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tial tone. This can be seen, for instance, in Guido Reni's "Saint Joseph and Child", a work that, although un-
claimed by the contemporary world, did have its hour of glory during the 17th century. And why was this so?
Because, at the time, Reni was far more famous than all the Caravaggios and La Tours of the world, who
have since been rediscovered. Reni represented a high point in Baroque art history. Moreover, in this work he
allowed himself the luxury of tackling an extremely rare subject. The very strangeness of its subject is what be-
came its glory: instead of portraying Virgin and Child, as was generally the case, it stages Father and Child. Al-
though renowned in particular, for his bright colors and the elegance of his compositions, here Reni neverthe-
less sought to rein in the methods of his art the better to convey the intrinsic nature of this Father-Child dia-
logue.
The great aesthetic impact of the Baroque made it felt all the more in works dealing with such serious sub-
ject matter as the Christian epic. In this vein, the Piety (Virgin Mary mourning over the dead body of Christ)
was one of the major themes to be broached, precisely because, here again, Life and Death are allied. The
theme involves a perspective of day and night, corresponding with the light-and-dark philosophic mood mark-
ing the entire 17th century.
The Baroque approach to the Piety centered on the theme's dramatic essence, as beautifully illustrated in
the work of Andriaen van der Werff, a painter who, notwithstanding his Flemish origin, made a career for him-
self in Italy. Van der Werff’s Piety is entirely in black and blue: everything other than the Virgin's cloak – that
is, everything other than this symbol of life – is painted in white and black, from the body of Christ to the dark-
ness of the background. Another stunning example is to be found in the Piety of the Venetian painter Giovanni
Battista Piazzetta: the light marking the great arch stretching the corpse in the foreground drives back the dark-
ness, from where the work's feminine central figure seems to burst forth. Here again, the play of light and
shadow translates a fundamental dialogue and, as such, proves itself intrinsically Baroque.
These few examples of the 17th-century school of painting ranging from Caravaggio to Piazzetta illustrate
an approach that was severe and contemplative, focusing on silence, on the essence of life. It was only natural
for this same approach to carry over to Baroque architecture, which can thus also be characterized as austere
and basic.
Active Vocabulary
1) austerity – строгость, простота стиля
2) to inspire – вдохновлять, внушать
3) vividly – ярко, четко
4) in the wake of – следуя за, по следам
5) depiction – описание, изображение
6) repercussion – отзвук, эхо
7) intrinsic – внутренний, присущий, свойственный
8) sacrifice – пожертвование, жертва
9) mundane – светский
10) endeavor to attain – попытка достичь чего-то
11) contemporary – современный
12) to tackle – касаться, затрагивать
13) to convey – выражать, передавать
14) impact – воздействие, влияние
15) to broach – начать обсуждение
16) to ally – соединяться
17) stunning – ошеломляющий, поразительный
18) shadow – тень, след
19) contemplative – созерцательный
Exercises on the Text

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