great so we've been talking about the Italian Baro the birthplace of the Baro how the Baro started what it looked like we look specifically at the works of the sort of official painter of major commissions an Karachi who I didn't mention before but was also very important historically for founding the first Academy of Art uh in which he tried to preserve by institutionalizing in a curriculum for students forever more um the principles of classical art that had been revived and revised by the great masters of the Renaissance before him and that's what became the model for the Academy of Art that is the general term for a large number of schools around the Western world that do just that even to this day or at least purportedly they do the second artist that we talked about was uh we'll just call him kavaj kavaj was a contemporary in Rome of uh Karachi um but carajo is responsible for creating this much more shockingly realistic looking scene style of uh of of figure art paintings with brilliantly lit scenes like the one we're looking at here although this isn't actually by kavaj we'll get to it later today uh and which became a kind of uh uh I don't know you might say for a while a kind of cult style in the art World followed by many others who were so struck by The credibility of these images featuring very reallook people in reallook situations committing usually pretty appalling violent acts uh like a theater production that uh it it really um dominated a large part of 17th century European art and we call this the Italian Baro now we're going to look at some more examples of Italian Baro art and then move into the Spanish Baro I'm beginning with a work which technically starts was made a little bit before the start of the Baroque era in the late 16th century but these dates are very flexible who's going to tell you which period of History has to be called this or that um jamb Bonia was the man's name he wasn't actually Italian though it sounds like a very Italian name it's just the italianized version of his name which in French was Jean de bolog meaning John of bologna he wasn't actually from bolognia the city in Northern Italy he was actually from Flanders in the north of Europe but he became very much a part of the Italian sculpture scene during his career now this is the one where work I want to show you by him it's a very well-known work we find it in the P deoria which is that great medieval Town Square in downtown Florence that I've mentioned several times before where we used to see the David by Michelangelo until people thought it shouldn't be out in the rain for another 350 years so they put it indoors back in the 1870s um this statue still is out there collecting all the rain and getting dirtier and dirtier every year but somebody scrubs it up I think once a while so it's all good it is a representation of one of the go-to subjects throughout the history of Western Art that Western artists uh have loved to illustrate in many of its phases it's a story of Quasi historical legitimacy a kind of a legend history from the early days of the Roman civilization long before it became the famous World dominating Empire of the late ancient period when according to Legend the Romans who had perennial enemies living near them called the sabines um decided that it was time to do a dirty to their enemies and what they did was one night when the sabines were all sleeping the rotten to the core Roman sons of [ __ ] pardon my French but they really deserve this horrible anachronistic term um got up and crept into the sabinian camp and uh kidnapped all the women all the Sabine women were kidnapped and then forcibly raped over a long period of time in a systematic way in order to produce new children that's what happened uh of course the real reason was because they were Randy heterosexual barbaric men so the story continues with uh the second half and in the climax about a year has gone by and the Sabine men every bit as prone to subjection to the um vicissitudes of Consciousness and self-awareness and civilized discourse that are uh the result of too much testosterone creep into the Romans encampment and are just about to get their swords and bows and arrows out to clobber and kill off all the Roman men who quickly gather their uh weapons and face off against the Sabine men and there's about to be a gigantic bloodbath when the women who had been abducted and raped the previous year intervene and stand between the two groups of hostile men and hold up their babies and say stop it stop being jerks start sitting down and talking these problems through like civilized people these after all pointing to their babies are our family bump that's the climax the the the uh the twist ending to the story now you can understand why the story itself would be attractive to anyone interested in depicting a scene from Antiquity but it isn't just that it is of course all the sex and violence that has brought Western artists all through the century since uh back and back again to that subject and here is one such representation now having gone through that to explain this subject because we will see it again I'm afraid in this course um I want you to understand this is a difficult challenge particularly so for a sculptor because the sculptor has a big block of marble they can't very well depict an two entire armies of uh yeah sex charged and violence prone men they have to show the whole story in