The Baroque and Rococo Neoclassical
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1 The Baroque and Rococo Neoclassical
2 Europe colonizes Spread to the new world in mass England, France, The Netherlands, Belgium, Portugal, Spain but Italy States never colonize. There was no unity among them, only constant fighting amongst each other. New found source of wealth due to increase trading (East & West Indies trading companies) New products to trade like tobacco and the quest for gold and silver
3 Monarchies became wealthy. People have a hope for success Baroque and Rococo Act in the name of God- Religious conversion A means of getting what they wanted more peacefully Countries develop and grow Russia, Prussia, Austria, Germany
4 The Reformation Martin Luther gain popularity amongst people. Religion is to be about the bible & people are to be devout. Anti reformation The catholic church look so Reinvent itself. The catholic church is seen as corrupt. Looked highlight the rich traditions of its ceremonies. Attendance and popularity started to dwindle. Looked to enhance ceremonies with the arts. Elaborate paintings, new music, dynamic architecture Taxation could be questioned.
5 The age of freedom of spirit Explosion of arts- sponsored by monarchies 1. Fine arts- painting, sculpture, architecture - Bernini, Rubens, Velasquez, Rembrand 2. Literary arts- Moliere, Cervantes, Milton 3.Music- the beginning of opera (polyphony) - Mozart, Bach, Beethoven, Handel, Monteverdi, Vivaldi
6 Ecstasy of Saint Teresa By Gian Lorenzo Bernini
7 The Rape of Proserpina Gian Lorenzo Bernini
8 BAROQUE Baroque is a period of the history in the occidental culture which produced works of art in literature, sculpture, painting, architecture, dance and music and lasted from 1600to It s is located normally between Renaissance and Neo- Classicism, a period in which the Catholic European Church had to face the challenge of Protestant Reformation. As an artistic style, Baroque appeared during the first decades of the 17th century and it spread from Italy to the rest of Europe. For a lot of time, Baroque had a pejorative meaning, which meant excessive and irrational. This conception changed at the end of the 19th century with the works of Jacob Burckhardt,Benedetto Croce and Eugenid Ors. BAROQUE Baroque comes from the Portuguese word Baroco, an irregularly shaped pearl.this term expresses something confuse and impure, a caprice of nature or an extravagance of thought.
9 BAROQUE- an emphasis of sculptural & painted forms ROCOCO- a subset of baroque Baroque display shapes of nature leaves, shells, scrolls (floral elements) Rococo display shapes of nature leaves, shells, scrolls (floral elements) in surface ornament More complex geometric forms More simplified forms Compiled with Painting to create illusion of depth Painted Details over built forms Compiled with Painting to create illusion of depth Predominately used in religious buildings Predominately used in Secular Buildings Italy, France, Spain, Germany & Austria, 17th& 18thCentury France, Germany, Austria, 18thCentury
10 II GESU
11 St. Peters Cathedral Michelangelo imparts his mannerisms onto the design and creates a large dome. (Mannerisms hint at freedom of expression) He dies in Giacomo Della Porta finishes his dome. Carlo Maderno Finishes the Cathedral in Baroque Fashion (adds onto nave & Creates transept narthex with colonnade Gian Lorenzo Bernini in 1624 begins work on the Baldacchino & the Piazza Colonnade
12 St. Peter s Nave looking east Michelangelo broke the rules first. He did so in the papal church. Pilasters broke the Classical Mold. The addition of the sculpture broke the classical mold. It gave license to the other architects to begin to break the rules of the Renaissance St. Peter s Nave looking west St. Peter s Basilica
13 Gian Lorenzo Bernini ( ) San Andrea Al Quirinale San Andrea -Exterior San Andrea -Nave
14 Francesco Borromini ( ) San Ivo della Sapienza Experiment in curvature & form Borromini used the combination of convex & concave curves to create a complex shape to the nave & Dome which gave it a character like no other. Borromini was the most aggressive in his use of curved forms San Ivo -Exterior San Ivo -Dome
15 Guarino Guarini ( ) Capella SS. Sindone Holds the Holy Shroud of Jesus Guarini used windows inside of the intersecting arches to add light to the dome. The windows were barely visible from below adding to the mysticism. Capella SS. Sindone -Exterior Capella SS. Sindone -Dome
16 Guarino Guarini ( ) San Lorenzo Turin Cathedral Guarini worked with light & shadow to create a higher level of mysticism. This comes from his theological training. The domes were well lit. The Naves were lit dimly with specific features lit for effect. San Lorenzo -Nave Guarini used arches to emphasize the art & alters. This allowed him to create taller spaces San Lorenzo -Dome
17 Charles LeVau ( ) & Jules Hardouin Mansart ( ) Palace at Versailles Commissioned by Louis XIV Versailles Front Facade The estate home for Louis XIV. It was to be more lavish than any other noble palace in Europe. A great example of the French Baroque for Secular buildings. The building incorporated principles of Palladio from the front side. The raised marble plaza sets up the entry as does the wings of the building. The gardens in the rear & the front plazas begin to blur the design from the city to the interior.
18 CHARACTERISTICS: Elaborately carved wood cabinets & Chests. Like their Architecture Very Elaborate and Curving Metal or Precious stone inlays Elaborately Carved Wood Chairs with Bright Upholstery Baroque Large Dominating Bulging forms Rococo Delicate Curves & Forms
19 Rococo is an artistic movement born in France that developed from 1720 to The word Rococo was invented in 1797 as a joke by Pierre- Maurice Quavs, which supposedly was an association of the French words rocaille and Baroque. Rococo is defined as an individualist and courtier art. It s characterized by the use of bright, soft, delicate and clear colors. There s a predominance of the nature, mythology, the beauty of naked bodies, the oriental art (exotic things, places ) and specially lovely and gallant themes. It hadn t any religious influence, it tackled topics about daily life and human relationships, with a style which searched the reflection of what is pleasant, refined, exotic and sensual, and it was an overelaborated and decorative style.
