Baroque Art

Baroque Art

Reported by Maria Francesca

Nacionales
Reported by Maria Francesca
Nacionales
 History

 Defenition and Style

 Visual Art

 Sculpture

 Architecture

 Pictures
Histor
y
Baroque started around 1600 in Rome, Italy and spread to most of
Europe.
The popularity and success of the "baroque" was encouraged by
the Catholic Church when it decided that the drama of the baroque
artists' style could communicate religious themes in direct and emotional
involvement. The secular aristocracy also saw the dramatic style of
baroque architecture and art as a means of impressing visitors and
would-be competitors. Baroque palaces are built round an entrance
sequence of courts, anterooms, grand staircases, and reception rooms of
sequentially increasing magnificence. Many forms of art, music,
architecture, and literature inspired each other in the "baroque" cultural
movement.
The canon promulgated at the Council of Trent (1545–63), by which
the Roman Catholic Church addressed the representational arts by
demanding that paintings and sculptures in church contexts should speak
to the illiterate rather than to the well-informed, is customarily offered as
an inspiration of the Baroque, which appeared, however, a generation
later. This turn toward a populist conception of the function of
ecclesiastical art is seen by many art historian as driving the innovations
of Carravaggio and the Carracci brothers, all of whom were working (and
competing for commissions) in Rome around 1600.
The appeal of Baroque style turned consciously from the witty, intellectual
qualities of 16th century Mannerist art to a visceral appeal aimed at the
senses. It employed an iconography that was direct, simple, obvious, and
dramatic.
In paintings, Baroque gestures are broader than Mannerist gestures: less
ambiguous, less arcane and mysterious, more like the stage gestures
of opera, a major Baroque artform. Baroque poses depend
on contrapposto ("counterpoise"), the tension within the figures that
moves the planes of shoulders and hips in counterdirections. 
The dryer, chastened, less dramatic and coloristic, later stages of 18th century
Baroque architectural style are often seen as a separateLate
Baroque manifestation. See the entry Claude Perrault. Academic characteristics
in the Palladian architectural style, epitomized by  William Kent are a parallel
development in Britain and the British colonies: within doors, Kent's furniture
designs are vividly influenced by the Baroque furniture of Rome and Genoa,
hieratic tectonic sculptural elements meant never to be moved from their
positions completing the wall elevation. Baroque is a style of unity imposed
upon rich and massy detail.
The Baroque was defined by Heinrich Wölfflin as the age where the oval
replaced the circle as the center of composition, that centralization replaced
balance, and that coloristic and "painterly" effects began to become more
prominent. Art historians, often Protestant ones, have traditionally emphasized
that the Baroque style evolved during a time in which the Roman Catholic
Church had to react against the many revolutionary cultural movements that
produced a new science and new forms of religion— Reformation It has been
said that the monumental Baroque is a style that could give the Papacy,
like secular absolute monarchies, a formal, imposing way of expression that
could restore its prestige, at the point of becoming somehow symbolic of
theCounter-Reformation. Whether this is the case or not, it was successfully
developed in Rome, where Baroque architecture widely renewed the central
areas with perhaps the most important urbanistic revision.
. 

What Is Baroque ?