one block of marble and as you see jamb balona was very inventive in his solution he showed one man representing the sabines the guy at the bottom who looks totally freaked out and surprised and very unhappy and then in the middle the Roman man who has grabbed hold of the Sabine guy's wife and finally at the top the Sabine woman the helpless victim of all this disgusting Behavior you'll also notice students having had now several minutes of me blathering uh to inspect the work from a critical eye as an art person should that this is all controlled in the hands of this sculptor John bologa by an overriding upward motion spiral Rhythm and composition the figure at the bottom is facing sort of off to the right and down his chest but his knee is facing us and his uh right arm with its elbow crooked is sticking out behind him in an opposite direction while he looks up and to the right at what's happening then there is the middle figure the Roman man whose back is facing down and to the right whose butt and leg are facing us and whose head is facing the opposite direction again upward and to the left and finally the woman etc etc so what we've got is three separate figures carved out of the same block of marble who collectively get our eyes and you have to imagine yourself in the P deoria when I tell you this as if you were looking up at this statue which is on a big pedestal in the Square your body around this figure you're looking at it and you are almost instinctually going to start walking in a counterclockwise direction do you see that this is part of the strategy developed by uh jonia specifically in order to activate the viewer to get the viewer more emotionally involved by getting them more visibly visually involved and more physically involved it becomes one of the source objects of the whole of the Baro era here's another example this time genuine Baro Art From Italy around 16005 by this time everybody has figured out what John bolog was up to and many other artists were feeling M much the same way anyway it was a a current in the air of the art World in Italy you might say from about 1570 on to activate the art to make it more spectacular more theatrical more luxurious uh more opulent more dramatic filled with more violence if possible more sex if possible all of which of course sounds like the opposite of classicism and it is even though much of the subject matter and the themes that are undertaken by artists throughout the 17th century not only in Italy but throughout Europe is subject matter from ancient classical mythology and history so it isn't the adoption of subjects and the Embrace of themes that makes art classical or anti-classical it has to do more with how they depict those things how they respond visually to those themes rather than just the adoption of the themes so even though the the Baroque era is a time when most of the educated people paying for art and the increasingly well educated and thoroughly trained professional artists making it for them believe that they are exemplars of the the continuing classical culture of Europe the Pagan Greek and Roman inheritance that they know was historically important during the Renaissance 100 150 years earlier they are not really for the most part practicing any of the princip of classical decorum moderation reasoned uh balanced organized and moderate composition that's just not part of the mainstream of the Baroque now there are some exceptions and we'll get to them as soon as possible next week but for now I just want you to understand that the Baro is an anti-classical tendency that doesn't make it bad or good better or worse it just means it's different from the class classical tendency that had inspired so many important artists of the previous century and half like Michelangelo and Leonardo D Vinci Etc so now here we have another example this is by Franchesco Moi he was another very important and successful sculptor who competed against the top sculptor in Italy at the time arguably the top sculptor in all of Europe during this period in but based in Rome Italy for the best commissions to do the big sculptures around town and there are a lot of them if you ever visit Rome and you all should you'll quickly find if you've got your own transportation or you're walking a lot that a great many of the big turnabout or roundabout intersections in Rome are um enhanced by a large scale multif figure marble statue group in a fountain which is usually spouting water right there in the middle of the intersection so you'll get used to that and you'll discover how important thereby these most of them 17th and early 18th century Baro statues uh are to the continuing visual cultural tradition of Italy particularly of Rome Franchesco Moi was not quite as Lucky in his career as his rival uh but he certainly was well respected and had many commissions and this is one of them it's a representation of the Angel of the anunciation in other words this is that Catholic subject of the Virgin Mary being told that she will bear the child of God just the angel though you know that as sculpture goes it's it's more common to try to depict a whole story with a single figure and this is a good example of that you can tell there is a specific style which is a little different than J bologa there is a tendency in moi's work to sharpen the edges and straighten out many of the curves so that they nearly approach a straight line you can