THE HISTORY OF BAROQUE STYLE

THE HISTORY OF BAROQUE STYLE

THE HISTORY OF BAROQUE STYLE Content Chapter I The history of baroque style 1.1-Introduction 1.2-Etymology 1.3-Early Baroque period-c.1590 c.1625 1.4-High Baroque period-c.1625 c.1660 1.5-Late Baroque period-c.1660 c.1725 Chapter II Different fields influenced by the baroque style 2.1-Music field 2.2-Painting field 2.3-Architecture field 2.4-Sculpture field Chapter III The profound influence of baroque style on architecture Chapter IV The contribution of baroque style on modern atrs 3.1-3.2-3.3-3.4-3.5-4.1-4.2-4.3-4.4-4.5-

Background The Baroque is often thought of as a period of artistic style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, architecture, literature, dance, theater, and music. The style began around 1600 in Rome, Italy and spread to most of Europe. CHAPTER I THE HISTORY OF BAROQUE STYLE The popularity and success of the Baroque style was encouraged by the Catholic Church, which had decided at the time of the Council of Trent, in response to the Protestant Reformation, that the arts should communicate religious themes in direct and emotional involvement. Baroque style pattern-1 The aristocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and expressing triumph, power and control. Baroque palaces are built around an entrance of courts, grand staircases and reception rooms of sequentially increasing opulence. However, "baroque" has resonance and application that extend beyond a simple reduction to either style or period. Baroque style pattern-2

Etymology The word baroque is derived from the Portuguese word "barroco", Spanish "barroco", or French "baroque", all of which refer to a "rough or imperfect pearl", though whether it entered those languages via Latin, Arabic, or some other source is uncertain. The 1911 Encyclopædia Britannica 11th edition thought the term was derived from the Spanish barrueco, a large, irregularly-shaped pearl, and that it had for a time been confined to the craft of the jeweller. It is a French transliteration of the Portuguese phrase "pérola barroca", which means "irregular pearl", and natural pearls that deviate from the usual, regular forms so they do not have an axis of rotation are known as "baroque pearls". The term "Baroque" was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, which sharply contrasted the clear and sober rationality of the Renaissance. Others derive it from the mnemonic term "Baroco", a supposedly laboured form of syllogism in logical Scholastica.The Latin root can be found in bis-roca. In informal usage, the word baroque can simply mean that something is "elaborate", with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word "Baroque", like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th and early 18th centuries. Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Jean-Philippe Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was unsparing with dissonances, constantly changed key and meter, and speedily ran through every compositional device.

Early Baroque, c.1590 c.1625 High Baroque, c.1625 c.1660 The Baroque originated around 1600, several decades after the Council of Trent (1545 63), by which the Roman Catholic Church answered many questions of internal reform, addressed the representational arts by demanding that paintings and sculptures in church contexts should speak to the illiterate rather than to the well-informed. This turn toward a populist conception of the function of ecclesiastical art is seen by many art historians as driving the innovations of Caravaggio and brothers Agostino and Annibale Carracci, all of who were working in Rome around 1600. Between the early 17th century to mid 17th century, it is widely accepted that this period is considered as the most glorious moment of baroque style. The application of baroque style was in rapid development and influenced considerably in different art s field like Architecture, literature, costume and music. Although baroque style had inherited the illusionism concept which established during the Renaissance period, it abandoned the simple, harmonious, stable classical style, pursuing a complicated hyperbole, magnificent, mighty, rich dynamic artistic realm. The most representative of baroque style in the painting field was Peter Paul Rubens (1577 ~ 1640), while Giovanni Lorenzo Bernini (1598 ~1680) was regarded as the most outstanding master in terms of architecture and sculpture. 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 theatrical. Baroque art drew on certain broad and heroic tendencies in Annibale Carracci and his circle, and found inspiration in other artists like Correggio and Caravaggio and Federico Barocci, nowadays sometimes termed 'protobaroque'. Germinal ideas of the Baroque can also be found in the work of MichelangeloThere are contrasting phrase lengths, harmony and counterpoint have ousted polyphony, and orchestral color makes a stronger appearance. Even more generalized parallels perceived by some experts in philosophy, prose style and poetry, are harder to pinpoint. The facede of Church of Gesu The reason why baroque style could play a dominant role in the 17 century was that it used a different and unique way to express the concept of artistic spirit when comparing with the methods used in Renaissance period. If the Renaissance could be defined as classicism, while baroque could be regarded as romanticism. Furthermore, the baroque style bought some innovative and dynamic concepts in that period, that was why it had a profound influence in different art fields and dominated continuously in 17 century/

