File Name: baroque and rococo art history .zip
PDF Classical architecture and its theories, pioneers, philosophies and case studies. Rococo, style in interior design, the decorative arts, painting, architecture, and sculpture that originated in Paris in the early 18th century.
View larger. Preview this title online. Download instructor resources. Additional order info. K educators : This link is for individuals purchasing with credit cards or PayPal only.
Baroque and late Baroque, or Rococo , are loosely defined terms, generally applied by common consent to European art of the period from the early 17th century to the midth century. Baroque was at first an undisguised term of abuse, probably derived from the Italian word barocco , which was a term used by philosophers during the Middle Ages to describe an obstacle in schematic logic.
Subsequently, this became a description for any contorted idea or involuted process of thought. The derivation of the word Rococo is equally uncertain, though its source is most probably to be found in the French word rocaille , used to describe shell and pebble decorations in the 16th century.
In the 18th century, however, the scope of the word was increased when it came to be used to describe the mainstream of French art of the first half of the century; Neoclassical artists used it as a derogatory term. Fundamentally a style of decoration, Rococo is much more a facet of late Baroque art than an autonomous style, and the relationship between the two presents interesting parallels to that between High Renaissance and Mannerist art.
During the Baroque period c. Architecture and sculpture became pictorial, and painting became illusionistic. Baroque art was essentially concerned with the dramatic and the illusory, with vivid colours, hidden light sources, luxurious materials, and elaborate, contrasting surface textures, used to heighten immediacy and sensual delight.
Ceilings of Baroque churches, dissolved in painted scenes, presented vivid views of the infinite to the worshiper and directed him through his senses toward heavenly concerns. Seventeenth-century Baroque architects made architecture a means of propagating faith in the church and in the state.
Baroque palaces expanded to command the infinite and to display the power and order of the state. Baroque space , with directionality, movement, and positive molding, contrasted markedly with the static, stable, and defined space of the High Renaissance and with the frustrating conflict of unbalanced spaces of the preceding Mannerist period. Baroque space invited participation and provided multiple changing views.
Renaissance space was passive and invited contemplation of its precise symmetry. While a Renaissance statue was meant to be seen in the round, a Baroque statue either had a principal view with a preferred angle or was definitely enclosed by a niche or frame. A Renaissance building was to be seen equally from all sides, while a Baroque building had a main axis or viewpoint as well as subsidiary viewpoints.
Attention was focused on the entrance axis or on the central pavilion, and its symmetry was emphasized by the central culmination. A Baroque building expanded in its effect to include the square facing it, and often the ensemble included all the buildings on the square as well as the approaching streets and the surrounding landscape.
Baroque buildings dominated their environment; Renaissance buildings separated themselves from it. The Baroque rapidly developed into two separate forms: the strongly Roman Catholic countries Italy, Spain, Portugal, Flanders, Bohemia, southern Germany, Austria, and Poland tended toward freer and more active architectural forms and surfaces; in Protestant regions England, the Netherlands, and the remainder of northern Europe architecture was more restrained and developed a sober, quiet monumentality that was impressive in its refinement.
In the Protestant countries and France, which sought the spirit through the mind, architecture was more geometric, formal, and precise—an appeal to the intellect. In the Roman Catholic south, buildings were more complex, freer, and done with greater artistic license—an appeal to the spirit made through the senses.
Treatises on the orders and on civil and military architecture provided a theoretical basis for Baroque architects. While many 16th-century architects published treatises on architecture or prepared them for publication, major 17th-century architects published very little.
Other Italian publications tended to be repetitions of earlier ideas with the exception of a tardily published manuscript of Teofilo Gallaccini, whose treatise on the errors of Mannerist and early Baroque architects became a point of departure for later theoreticians.