see that here in these giant sleeves of whirling drapery around the arm of the Angel here and here and here and deep dark shadows create an emphasis on those diagonal straightish lines on the other hand it is a big swirling twirling helical or spiral Rhythm that dominates the whole statue very much like what we saw in John balon's three figure work this is the attitude the energy the tone the mood of the barok here's another by Moi and you can see what I mean again you notice the sharp undercut slices of of marble that create a rhythm of particular style relevant to moi's own art but in keeping with the general shared attitude of the parro the figure is borrowing from the great classical pose the contraposto pose that supports the figure asymmetrically but in a natural way but it is then basically in intensifying the extremes of imbalance within the counterbalanced contraposto pose to make it look more like the figure is about ready to take off into the air or perhaps just to fall over because of the int tense swing in this contraposto pose which goes against the principles of classical balance and moderation this is something the Italian Baroque artists the sculptors and Painters as well alike are are willing to sacrifice the principle of classical decorum in order to create art which they feel celebrates life and their inheritance of the great Renaissance classical tradition appropriately they don't think they're making artart which is breaking the rules in other words they think they're expanding on and enlarging the expressive range of Art in their own time while at the same time rightfully they feel inheriting the legacy of the Renaissance past but I think it's pretty obvious if you compare this to a work by Michelangelo like the David that there has been a fundamental shift between the high or late Renaissance in Italy in Florence in this case Michelangelo's David where we see contraposto in the pose but calm measured Lively lifelike but calm and measured liveliness compared to the work on the other side by Moi made what uh 120 years later also in Italy though down in Rome where we see something far more active for for for the the entertainment and thrill value that it provides at the expense of classical Reserve now the man that Moi was competing against always not quite as successfully as his competitor is this man whose self-portrait in oil on canvas you see on the top left John Lorenzo berini his name is berini Bernini or Bernini if you prefer was not only a brilliant sculptor unquestionably an astonishingly talented and Innovative artist in the art of carving marble but he was also a remarkably talented and skillful oil painter he just chose to move to sculpture full-time after his youth because he was getting more and more interest uh from Commissioners paying for him to make new statues and the city of Rome was increasingly interested in commemorating its many wonderful historical sites with grand new public artworks in Marble The Fountains I was referring to so here you see John Lorenzo ber oh by the way he was also a trained architect and made one of the most famous patas in the City of Florence uh of Rome excuse me um which is in the Vatican the great Vatican Square now John Lorenzo berini made this statue among many others but I'm using just this one to try to convey to you what is so important to remember about Italian barok energy it represents a scene from ancient Greek mythology also ancient Roman mythology the story involves the god of the sun Apollo who as you may not any longer be surprised to learn like the king of the Gods Zeus and Jupiter same figure was prone to molest Ing and otherwise sexually offending and assaulting helpless women this is part of the history of the western world and this particular story this myth involves his attempt to con conquer and sexually dominate a woman named dhne a niad of the woods a a creature of uh Supernatural semi-human um Beauty and and and uh I I don't know um mythological um Evanescence um and he captures her but at the very moment when he's about to have his way with her to use an Antiquated euphemism the gods who have been W watching this from on high decide to thwart him and their solution to this dilemma for the poor hapless Daphne is not to I don't know punch Apollo in the face and tell him to go mind his own business nope it is to turn Daphne into a tree that's the story in a nutshell and that's what you see here represented by berini very memorably in this large larger than life-size statue in a single block of marble it shows you the figure of DNE actually beginning to get En enwrapped by a a thick coat of tree bark and Apollo who is after her is somewhat taken AB by this sudden transformation he's witnessing so again the climax of a story summarizing the whole implying the beginning and the end is all contained within a single block of marble this is the challenge to any figurative narrative sculptor clearly borrowing from updating changing of course the purpose and the context but still borrowing from John Bona's helical composition from the 1570s John Lorenzo berini in the 1620s really does create an astonishingly entertaining and shocking image it's now housed in the Villa bores which like The Palazo faresi we'd looked at karachi's ceiling paintings in last time is one of the several magnificent Palace grounds privately built for the pleasure of important figures of the Catholic Church Cardinals