03 — ARTWORK
St Andrew
- MEDIUM
- Marble, height 450 cm
- TYPE
- Religious
PALETTE
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- FILE
- 1000 × 1322 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
The years around 1630 saw the crystallization of the controversy of BaroqueThe period in art history from about 1600 to about 1750. In this sense the term covers a wide range of styles and artists. In painting and sculpture there were three main forms of Baroque: (1) sumptuous display, a style associated with the Catholic Counter Reformation and the absolutist courts of Europe (Bernini, Rubens); (2) dramatic realism (Caravaggio); and (3) everyday realism, a development seen in particular in Holland (Rembrandt, Vermeer). In architecture, there was an emphasis on expressiveness and grandeur, achieved through scale, the dramatic use of light and shadow, and increasingly elaborate decoration. In a more limited sense the term Baroque often refers to the first of these categories. The development of the Baroque reflects the period's religious tensions (Catholic versus Protestant); a new and more expansive world view based on science and exploration; and the growth of absolutist monarchies. versus Classicism that was to continue to rage during most of the rest of the century. Pietro da Cortona led the Baroque faction with Bernini, while the painters Andrea Sacchi and Nicolas Poussin championed the classicalRelating to the culture of ancient Greece and Rome (classical Antiquity). The classical world played a profoundly important role in the Renaissance, with Italian scholars, writers, and artists seeing their own period as the rebirth (the "renaissance") of classical values after the Middle Ages. The classical world was considered the golden age for the arts, literature, philosophy, and politics. Concepts of the classical, however, changed greatly from one period to the next. Roman literature provided the starting point in the 14th century, scholars patiently finding, editing and translating a wide range of texts. In the 15th century Greek literature, philosophy and art - together with the close study of the remains of Roman buildings and sculptures-expanded the concept of the classical and ensured it remained a vital source of ideas and inspiration. cause together with the Flemish sculptor Duquesnoy, who lived in Rome during 1618-43.
Duquesnoy's figure of St Andrew stands in St Peter's opposite Bernini's St Longinus, its contemporary, and the comparison between the two is revealing. Both figures are unquestionably Baroque, but, in contrast to the dynamic composition of the Bernini, Duquesnoy' figure is absolutely static and posed; even the slightly over-elaborate draperies are motionless.
CITE THIS RECORD — BIBTEX
@online{wga-r75c8bcc5236a06,
author = {Krén, Emil and Marx, Daniel},
title = {St Andrew by DUQUESNOY, François},
organization = {{Web Gallery of Art}},
date = {2026-09-09},
url = {https://beta.wga.hu/artists/duquesnoy-franois-r67d79115372a5f/st-andrew-r75c8bcc5236a06},
urldate = {2026-09-09},
langid = {english}
}ACCESSED 2026-09-09. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