Baroque means 'absurd' or 'grotesque'. This term was used by people

who thought that the forms of the classical buildings should never have
been used in times after Greek and Roman periods. For, in baroque the
classical forms were used, like in Renaissance and the mannerism. 
The intention of baroque was to make the transitory life on earth special and
beautiful. Symmetry was very important. Baroque was a heavy style; many
swelling forms, excessive ornaments, wealthy and glossy materials (a lot of
colorful marble, gilding and bronze). There were a lot of movements in the
sculptures and paintings; angels flew, saints rose heavenward, people moved
and fought. There were many ceiling paintings and paintings of crowds.
 Differences between Baroque and the
Renaissance/Mannerism
Baroque has borrowed many things from Renaissance and mannerism,
but there are certainly differences.
The classical forms were used soberly in the Renaissance, with especial
attention on clearness and realism. Mannerism wasn't sober; there were
decorative and complicated effects. Baroque churches were beautified
with decorative and complicative effects, but were also very realistic.
That was expressed in a new way. In painting the leading figures were
put in the forefront. In the art of sculpture dynamic exercises were
expressed with round forms and many details. There was much variety
in composition and the bodies were very expressive. In architecture,
there were heavy pillars, overlapping pilasters (flat, rectangular wall
pillars) and deeply carved ornaments. Curved façades, oval ground
plans and broken frontons replaced straight façades, rectangular or
circular ground plans and simple triangular or segmental (part of a arc
of a circle, cut off by a straight line) frontons.
The arts of sculpture, painting and architecture became a completion to
each other. In churches architectonics ornaments ran over in painted
Visual Art

A defining statement of what Baroque signifies in painting is provided

by the series
A defining of paintings
statement executed by Peter Paul
of what Baroque signifies inRubens
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is provided
Medici at the Luxembourg
by the series Palace in
of paintings executed Paris (now
by Peter Paul at the Louvre),
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for Marie
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at the Louvre), in
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define Baroque by contrast.
Sculpture
In Baroque sculpture, groups of figures assumed new importance,
and there was a dynamic movement and energy of human forms—
they spiralled around an empty central vortex, or reached outwards
into the surrounding space. For the first time, Baroque sculpture
often had multiple ideal viewing angles. The characteristic Baroque
sculpture added extra-sculptural elements, for example, concealed
lighting, or water fountains.
The architecture, sculpture and fountains of Bernini (1598–1680) give
highly-charged characteristics of Baroque style. Bernini was
undoubtedly the most important sculptor of the Baroque period. He
approached Michelangelo in his omnicompetence: Bernini sculpted,
worked as an architect, painted, wrote plays, and staged spectacles.
In the late 20th century Bernini was most valued for his sculpture,
both for his virtuosity in carving marble and his ability to create
figures that combine the physical and the spiritual. He was also a fine
sculptor of bust portraits in high demand among the powerful.
Architecture
In Baroque architecture, new emphasis was placed on bold
massing,colonnades, domes, light-and-shade (chiaroscuro), 'painterly'
color effects, and the bold play of volume and void.
Baroque architecture was taken up with enthusiasm in
central Germany (Ludwigsburg Palace and Zwinger Dresden)
and Austria. In England the culmination of Baroque architecture was
embodied in work by Sir Christopher Wren, Sir John
Vanbrugh and Nicholas Hawksmoor, from ca. 1660 to ca. 1725. Many
examples of Baroque architecture and town planning are found in
other European towns, and in the Spanish Americas. Town planning
of this period featured radiating avenues intersecting in squares,
which took cues fromBaroque garden plans.
Sample Sculptures

Prometheus, by
Nicolas-Sébastien
Adam, 1737 (Louvre):
a hectic tour-de-force
of violent contrasts of
stress, multiple angles
and viewpoints, and
extreme emotion
 Can You Describe The Difference?

Gian Lorenzo Bernini’s David(1623–24):

“David” by
Baroque freeze-frame stopped Michaelangelo
action, contrapposto and theatrical
emotion
Paintings