and such uh who over the centuries have managed somehow despite their being presumably Pious uh self-abnegating Christians uh to acquire vast private fortunes which they then spent on spectacular uh luxurious palaces and collections it's now a public museum it's very well worth visiting and among many of the things it has in its large collection it has Apollo and Daphne which occupies a little room of its own so that you can walk around it in a counterclockwise direction to enjoy every aspect of this statue from multiple angles and berini intended this as you can tell from the sequence of photos I'm showing you look at it from below it is up on a big pedestal and you'll notice by the way that this is not only convincing anatomical presentation of human figures in motion Frozen in stone but he's gone to an even greater degree of an even higher level you might say of sheer mimetic success than Michelangelo did with the David not content just to depict the forms of these two figures berini became known for his amazing skill at burnishing and polishing the surface of his marble such that you can tell very IM very immediately the the difference between the texture of the flowers the leaves of the tree and the bark and how different they are from the texture of the skin of the figures but the flesh of the male figure which is slightly less smooth and Polished than that of the females figure those are the kinds of new you might call them almost showing off features of Baro art that really do sort of immerse the viewer in a world of sensuality through the art the visual art that made bernini's reputation here's another angle and you'll notice that with each different photograph I've taken here you get a different experience because this is a statue designed to keep you looking at it it is meant to pull you in and move you around slowly around this statue which indeed if you stand back and watch the crowds happens per per his plan every day for hours on end you see what I mean didn't expect it quite to look like this from this side right this is all the essence of the barok this is the Baro sensibility as we call it the the sort of feeling of the Baroque Era and you can see it not just in the poses of the figures and their wrapped around twirling energy but also in the details look at the hair of both these figures and they are also energized by that Rippling whing electricity of the Baroque you might call it another major figure of this time we now know just how major because of recent scholarship we've known about emesia genesi for hundreds of years but she has generally been ignored in favor of other major figures in the art world of the 17th century in Europe including her father an important artist orazio genesi today I'm just going to talk briefly about timia genesi and her career she was a remarkable figure by any standard first she was fortunate most of the women who as girls could draw like an angel just as many of the girls able to do that as The Talented Boys in every classroom in the history of the world most of those girls were not able to continue to pursue their potential as professional artists whereas the boys were encouraged to do so but unlike most of those girls aresia was encouraged because her father was already in the business a professional and successful painter himself and fully cognizant of all the trends of the early Baroque in Italy by the way so she had a special environment she grew up inside the art world and she was encouraged by oratio and others in the family to develop her own obvious aptitude for drawing this she did but after a time at the age of 16 orazio who was increasingly uh beset by new commissions for new paintings around town felt he couldn't give over the time to teach his daughter any longer and he hired a new artist a young man to teach her instead he raped her beginning to become a rather familiar story isn't it but that's because we're talking about men so what happened unlike virtually every rape victim of the 17th century in European Society aresia genesi brought char charges against the man and insisted that it'd be brought to court he was put on trial because they actually did have laws against rape they just never enforced them nor even acknowledge that the act ever really occurred and she put him on the stand or had him put on the stand or the judge was forced to do so you know how she was able to win her case because she did win her case although the punishment really was never Meed out and he didn't serve anything like what he should have served but he did have a big setback in his career at least his reputation well I'll tell you how she proved it she was subjected to torture in court the judge literally had her physically tortured to make sure she wasn't lying to her astonishing credit she withheld upod what's the word she survived all this without giving in without recanting and continued to accuse and succeeded now this also became widely known and that boosted uh her reputation it helped her to gain commissions and she herself as an adult artist over the next Decades of her life uh made the victimization of women and particularly their righteous revenge and the pursuit of justice as told through the annals of Western literary and historical um culture her specialization here you see a self-portrait by arisia jeski here is one of her better known history paintings as we call them it's a scene of Y killing ciser this is