Dynamic Vs Classical Baroque

The Baroque art era, beginning in the 17th century and ending at the start of the 18th century, had an emphasis of power and influence in art that shifted from Rome to France. The art of the Baroque era can be divided into classical and dynamic, or high, baroque. Each have different characteristics that are significant of each. The characteristics of the classical baroque are linear, closed form, and absolute clarity. On the other hand, the characteristics of dynamic baroque include painterly, open form, and relative clarity. By looking at examples of these characteristics, one can see the similarities and differences of the two major trends of Baroque art, the classical and dynamic.

The first characteristics of classical Baroque and dynamic
The classical baroque trend has multiplicity. Multiplicity means a variety of different details in the artwork. There is an abundant number of features in each piece of work. An example of multiplicity in a classical baroque is seen in Artemisia Gentileschi’s Judith Slaying Holofernes. In this piece, the artist has include a plethora of details, from the blood dripping down the bed from his neck to the stern faces of the two women subjects. Even the bed sheets have a crazy amount of detail and focus to give a realistic portrayal. In contrast, the dynamic baroque trend has a sweeping unity in the compositions. Detail is less important and painterly excitement is seen by the broken brush strokes. The art works have a more sketchy look, rather than defined lines. An example of the dynamic style is Jose de Ribera’s Martyrdom of Saint Bartholomew. In this painting, it looks dynamic, as the saint is being crucified and the figure in the background is lifting him up. The artist uses foreshortening to give perspective, seen in the torso of the figure to the
Absolute clarity, emphasized during the classical baroque style, gives an equal presence to all the subjects in the painting. Everything is seen clearly in the frame. There is very clear lighting. An example of absolute clarity in classical baroque style is seen in Nicolas Poussin’s Et in Arcadia Ego. The four male subjects have an equal presence and the objects are clear in the composition. There is a unity of humans with nature. The dynamic baroque, in contrast, has relative clarity. Unlike classical baroque where all the subjects have an equal presence, people towards the back of the frame are harder to see than the front. There is an obscurity. In the same example used for the painterly style, Diego Velazques’ Les Maninas also shows relative clarity. There are three rows of figures that get darker and further away as each row gets back. The man standing in the doorway is the furthest in frame and therefore, is harder to see. While the girls and dog in the front can be seen the best since they are in the