Aeneas flees burning Troy, Federico

Barocci, 1598: a moment caught in a
dramatic action from a classical source,
bursting from the picture plane in a
sweeping diagonal perspective.
Adoration, by Peter
Paul Rubens: dynamic
figures spiral down
around a void:
draperies blow: a
whirl of movement lit
in a shaft of light,
rendered in a free
bravura handling of
paint
Still-life, by Portuguese painter Josefa de Óbidos, 1679, Santarém,
Still-life, by Portuguese painter Josefa de Óbidos, 1679, Santarém,
Portugal Municipal Library
Portugal Municipal Library
Rembrandt van Rijn, The Night Watch  or The Militia Company
ofRembrandt
Captain FransvanBanning
Rijn, TheCocq,
Night1642,
Watchoil or The Militia
on canvas, 363Company
× 437
cm., 142.9 × 172.0 inches, Rijksmuseum,Amsterdam. The × 437
of Captain Frans Banning Cocq, 1642, oil on canvas, 363
cm., 142.9
painting is a ×classic
172.0 example
inches, Rijksmuseum,Amsterdam.
of Baroque art The
painting is a classic example of Baroque art
The Virgin and Child Adored
by Angels, 1608, oil on slate
and copper. This is the
central panel depictingThe
Virgin and Child Adored by
Angels above the High
Altar, Santa Maria in
Vallicella, Rome.
Caravaggio, Bacchus
c.1595, Oil on canvas,
95 x 85 cm., Galleria
degli Uffizi, Florence
Francisco de
Zurbarán, The
Birth of the Virgin,
c. 1625–1630,
,Pasadena, Norton
Simon Museum
Nativity by  Josefa de Óbidos, 1669,National
Museum of Ancient Art, Lisbon
The Elevation of the
Cross, 1610–11.
Central
panel. Cathedral of
Our Lady, Antwerp
Artemesia Gentileschi , Judith Slaying Holofernes, 1614–
20, oil on canvas, 199 x 162 cm Galleria
degli Uffizi Florence
Rubens is known for the frenetic energy and lusty
ebullience of his paintings, as typified by theHippopotamus
Hunt (1616).
Jan Brueghel the Elder, The Entry of the Animals Into Noah's
Ark, 1613
The Massacre of the Innocents, 1611. Art Gallery of Ontario
Georges de La
Tour, Saint Joseph
charpentier
1642, Louvre
Sculptures

Aeneas flees burning

Troy, Federico Barocci, 1598: a
moment caught in a dramatic
action from a classical source,
bursting from the picture plane in
a sweeping diagonal perspective.
This is an artwork by Marcel
Duchamp
"Abduction of
Proserpina" (1621-1622,
Galleria Borghese, Rome)
Apollo and
Daphne (1624-25).
St. Theresa in Ecstasy (1645–52), created for the
Cornaro Chapel of the church of Santa Maria della
Vittoria, Rome 
Gian Lorenzo Bernini’s David(1623–
24): Baroque freeze-frame stopped
action, contrapposto and theatrical
emotion
Prometheus, by Nicolas-
Sébastien Adam, 1737
(Louvre): a hectic tour-de-
force of violent contrasts of
stress, multiple angles and
viewpoints, and extreme
emotion
Sample of Architectures and Styles
Berliner Dom, Berlin
 Building Location Date Architects Image
St Peter's Rome, Italy 1506–1615 Michelangelo,
Basilica Giacomo
della Porta,
Carlos
Maderno
Church of the Giacomo
Gesu Barozzi da
Vignola and
Giacomo dela
Porta
Elector’s Trier
Palace Germany

Santa Sussana Quirinal Hill 1585 - 1603 Carlo

in Rome Maderno
 Basilica Catania, 1768 Stefano Ittar
Collegiata Sicily,
Southern Italy

Santiago de Santiago de 1128- 1211 Fernando de

Compostela Compostela in  Casas Novoa
Cathedral Galicia, Spain

The Church of Rome Italy 1660 Francesco

Saint Yves  at Borromini
La Sapienza 
Basilica di Superga Northern 1717 Filippo
Italy Juvarra

Château de Maisons Near Paris 1642 Francois

Mansart

Les Invalides Paris,Franc 1679–1708 Jules

e Hardouin
Mansart
 Jacob Van
 The Royal Amsterdam, 1648- 1665 Campen and
Palace Netherlands Daniel St
Amsterdam

Queluz Near Lisbon, Oliveira

National Portugal
Palace

St. George's Lviv  1746–1762

Cathedral
 Jesuit Church Fertőd, 1629-37 Pietro Spozzo
of Nagyszomba Hungary
t
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