The Common Denominator: the Baroque Experience

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If the Renaissance is a rebirth of the Classical age, then the Baroque period is reminiscent of the lush Hellenistic style. Though more importantly, the Baroque period is also characterized by a renewed religious fervor preceding the Counter-Reformation of the Catholic Church. This religious fervor is due in part to the Council of Trent seeking to redefine the Catholic Church’s doctrine and reestablish their position as the leader of the Christian faith. With the rise of other Christian denominations and the decentralization of the authority from Rome, the Counter-Reformation renewed much religious fervor, especially in Italy and eventually into the rest of Europe. Artists were commissioned to produce works of art to reflect this fervor with “clarity and directness” (Culture and Values 373) through “strong emotional statements, psychological exploration, and the invention of new and daring techniques” (Culture and Values 375) giving glory to God with grandeur and vibrancy. Two Baroque masterpieces that reflect this grandeur and vibrancy are Bernini’s Saint Teresa in Ecstasy and John Donne’s sonnets. --- Although the violent context of Bernini’s display is startling at first, the astonishment is somewhat softened by Saint Teresa’s passive body position and surrendering facial expression. Like the golden arrow, the viewer can pierce right into her psychological essence which Bernini has laid out for all to see. Her half closed eyes and mouth form an almost audible moan to reinforce the notion of joyful submission, as do her languid hands and feet. The sweetness echoed in the angel’s face reminds the viewer of the boyish Cupid; as a result Bernini synthesizes one of the secular symbols of love giving it a religious dogma and tone. Again, the realism in the body position takes an important role, especially for the angel perpetuating the action of ecstasy, as
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