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Duquesnoy's St Susanna suggests an abandonment of Bernini's influence, although to some degree it equals the quality of the master's religious sculptures. The saint does not look upward to heaven like most other Roman figures of the Seicento, but downwards at humanity. In this pose, which is very much based on a classical aesthetic, she contrasts with Bernini's mystification of naturalness and humanity.
As an outstanding masterpiece in Duquesnoy's oeuvre, even for contemporary commentators, it represented a model of the progressive, classically oriented tendency in Baroque sculpture.
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