Chapter 24- The Baroque In Italy And Spain

  Gentileschi's Judith Slaying Holofernes depicts a somewhat disturbing scene in which the Israeli heroine Judith and a maidservant are pictured as being in the process of beheading the Assyrian-enemy's general. The illustration definitely corresponds with the Baroque art movement in that the scene is very nearly a stage performance, very dramatic and showy. I also feel that Gentileschi's preferred subject matter of the adventures of historic heroines was rather risky for a female artist, in a seemingly male dominated field, to market feminist-oriented artwork. Her boldness is admirable and honest; her artwork was made without an aim to placate or to appease others, but to reflect personal interests and character.

Artemisia Gentileschi, Judith Slaying Holofernes. ca 1614-1620. Baroque Italy

 Borromini's architectural work on the facade of San Carlo alle Quattro Fontaine is very creative and seems to be somewhat of an anachronism is the time period. It is reminiscent of a modern-day "fun house" often featured at most fairs, carnivals, and amusement parks. I especially like the way he defined the structure of the building to correspond with the city's street, making it evident that he derived at least some of his inspiration from his environment and combined this with whatever internal influence that played a role in the building's frontal construction.

Francesco Borromini, facade of San Carlo alle Quattro Fontane. 1638-1641. Baroque Italy