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Bernini also created a statue of David, in 1623. As seen in Rennisance statues, Bernini takes the figure and adds the Baroque twist by depicting David filled with action and intensity. He captured the moment in action, in such a way that the viewer completes the action, and forgets they are looking at stone.

the calling of st. mathew, painted also by carravaggio in 1597, is another example of italian baroque art. Again, the drama of light, the light of god, is strong (tenebrisim). This counter referemation piece, like the last one is of Mathew before reciving his calling, as an evangelest. Jesus, who's hand is a refence back to micheleangelo's creation of adam in the sistine chapel, which carvavaggio undoubtidly was farmiliar with.

andrea pozzo, an italian baroque painter, painted the glorification of st. ignatious in 1691. In perfect prospective, the vanishing point of the peice represents the glory of god. The people are paointed disoto in su (from directly below), which adds to the trompe loiel effect of the painted out ceiling.

peter paul ruben, from holand, painted the elevation of the cross, during the baroque period in 1610. This is an unusual subject in the passion, but one seemingly fitting of baroque art. The dramatic diaginal made by the cross christ is on, and the heroic strength it would take to host him up, in combination with his own musculature, makes him seem like an ancient antiquity's hero. He holds the strength of the catholic faith with him. In the right of the tryptic are believers, and the left, those who do not, theifs.

rembrant (from holland)painted the group pourtrate of the shooting company of captin frans banning in 1641, to decorate a hall for the militant group. The commision was upfront to paint the two figures in the light, and center, and 16 other people, who would be included by how much they paid. The more they paid the more they'd have of themselves in the peice. The painting is lively and dynamic, typical of baroque art. the scnee depicts the men preparing to paraid, and catpures the excitement and activity, the lances at angles give a sense of complexity and harmony. Although the painting is very dark, and has a strong sense of light, the varnish rembrant used made it darker over time.

jan vermeer, a dutch baroque painter, painted the allegory of the art of painting in 1670. He seprates the viewer from the painting by providing barriers, such as a chair and a curtain (presentin the theatricallity of the stage), instead of including the viewer like velaqueze does in his las Minas of 1656. The woman is not just a model the painter is painting, but the muse of history, clio. She holds a bok and a horn, her symbols. On the wall the map, though tipical of dutch homes, is a reference to history. The prospective is inforced with orthaoginal lines on the floor, and even the shadow of the map. Realisim is presented in the smallest of details, such as the wrinkles in the map and the lighting. The light effect jan vermeer uses is called camera obsura, meaning a dark room with a window providing the light. It gives a great dramatic effect, characterisitic of baroque art.

antoine watteau, a french roccoco painter, painted the return from cythera, in 1717. He captured the high classes not a care in the world approuch to life, as they leave the island of cythera, of aphrodite. Little puti bide their fairwells, as lovers head back to down, still with their worry free attitudes.