technically a kind of historical scene from quazi legendary history um and you can tell pretty well what it's about awful man behaved abominably and the woman gets even I think you can see suddenly jumping from the horrific themes of Western Art to the relatively trivial matter of artistic style that jeski timia genesi is influenced heavily by the style introduced by kavaj she is one of the many artists of the 17th century and the early 18th who came to be known collectively in many parts of Europe as the kavaj gisti the people who followed kajio it's not surprising that striking theatrical single Source light effect with its deep dark slanting shadows in near blackness in the backgrounds behind figures was hard for any talented figure painter to resist trying their hand at throughout this Peri period when it was such a new phenomenon and when it seemed to introduce into art at the time a new element of credibility for the subjects the people the figure types that kavaj had selected were people taken off the street literally rather than the professional art models generally and this was exciting to people who saw a degree of believability in his work that many many other artists tried to emulate among them AR genesi here's another of her spectacular kavajes scenes again with her own thematic slant pointing toward in this case the go-to subject for female Vengeance and Justice Judith the heroine of the Old Testament with her maid servant here not slicing off the head of holofernes this time but trying to pack it up and get rid of it before the cops come memorable images absolute um you might say archetypes of the Baro well worth studying whether they were made by a man or a woman it happens though that they are made by one of the Supreme masters of the 17th century European art World timia jeski here's another of her grim and gruesome scenes that nevertheless pack quite a dramatic wallup now I'm moving to Spain the other major center of the Southern Italian being the other um the southern Baro era of course there is a Renaissance that is felt in the art world of Madrid in Spain as well um but it Spain really starts to make a powerful impact in a more General way across Europe as a center for Innovation and excellence in art only about at the end of the 16th century there are some great Masters before that point but they don't have quite the same International or at least Regional influence on European art in general until about 1600 I'm going to come back to that art work in just a minute or the artist this is a work by the most famous of all Spanish artists probably uh at least uh before Modern Art I suppose if you include Modern Art it would probably be Pablo Picasso but before that there is no figure more widely known or deeply and um and consistently influential on the development of Western Art coming out of Spain then Diego belth Diego belth I'm pronouncing it with a lisp because that's the castian pronunciation of Z's and C's in the language uh if I offend any uh Spanish speakers please forgive me I am only showing my uh interest in elocution and pronunciation I don't speak Spanish um but I am captivated by the uh the longstanding rumor never verified but kind of Street story of the origin of this lisping of belth and that is that according to some um the tradition of mispronouncing these syllables these uh consonant sounds uh stemmed from the fact that the King was purported to have a terrible lisp and rather than anyone having being able to muster the courage to tell the king of Spain that he needs to work on his ess's everybody else around him in the court his Entourage the courtiers of Spain adopted the list making its standard default pronunciation in some parts of Spain ever since so there you go this is a early work by the most famous of Spanish artists the great barok figure Diego Basquez it's not characteristic of his long-term influence as a painter but certainly it is a good example of one of the two most important contributions of the Baro era to the history of Western Art namely its increasing investment in creating mimetic Ally convincing realistic looking scenes like this one an old woman frying eggs with a young man helping her that's all it is it's a genre painting it doesn't have any particular story to it it is just the sheer credibility of the scene which I venture to suggest to many of us we could even fairly describe as nearly photographic in its convincing verisimilitude that we see the early Basquez already making a powerful statement for the rest of our history in the west the closer you get the more convincing these images become and it's important to understand this is nobody right these are ordinary people without names they represent the truth of life for the working and middle classes in Spain in the 17th century unflinchingly portrayed by an artist of increasing power influence and privilege now he wasn't born into any high level of aristocratic families although he had some connections with a lower level of idalgo Spanish breeding he was mainly a self-made man he had the advantage of course of being a white man which will become more relevant in a moment first I want to show you one mature work by belke this is a portrait one of several that he painted of King Philip IV the king of Spain he was working by this time as a full-time member of the Court Studio commissioned to make portraits of members of the court on a regular basis on a