Late Baroque, c.1660 c.1725 While in the beginning of 18th century, which was regarded as the flourishing moment of baroque style, the whole European continent began to experience a dramatic change in terms of various aspects, like culture, politics and arts. The arts centre of European continent shifted gradually from Italy to France, which contributed the Baroque style to decline and fall rapidly. Following the artistic development discipline, naissance- prosperity decline, with the emerge of another art school, the Rococo style, baroque declined and fell eventually. Though Baroque was superseded in many aspects by the Rococo style, beginning in France in the late 1720s, especially for interiors, paintings and the decorative arts, the Baroque style continued to be used in architecture until the advent of Neoclassicism in the later 18th century. See the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. The rococo style-1 CHAPTER II DIFFERENT FIELDS INFLUENCED BY THE BAROQUE STYLE The rococo style-2

Music field Painting field The baroque music was defined as a elaborated and gorgeous music style during 17 century to 18 century in Europe.The term "Baroque" is generally used by music historians to describe a broad range of styles from a wide geographic region, mostly in Europe, composed over a period of approximately 150 years. A defining statement of what Baroque signifies in painting is provided by the series of paintings executed by Peter Paul Rubens for Marie de Medici at the Luxembourg Palace in Paris, in which a Catholic painter satisfied a Catholic patron: Baroque-era conceptions of monarchy, iconography, handling of paint, and compositions as well as the depiction of space and movement. Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Rameau'sHippolyte et Aricie, printed in the Mercure de France in May 1734. Johann Sebastian Bach The critic implied that the novelty in this opera was "du barocque," complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device. Baroque style featured "exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism". Baroque art did not really depict the life style of the people at that time; however, "closely tied to the Counter-Reformation, this style melodramatically reaffirmed the emotional depths of the Catholic faith and glorified both church and monarchy" of their power and influence. Peter Paul Rubens There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona; both approaching emotive dynamism with different styles. The systematic application by historians of the term "baroque" to music of this period is a relatively recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflin's theory of the Baroque systematically to music. Another frequently cited work of Baroque art is Bernini's Saint Theresa in Ecstasy for the Cornaro chapel in Saint Maria della Vittoria, which brings together architecture, sculpture, and theatre into one grand conceit. While the later Baroque style gradually replaced by another more decorative style, the Rococo. George Frideric Handel Madonna on Floral WreathElder-1619

Architecture field Baroque architecture is the building style of the Baroque era, begun in late 16th-century Italy, that took the Roman vocabulary of Renaissance architecture and used it in a new rhetorical and theatrical fashion, often to express the triumph of the Catholic Church and the absolutist state. It was characterized by new explorations of form, light and shadow, and dramatic intensity. Whereas the Renaissance drew on the wealth and power of the Italian courts and was a blend of secular and religious forces, the Baroque was, initially at least, directly linked to the Counter-Reformation, a movement within the Catholic Church to reform itself in response to the Protestant Reformation. Baroque architecture and its embellishments were on the one hand more accessible to the emotions and on the other hand, a visible statement of the wealth and power of the Church. The new style manifested itself in particular in the context of the new religious orders, like the Theatines and the Jesuits who aimed to improve popular piety. The architecture of the High Roman Baroque can be assigned to the papal reigns of Urban VIII, Innocent X and Alexander VII, spanning from 1623 to 1667. The three principal architects of this period were the sculptor Gianlorenzo Bernini, Francesco Borromini and the painter Pietro da Cortona and each evolved their own distinctively individual architectural expression. Santiago de Compostela Cathedral San Carlo alle Quattro Fontane

Sculpture field In Baroque sculpture, groups of figures assumed new importance and there was a dynamic movement and energy of human forms they spiraled 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. Aleijadinho in Brazil was also one of the great names of baroque sculpture, and his master work is the set of statues of the Santuário de Bom Jesus de Matosinhos in Congonhas. The soapstone sculptures of old testament prophets around the terrace are considered amongst his finest work. Gian Lorenzo Bernini 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. Ecstasy of Saint Teresa