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| | Baroque Painting: The Golden Age |
 | | Though undoubtedly Baroque, this was a profoundly realistic art, preferring a broad visual synthesis, with a predominance of pictorial over tactile values, to the analytical approach of the sixteenth-century primitivists. |
 | | The new art remained faithful to the themes of the preceding century: pictures of religious subjects continued to predominate, but the patronage extended by the Hapsburgs to the more famous artists resulted in the execution of numerous royal portraits, as well as paintings of historical events and scenes from private and court life. |
 | | Coello's Baroque complexity, however, is combined with a naturalistic interest in detail that sometimes detracts from the formal hierarchy of his composition, as in his painting of Charles II and his courtiers worshipping at the Sagrada Forma in the Escorial, now preserved in the sacristy of the monastery. |
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