more or less continuous basis and getting paid pretty well for the job as well of course as receiving great status um for that job here you can see again a convincing likeness of a real person standing in a real space and wearing some very very fancy clothes with a lot of expensive silver embroider work etc etc but at the same time we can note we are seeing a remarkable collection of brush Strokes in a carefully calibrated limited range of interconnected vibrating color hence the title King Philip IV in brown and silver when you get up close to one of the paintings by vth from the 1630s on you see how this artist Like Only a handful of of others has often been referred to within the art world as the painter's painter or an artist's artist by which we mean that the general public might see some quality in the workmanship and appreciate it and certainly they will be struck if they're interested in history and politics by the subjects who pose for him in his Studio but they don't necessarily notice the quiet but immensely impressive technical facility and sophisticated sense of color Harmony and vibration that permeate his work and which have had predictably over the centuries powerful effects on the aesthetic sensibilities of subsequent major artists he is one of those go-to sources of Western art history in other words here is another aspect though of his work as a mature artist he didn't forget the ordinary the real the the the the people who weren't born to the purple as we say sometimes meaning they weren't born with a silver spoon in their mouth living in DT Abbey like so many of the subjects we've looked at in this course today they were just the people who got jobs maybe serving members of the Court one of them was this woman known by the affectionate nickname throughout her career as laesa an Italian term meaning the female pope she wasn't really her real name was Olympia ma Alini P but she was a woman of no particular remarkable appearance who nevertheless encourage or almost I don't know without meaning to um encouraged a great many members of the court to admire and respect her deeply she was one of the caretakers of the royal family and an adviser to the king over many years well here she is having agreed to pose for belth in the court for her portrait look at the intensely human personality that we are in the presence of this is much more than a likeness don't you think this is really the preservation of a human being through marks on canvas it it ascends to a higher level of aspiration than virtually all portrait painters have ever dared uh try to ascend to it it it gets Beyond mere mimesis and tries to reveal the inner soul and I think comes as close as one can expect any artist to come it also does this without the slightest intention to flatter or idealize in any classical sense instead it Embraces the real it makes something for all time beautiful out of the particularity of this individual sitter and that's one of the great achievements of Spanish art in the Baroque it isn't that it's grander and more spectacular that it twists and Twirls in helical composition and Rhythm even better than the Italian stuff no it is that there is a quality of genuine closeness to Nature and closeness to Human Experience in the best of it which is usually not investigated to that extent by the Italian masters of the Baro now here is vasquez's Masterwork or at least the most famous painting he made and it's a biggest one too I think it's about 10 by 8 feet it's a bigon and it shows a self-portrait of belth at his easel with his pallet and brushes in hand who is painting there is no easel actually it's just this prop here in the background because the picture is too big to sit on the uh rim of an eil easel so the ledge of an easel this is a great big group portrait that he is painting who are the subjects of the portrait have you figured it out now we are because we're looking from the position that the sitters for the portrait are standing in and you can see them in their reflection in a mirror at the back of this darkened room there they are the king and queen we get to be king and queen by watching this painting that's part of the fun that people experienced when they saw this painting and it was an unprecedented entertainment nobody had ever conceived of the possibility that a painting could have so much going on in it besides just the routine of a portrait of the official Monarch and his uh consort there are a lot of other things going on in it but I'll just point out one or two first the center of attention is not us the king and queen nor us the people looking at the painting the center of attention is that very spoiled very self-satisfied and complacent little four-year-old the blonde girl in the middle of the painting who is the AIS to the throne of Spain the daughter of the king and queen the infanta as they refer to her in Spanish and next to her on our left and on our right are two of her maids in Waiting or ladies in Waiting known giving the title its Spanish version Las Minas they are young too they're in their early teens and their job is to see to it that the little girl gets anything she could possibly want right because she is the most spoiled girl in the all of Europe perhaps along with those two ladies in waiting there are two additional children or young people one a little girl in red on the far right who is playing with the dog and the other an employee of the Court a member of the Court whose presence was expected as entertainment this was a form of 17th century uh I don't know what you'd call it lookism or another kind of bigotry or bias that put uh people who were not of typical pictorial or physical stature uh into a very narrow range of possible professions one of which was a centuries old profession that of court jester or funny person entertainment for the elite that's what her job is the woman in black with silver trim I'm referring to but how does Basquez treat her as a real person worthy of our serious and respectful attention I just as the other figures are this is one of the characteristics of Spanish art and particularly I think we should give credit to Basquez himself for introducing that level of scrutiny respectful scrutiny in the case of the less fortunate Among Us he also gives plenty of respect and interest to the dog I'm glad to say okay I'm going to move on now to one last example by belas which I was intimating I would talk about earlier it's a painting of his manservant his personal gentlemen's gentlemen you call them at least in England in the 20s they did so this man Juan DEA was through circumstance uh the son of uh white person and a black person a black African had married a a white person and they had had a child now the family had obtained their freedom by purchasing it this was possible then despite the fact that enslavement of black Africans was quite common in the 17th century still in urban Spain and he himself unfortunately did not receive the extension of that to his generation eventually Diego Basquez did Accord him is freedom he had had a long and close relationship with belth and belas not only benefited from U juand de pera's service but also gave juand de Pera lessons in drawing and painting because he saw great aptitude in him which you can see as well not only in the powerfully intense study of the personality not just the likeness again but the person personality of his subject here but in the work of par himself or DEA this is Juan dea's uh calling of St Matthew uh seen from some of the gospels of the New Testament as you can see it is extremely competent professional Baro painting a narrative scene with multiple figures in a wide variety of poses very convincingly laid in in oil on canvas showing a convincing linear perspective foundation for the space the figures are in a variety of contraposto poses they all reflect the uh awareness of an artist trained in the great tradition that had begun with the Renaissance Juan de Pera up until about 30 years ago students was known to every art history student because of his portrayal in this uh unquestionably brilliant and powerfully affecting portrait of him by his master literally once his master Diego Vasquez it's only in the last 30 years or so that we have become aware that he was also himself a very successful highly respected and very productive oil painter of figure scenes as complex as this one that's right okay and I'll leave you I know I'm going a little late with a few quick looks at some works of terracotta miniature porcelain wear these are statuettes small figure groups that are made in clay through the additive process not the subtractive chipping away at marble process but the additive using clay or wax process of sculpting made by a woman Master artist again Lisa inia ran her name was again we know about her only because uh we benefit now from a a a population of professional art historians who have graduated past I hope to a great extent the limitations of our uh predecessors in the profession whose myopia was formed in a world of racism and sexism so we have discovered a great deal about women artists of this time who before would have been completely ignored or their works attributed to better-known male artists which happened a lot these works are Paragons of the Baro Spirit as you can tell I hope you can all now immediately recognize and of course you can see the photographer did by placing this example in a brilliant single under a brilliant single source of light with deep dark shadows like a carajo painting so as to emphasize the Brilliance of color and Rhythm that ripples among the figures in this group this is a kid manger scene with the Virgin Mary on the left and Jesus in the front row Center there it is a an image of joy and happiness and familial love of course that's the traditional theme but you can sense it more intensely in this kind of work of the Baro era than I think you would have in the more subdued and disciplined expression of emotion that prevailed during the previous Classical period of the Renaissance here's another work by Louisa ran there you see the only known portrait of her this is a representation of one of the Spanish U martyr Saints kin deara or de Yara and I want you just to look at the degree of pure mimetic success in these little figurines that she made now if I had only shown you this detail and said this is a photograph of a man's wrist in hand would you have doubted me it is that true to life the realism that was begun in the studios of people like Karachi and carajo in the early 17th century or late 16th in Rome has now become a big part of the current the electrical current of energy called the barok and I'll leave you with this last work by ran it's a tragic work of the inum of the now dead crucified Jesus do you feel the power of the Baro students have a good one bye-bye