Sacred and Profane Love by BAGLIONE, Giovanni success fail Nov MAR May 14 2016 2017 2018 20 captures 10 Apr 2016 - 24 Nov 2020 About this capture COLLECTED BY Organization: Internet Archive These crawls are part of an effort to archive pages as they are created and archive the pages that they refer to. That way, as the pages that are referenced are changed or taken from the web, a link to the version that was live when the page was written will be preserved. Then the Internet Archive hopes that references to these archived pages will be put in place of a link that would be otherwise be broken, or a companion link to allow people to see what was originally intended by a page's authors. The goal is to fix all broken links on the web. Crawls of supported "No More 404" sites. Collection: Wikipedia Near Real Time (from IRC) This is a collection of web page captures from links added to, or changed on, Wikipedia pages. The idea is to bring a reliability to Wikipedia outlinks so that if the pages referenced by Wikipedia articles are changed, or go away, a reader can permanently find what was originally referred to. This is part of the Internet Archive's attempt to rid the web of broken links. TIMESTAMPS Artists Search Glossary Contact Info BAGLIONE, Giovanni (b. ca. 1566, Roma d. 1643, Roma) Sacred and Profane Love 1602 Oil on canvas, 240 x 143 cm Galleria Nazionale d'Arte Antica, Rome Baglione painted this canvas, alongside of another version now in Berlin, for the Cardinal Benedetto Giustiniani. The two works follow on the heels of and make reference to Caravaggio's Love Victorious, painted in 1601 for the Marquis Vincenzo Giustiniani. The canvas dates to just before the famous court trial that marked Baglione's definitive split with the circle of his contemporary, Caravaggio: it is thus a document of the phase of Baglione's career in which he most closely approximated Caravaggio's methods. Baglione was originally trained as a painter in the late mannerist style, and was active in major papal commissions at the end of the sixteenth century. He was the first painter to attach himself to the new naturalistic vision of Caravaggio, a style that had its official debut in that painter's work at San Luigi dei Francesi in the Jubilee Year of 1600. While there is no doubt that Baglione modelled the National Gallery picture on Caravaggio's Love Victorious, the artist took a completely new point of view. Uniting the figures to the dark background against which they stand out, he uses an intense and direct spotlighting that creates strong chiaroscuro contrasts. The legacy of late mannerism matrix is evident in both the compositions of the individual figures, above all the attenuated proportions of Sacred Love, and in the rich, complex attire, which departs from Caravaggesque prototypes. Derived from the Psychomachia of Prudentius, the moralizing theme of combat between the vices and the virtues was interpreted by Virgil in "Omnia vincit Amor". Later codified by Petrarch, the theme enjoyed a new popularity in the early seventeenth century. The face of the figure of the devil at the left has been identified as a portrait of Caravaggio. This canvas includes a satirical condemnation of both Caravaggio's art and his moral scruples, making what is tantamount to a visual charge of sodomy. Divine Love interrupts a tryst between Cupid and the Devil, who turns toward the viewer in anguished surprise revealing Caravaggio's likeness. The painting is signed and dated: "IO BAGLIONE/R:F:/1602" Artists Search Glossary Contact Info © Web Gallery of Art, created by Emil Krén and Daniel Marx.