GOING FOR BAROQUE Into the Bin - The Metropolitan Museum of Art

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8. Pier Francesco Mola (North Italian, 1612-1666) The Rest on the Flight into Egypt, ca. 1645-47 Oil on copper, 9 x 11 in. x (22.9 27.9 cm) Wrightsman Fund, 1993 (1993.20) 9 Domenichino (Domenico Zampieri; Italian, Bologna, 1581-1641) Landscape with Moses and the Burning Bush, ca. 1610-12 Oil on copper, 17% x 13% in. (45.1 x 34 cm) Gift of Mr. and Mrs. Charles Wrightsman, 1976 (1976.155.2) painting have been acquired since 1970. Fine though these are?and the collection includes an enviable number of real can masterpieces?they hardly claim to represent the richness of the period. And, of course, to experience the brilliance of those frescoed ceilings and domes that are the glory of Baroque illusionism it is still necessary to visit Rome, Bologna, and Naples. Nonetheless, the Metropolitan's holdings do give the a neophyte sampling of the pleasures in store, and offer rewards as well for the initiate. The collection includes works by a significant number of the premier players: Caravaggio, Annibale and Ludovico Carracci, Guercino, Guido Reni, Ribera, and a host of only slightly lesser talents. Some of these paint ings elucidate the issues of naturalism, expression, and the nature of so representation central to Baroque painting. Others are bravado demonstrations of artistic virtuosity (fig. 7) or on a explore diminutive scale an aesthetic of jewel-like perfection (figs. 8,9). Some (figs. 10, 11) exemplify the special qualities of a particular region, for in as painting in food Italy is incomparably varied. This publication focuses on a selection of works in an effort to examine some of the themes and ideas that informed the world of Baroque artists, particularly in Bologna, Rome, and Naples. 14
10. Giulio Cesare Procaccini (Italian, Milan, 1574-1625) Madonna and Child with Saints Francis and Dominic and Angels, 1612 Oil on canvas, 101 Vs x 56% in. x (256.9 143.2 cm) Purchase, Enid A. Haupt Gift, 1979 (1979-209) 15*
Page 1 and 2: GOING FOR BAROQUE Into the Bin can
Page 3 and 4: We Like What We Know IN 1786, the t
Page 5 and 6: course, like Goethe, he was already
Page 7 and 8: (Fry, raised a Quaker, should perha
Page 9 and 10: 4? (opposite) Jusepe de Ribera (Spa
Page 11: ?#\ i % ' **& :#"* > ^ / V* V? 13?
Page 15 and 16: Setting the Scene Let us start with
Page 17 and 18: We happen to know that the person f
Page 19 and 20: l6. (opposite) Sofonisba Anguissola
Page 21 and 22: 19 Ludovico Carracci The Lamentatio
Page 23 and 24: 22. Federico Head Looking (study me
Page 25 and 26: 24. Annibale Carracci The Coronatio
Page 27 and 28: irony and clever wordplay. For exam
Page 29 and 30: 31'
Page 31 and 32: 28. Caravaggio The Entombment, 1602
Page 33 and 34: 30. Helmet Venetian, late 15th cent
Page 35 and 36: 33 Guercino (Giovanni Francesco Bar
Page 37 and 38: 36. Rembrandt Harmensz. van Rijn (D
Page 39 and 40: 38. (opposite) Mattia Preti (Italia
Page 41 and 42: incredible care, and are made to be
Page 43: 42. Salvator Rosa The Dream of Aene
Page 46: and it also establishes an Olympian

GOING FOR BAROQUE Into the Bin - The Metropolitan Museum of Art

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