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The work of Peter Greenaway poses a complex challenge since it ranges from films to artworks and tends to push against the limits usually accepted for both domains. The themes of his work, such as death, violence and sexuality, mixed with games and different kinds of measuring can be polemical. Furthermore, the treatment that they are given eschews well-known solutions, thus compelling the viewer to take an active role in order to enjoy the work. In this study, the Baroque is proposed as a key, relating different aspects of Greenaway's work that otherwise appear chaotic and incoherent. The term Baroque refers to historical period, but also, and more importantly, to a topic that has been given attention by both art and film critics who do not limit the period exclusively to the seventeenth century. The Baroque is seen instead as an ensemble of strategies that have informed the production of different works of present time. The aim of this study is to find the basic strategies of Greenaway' work that resulted in different formal and thematic manifestations linked to what has been conventionally identified as a Baroque aesthetic. The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the ‘interartial’ dimension and the ‘intermedial’ dimension in Peter Greenaway's films, <Draughtsman's contract>(1982), <A Zed and Two Naughts>(1986), <Prospero's Books>(1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media―the media is a condition of existence in art―but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. Specially we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance and the Baroque as well as pictorial techniques and language in order to question the nature of artistic representation.