Overwhelming the viewer was the main mission of the art that emerged during the Counter-Reformation. For this reason, the canvases were filled with a dizzying sense of movement, an unusually graphic violence and an almost permanent erotic insinuation. At the same time, the churches recharged their facades to try that the faithful tempted by new dogmas returned to the good road (not by chance, the term "propaganda" was coined while Bernini finished the colonnade of San Pedro). Some of the postulates of the Baroque, probably a tracing of an old Portuguese term that was used to describe irregularly shaped pearls, continue to permeate much of today's art. It is the main thesis of the sample Sanguine, started in Antwerp and now exhibited in an expanded version in the Prada Foundation of Milan, which proposes a stimulating comparative exercise between different examples of Italian, Flemish and Spanish Baroque and several dozens of contemporary works. Behind the idea is the Belgian painter Luc Tuymans, one of the architects of the figurative resurgence of the eighties, who previously commissioned a retrospective of James Ensor at the Royal Academy in London and promoted exhibitions on German Romanticism and post-war art in the Eastern Bloc.