Giovanni Baglione (Italian: [dʒoˈvanni baʎˈʎoːne]; 1566 – 30 December 1643) was an Italian Late Mannerist and Early Baroque painter and art historian. Although a prolific painter, Baglione is best remembered for his encyclopedic collection of biographies of the other artists working in Rome during his lifetime, and particularly his acrimonious relationship with the slightly younger artist Caravaggio through his art and writings.
In art, chiaroscuro (English: /kiˌɑːrəˈsk(j)ʊəroʊ/ kee-AR-ə-SKOOR-oh, -SKURE-, Italian: [ˌkjaroˈskuːro]; lit. 'light-dark') is the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition. It is also a technical term used by artists and art historians for the use of contrasts of light to achieve a sense of volume in modelling three-dimensional objects and figures. Similar effects in cinema, and black and white and low-key photography, are also called chiaroscuro. Taken to its extreme, the use of shadow and contrast to focus strongly on the subject of a painting is called tenebrism.
Further specialized uses of the term include chiaroscuro woodcut for colour woodcuts printed with different blocks, each using a different coloured ink; and chiaroscuro for drawings on coloured paper in a dark medium with white highlighting.
The Young Sick Bacchus (Italian: Bacchino Malato), also known as the Sick Bacchus or the Self-Portrait as Bacchus, is an early self-portrait by the Italian Baroque artist Michelangelo Merisi da Caravaggio, dated between 1593 and 1594. It now hangs in the Galleria Borghese in Rome. According to Caravaggio's first biographer, Giovanni Baglione, it was a cabinet piece painted by the artist using a mirror.
Leonardo Sormani (active ca 1550- ca 1590) was an Italian sculptor active in Rome during the Renaissance. Details of his life are not well known, and authors seemingly refer to him by different names: Giorgio Vasari spoke of a Lionardo Milanese; Giovanni Baglione wrote biographical details of a Lionardo da Serzana or Sarzana; while by the 1670s Giovanni Vincenzo Verzellino and Raffaele Soprani tried to distinguish Vasari's Lionardo from a Leonardo Sormani, originally from Savona. These names, however, appear to refer to the same sculptor. Attributions however of individual works are difficult.
Sarzana appears to have been a restorer as well as a sculptor. Works attributed to Sarzana include: