Name | Dynasty | Details | Justification |
Annunciation | 1584 | Pinacoteca Nazionale Bologna, Emilia-Romagna, Italy | The painting is considered one of the most important examples of Italian art during the Counter-Reformation. It represents many of Cardinal Paleotti's instructions for more convincing and intimate representations of sacred themes. |
St. Jerome | c. 1598 | Borghese Gallery Rome, Latium, Italy | Toward the end of the 16th century, Barocci developed a style characterised by a strong emotive element that anticipates Baroque sensitivity. The intimate and affectionate feeling that pervades his painting is particularly representative of the spirit of the Counter-Reformation Church.Name | Dynasty | Details | Justification |
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St. Jerome | 1605/06 | Borghese Gallery Rome, Latium, Italy | A few years after Barocci's stylistic breakthrough, Caravaggio painted the powerful figure of Saint Jerome. The saint assumes great significance during the Counter-Reformation, both as a model of life and as author of the first translation of the sacred texts from Hebrew and Greek into Latin, the Vulgate. | |
The Martyrdom of St. Ursula | 1600 | Church of San Nicola e San Domenico Imola, Bologna, Emilia-Romagna, Italy | The composition represents one of the traditionally most bloody massacres of women. The theme of martyrdom, the theatrical gestures of the characters and the dramatic contrast between light and shadow would become the basis of Baroque art. |
The Beheading of St. Paul | 1633–1647 | Church of San Paolo Maggiore Bologna, Emilia-Romagna, Italy | The hemicycle backdrop of the chapel helps to bring the viewer into the scene, which highlights the contrast between the deliberate martyrdom of the saint and the dynamic gesture of the executioner. |
Saint Charles Borromeo Administers the Sacrament to the Plague-Infected | 1752–53 | Christian Museum of Esztergom Esztergom, Közép-Magyarország / Central Hungary, Hungary | Charles Borromeo, nephew of Pius IV, was a key figure at the Council of Trent and in the renewal of form and content in the Counter-Reformation Church. The traditional iconography of the emaciated saint taking the sacrament to the plague-ridden summarises the meaning of his austere moral rigour. |
Parish Church of Sümeg | 1756–1757 | Sümeg, Nyugat-Magyarország / West Hungary, Hungary | In the most extreme phase of the Baroque, the search for a highly suggestive effect resulted, in painting, in efforts to nullify architectural structures. The illusory technique draws the faithful into a visionary vortex to mystical ecstasy.Name | Dynasty | Details | Justification |
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Parish Church of Sümeg | 1756–1757 | Sümeg, Nyugat-Magyarország / West Hungary, Hungary | This cycle of frescos uses perspective illusions and chromatic qualities to make the forms appear evanescent. | Parish Church of Sümeg | 1756–1757 | Sümeg, Nyugat-Magyarország / West Hungary, Hungary | The pathos of the crucifixion scene is taken to the extremes of theatricality. | |