Carlo Dolci's Embodiment Of The Counter-Reformation Ideal

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The Baroque period was unique in that for the first time artists strove to convey meaning purely through emotion rather than relying on symbolism. Carlo Dolci (1616-86) clearly embodied the Baroque style. It is said of Dolci that he “paid great attention to detail, so that his religious scenes have a somewhat affected air, due to his zeal in the rendering of their pious facial expressions.” Dolci was known for his piety. So much so that he could be viewed as an embodiment of the Counter-Reformation ideal of the “Christianus pictor.” According to Baldinucci, Dolci vowed to paint only sacred images “so that they might bear fruit of Christian piety in whomever looked at them. So I do not wonder that in this his brushes had a special gift, that is evident in all his paintings, quite different from those of other, even famous artists.” Dolci uses soft, delicate colors which help to contribute to the sensitivity that he sought in his pictures, especially the maternal sentiment of Mary. His art was intended for the aristocrats, a master of works for private consumption with intimate scale and refined technique that created extraordinarily effective devotional images. …show more content…

Dolci’s portrayal of the Child Christ standing on the Virgin Mary’s lap with His hand raised in blessing is not unusual in the history of Italian painting. According to Shorr, although Dolci’s work was closely tied to art of his time, it also recalled, “in its purity of form and serenity of mood”, Italian painting of the 15th and early 16th centuries, such as Botticelli. The intimacy of the scene and sweetness of the Virgin Mary’s gaze may suggest Dolci could be intentionally imitating for enhancing its devotional quality, an enduring theme of western Christian

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