20 Versailles Garden Facade Versailles Exterior
21 Charles LeVau ( ) & Jules Hardouin Mansart ( ) Palace at Versailles Commissioned by Louis XIV Versailles Hall of Hercules Versailles Chapel Opulent color was used to give the rooms their prominence. In the Hall of Hercules, the painted ceiling with plaster framing is reminiscent of the Austrian Baroque. The chapel by Mansart uses a marble tiled floor & a gilded entablature to pop out the plaster ornament. Both in the Baroque style.
22 Charles LeVau ( ) & Jules Hardouin Mansart ( ) Palace at Versailles Commissioned by Louis XIV Versailles Bedroom Versailles Salon of Abundance Silk & Velvet wall covering along with Plaster entablatures with both gilded & Painted ornamentation help create the Louis XIV style of the French Baroque. Intricate wood chests & furniture help finish the space.
23 Charles LeVau ( ) & Jules Hardouin Mansart ( ) Palace at Versailles Commissioned by Louis XIV Rich Marble columns & Pilasters line the Gallerie de Glace. Huge French doors open onto the Garden Crystal chandeliers line the space. Parquet floors Lead the length for these gathering spaces. In the Salon of Mirrors, wool woven rugs are used finish the floors. Versailles Gallerie de Glace
24 Charles LeBrun, Jules Hardouin Mansart, Louis Le Vau, Claude Perralt La Louvre Commissioned by Louis XIV ( he was very picky)create City Palace to Rival Versailles Conglomeration of Pavilions by different architects of different styles. Starts to turn away from Baroque & Become Neoclassical The Louvre -Exterior
25 Charles LeBrun, Jules Hardouin Mansart, Louis Le Vau, Claude Perralt La Louvre Commissioned by Louis XIV High Baroque style sculptural ornament & Paintings The Louvre -Interior
26 Rococo ornament & color. Elaborate Parquet flooring & ornate metal & Crystal Chandeliers. Hotel St. Louis -Paris A good sign of Baroque design within French design is the Harpsichord richly painted with inlays of metal.
27 Filippo Juvara ( ) Stupinigi Best example of Italian Rococo San Lorenzo -Nave Juvara used painted forms (entablatures, coffers, etc) & scenes to create a sense of folly. Highly ornate. Palladian in arrangement Stupinigi Palace Great Hall
28 The French Grand Master Francois Mansart ( ) Val De Grace Bernini influenced the design directly & indirectly St, peters -Baldacchino Val-de-Grace altar
29 Antonio Carlone ( ) Monastery St. Florian St. Florian Marble Hall Carlone brought the Italian style to Austria. The obvious influences are the High Baroque Period/Rococo. This is evident by the use of the paired Corinthian columns & sculptural entablature. But then by using the smooth sail vaulted ceiling with Painted architectural elements & ornament, the Rococo style becomes evident. Most projects realize themselves between both the Baroque & Rococo.
30 Jakob Prandtauer ( ) Abbey of Melk Baroque and Rococo In the library, Prandtauer focused the design energy upward in the space, once again. He used a sail vaulted ceiling with a plaster entablature. The ceiling is painted in Di Sotto in Su style. The painting depicts other architectural elements and the sky above. Abbey of Melk Library The Corinthian Pilasters and trim soar upward & hold the balcony. The library is more Rococo than Baroque.
31 Abbey of Melk Exterior
32 Domenikus Zimmerman ( ) Die Weis Fussen Die Weis Nave This church has an oval nave with large windows to bring light in to flood the space. The Corinthian paired columns frame the windows. An arch is used to frame the alter. This is a Rococo Church. Baroque in Plan, the elements of the church are simple & classical. The ornamentation of it becomes fanciful with the Di Sotto in Su painting on the Sail vaulted ceiling.
33 Johann Balthasar Neumann ( ) Vierzehnheiligen Master Architect of Germany Vierzehnheiligen Nave This Pilgrimage church has a complex layout of highly divided spaces in the form of a Latin Cross. The 2 trancepts are a series of ovals that divide a large series of ovals perpendicular to it. It is Baroque in Plan. The Rococo Barrel vaulted ceiling is broken up with large windows which fill the space with directional light. The Altar is framed with windows on either side. The central shrine houses religious relics & pays homage to 14 martyred saints.
34 Johann Balthasar Neumann ( ) Residenz Wurzberg This Grand Stair hall includes the a baroque system of upward movement as patterned after Palladio & is Baroque in plan. The elaborate ceiling painting, rococo in nature, is supported by Corinthian Pilasters & bas relief sculptures in the framed openings between them. This residence is Rococo in ornament. Wurzberg Grand stair
35 Neoclassicalism This esthetic movement came to reflect the intellectual principles of the Enlightenment in the 18th century.
36 CHARACTERISTICS Imitation of human nature Art had to be a synthesis of what is beautiful and useful The main principles are: imitation, symmetry, coldness and rigidity. Artists made emphasis inlight values, inthe elimination of colors and they came back to Ancient Rome and Greece. Brandenburg Gate, Berlin
37 Jean-Jacques Rousseau ( ) PHILOSOPHY (is grey) To exist is to feel; our feeling is A taste for the natural undoubtedly earlier than our intelligence, and we have had feelings before we had ideas. All our natural inclinations are right. Man by nature is good he is depraved and perverted by society. Our minds have been corrupted in proportion as the arts and science have improved Voltaire ( ) What is faith? Is it to believe that which is evident? No. It is perfectly evident to my mind that there exists a necessary, eternal, supreme, and intelligent being. This is no matter of faith, but of reason - Voltaire
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