(1566 - 30 December 1643) was an Italian Late Mannerist and Early Baroque painter and art historian. He is best remembered for his acrimonious involvement with the artist Caravaggio and his writings concerning the other Roman artists of his time. A pupil of Francesco Morelli, he worked mainly in Rome, initially with a late-Mannerist style. He was also nicknamed Il Sordo del Barozzo.   Related Paintings of Giovanni Baglione :. | Rembrandt son Titus, as a monk, | Three Men | The Sweater of Plaid | St Charles Cares for the Plague Victims of Milan s | The Robec Stream |
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Francis Quarles
1592-1644,was born at Romford, London Borough of Havering, and baptized there on May 8 1592. Francis traced his ancestry to a family settled in England before the Norman Conquest with a long history in royal service. His great-grandfather, George Quarles, was Auditor to Henry VIII, and his father, James Quarles, held several places under Elizabeth I and James I, for which he was rewarded with an estate called Stewards in Romford. His mother, Joan Dalton, was the daughter and heiress of Eldred Dalton of Mores Place, Hadham. There were eight children in the family; the eldest, Sir Robert Quarles, was knighted by James I in 1608. Francis was entered at Christ's College, Cambridge, in 1608, and subsequently at Lincoln's Inn. He was made cupbearer to the Princess Elizabeth, in 1613, remaining abroad for some years; and before 1629 he was appointed secretary to Ussher, the primate of Ireland. About 1633 he returned to England, and spent the next two years in the preparation of his Emblems. In 1639 he was made city chronologer, a post in which Ben Jonson and Thomas Middleton had preceded him. At the outbreak of the Civil War he took the Royalist side, drawing up three pamphlets in 1644 in support of the king's cause. It is said that his house was searched and his papers destroyed by the Parliamentarians in consequence of these publications. Quarles married in 1618 Ursula Woodgate, by whom he had eighteen children. His son, John Quarles (1624-1665), was exiled to Flanders for his Royalist sympathies and was the author of Fons Lachrymarum (1648) and other poems. The work by which Quarles is best known, the Emblems, was originally published in 1635, with grotesque illustrations engraved by William Marshall and others. The forty-five prints in the last three books are borrowed from the Pia Desideria (Antwerp, 1624) of Herman Hugo. Each "emblem" consists of a paraphrase from a passage of Scripture, expressed in ornate and metaphorical language, followed by passages from the Christian Fathers, and concluding with an epigram of four lines. The Emblems was immensely popular with the common people, but the critics of the 17th and 18th centuries had no mercy on Quarles. Sir John Suckling in his Sessions of the Poets disrespectfully alluded to him as he "that makes God speak so big in's poetry." Pope in the Dunciad spoke of the Emblems, "Where the pictures for the page atone And Quarles is saved by beauties not his own."
Severin Roesen
1848-1871 Severin Roesen (ca. 1815-1872) is a painter known for his abundant fruit and flower still lifes and is today recognized as one of the major American still-life painters of the mid-nineteenth century. Born in Cologne, in Germany, he emigrated to the United States in 1848. While Roesen's paintings reveal a meticulous attention to detail in their precise arrangements and close brushwork, his subject matter, even down to specific motifs, did not change throughout his career. Sometimes he made near copies of paintings, but usually he merely rearranged and reassembled stock elements. Numerous items in Fruit and Wine Glass, for example, also appear in other paintings. The footed desert plate full of strawberries is a common motif. The pilsner glass, sometimes accompanied by an open bottle of champagne, is interchangeable with a wine goblet filled with lemonade used elsewhere. The glass is nearly always placed at the lower left edge of the painting; a halved lemon often appears nearby. Branches full of grapes arranged from lower left to upper right provide the composition with a graceful S-curve and subtly lead the viewer's eye over the entire display. Here the composition is balanced by light and dark grapes at either side and filled in by scattered raspberries, cherries, peaches, apples, pears, and apricots. Many of these compositional elements, if not the items depicted, were derived from seventeenth-century Dutch still life paintings by such artists as Jan van Huysem.
Orazio Borgianni
Italian Baroque Era Painter, 1578-1616