35".
The Adoration of the Shepherds is a painting of 1633–34 by the French painter Nicolas Poussin (1594–1665), now in the National Gallery, London. It is in oils on canvas, and measures 97.2 by 74 centimetres. Unusually for Poussin, it is signed "N. Pusin.fe" ["fecit"] on the stone at lower right. By 1637, soon after it was painted, it was owned by Cardinal Gian Carlo de' Medici (1611–1663), the second son of Grand Duke Cosimo II of Tuscany and was placed in his villa outside Florence.
The Adoration of the Kings by the Early Netherlandish painter Gerard David is a painting in oil on panel, probably from after 1515, now in the National Gallery in London. The painted surface measures some 60 by 59.2 centimetres, and the panel is about 2 centimetres (0.79 in) larger in both dimensions. The panel comes from a dismantled altarpiece from which one other panel appears to survive, the Lamentation that is also in the National Gallery.
Adoration of the Magi is a painting in tempera on wood panel by Luca Signorelli (1450–1523) and his assistants, executed c. 1493–1494, and now in the Louvre in Paris. It was probably the first painting he produced in Città di Castello, and originally hung over the main altar of the monastery church of Sant'Agostino. The surface displayed within the frame is 331 cm by 245.5 cm. In late 2022 it was not on display.