Perrault attacked established Italian theory. During the period of the Enlightenment about to , various currents of post-Baroque art and architecture evolved. A principal current, generally known as Rococo, refined the robust architecture of the 17th century to suit elegant 18th-century tastes. Vivid colours were replaced by pastel shades; diffuse light flooded the building volume; and violent surface relief was replaced by smooth flowing masses with emphasis only at isolated points.
Churches and palaces still exhibited an integration of the three arts, but the building structure was lightened to render interiors graceful and ethereal. Interior and exterior space retained none of the bravado and dominance of the Baroque but entertained and captured the imagination by intricacy and subtlety. In Rococo architecture, decorative sculpture and painting are inseparable from the structure.
Simple dramatic spatial sequences or the complex interweaving of spaces of 17th-century churches gave way to a new spatial concept. By progressively modifying the Renaissance-Baroque horizontal separation into discrete parts, Rococo architects obtained unified spaces, emphasized structural elements, created continuous decorative schemes, and reduced column sizes to a minimum.
In churches , the ceilings of side aisles were raised to the height of the nave ceiling to unify the space from wall to wall e. To obtain a vertical unification of structure and space, the vertical line of a supporting column might be carried up from the floor to the dome e.
The entire building was often lighted by numerous windows placed to give dramatic effect e. Western architecture Article Media Additional Info. Article Contents. Load Previous Page. Baroque and Rococo Baroque and late Baroque, or Rococo , are loosely defined terms, generally applied by common consent to European art of the period from the early 17th century to the midth century.
Load Next Page.
Organized thematically, rather than strictly by dates and countries, it looks at art through the context of the church, monarchy, and the establishment of the academies, and considers women artists and gender issues. Features a 4-page illustrated timeline of art and history, Introduction to the Baroque and Rococo as Idea and Image. Social, Cultural, and Artistic Institutions. Visual Rhetoric: Styles in the Baroque and Rococo. Portraits, Still Lifes, and Genre Paintings. Landscapes and Views.
It is often described as the final expression of the Baroque movement. It was known as the style rocaille , or rocaille style. The word rococo was first used as a humorous variation of the word rocaille. In the designer and jeweler Jean Mondon published the Premier Livre de forme rocquaille et cartel , a collection of designs for ornaments of furniture and interior decoration. It was the first appearance in print of the term "rocaille" to designate the style.
The similarities of Rococo and Baroque design often cause confusion between the two styles. Don't miss it. Italian Baroque and Rococo Architecture offers chapters on the key architects of the time--Gianlorenzo Bernini, Francesco Borromini, Pietro da Cortona, Guarino Guarini--as well as detailed treatments of the work of many less well-known architects who were active from Sicily to Venice. Why do you think Baroque is often considered a synthesis of the arts?
Baroque and late Baroque, or Rococo , are loosely defined terms, generally applied by common consent to European art of the period from the early 17th century to the midth century. Baroque was at first an undisguised term of abuse, probably derived from the Italian word barocco , which was a term used by philosophers during the Middle Ages to describe an obstacle in schematic logic. Subsequently, this became a description for any contorted idea or involuted process of thought.
During Rococo the use of enamel in jewellery had been completely abandoned as a form of a decorative technique. Finally, an extensive glossary introduces seventeenth- and eighteenth-century art terms. Rococo-style decorative arts — … advertising program designed to provide a means for sites to earn advertising fees by advertising and This list may not reflect recent changes. Rococo style, in interior design, the decorative arts, painting, architecture, and sculpture that originated in Paris in the early 18th century but was soon adopted throughout France and later in other countries, principally Germany and Austria. It was a more fluid and florid elaborate style, comprising ornate, asymmetric designs and pastel shades.
Baroque and Rococo Art and Architecture Robert Neuman Professor of Art History, Florida State University PEARSON Boston Columbus Indianapolis New York.
The style started around in Rome, Italy and spread to most of Europe Period of artistic style that used exaggerated motion and clear, easily interpreted detail to produce drama. The popularity and success of the Baroque style was encouraged by the Roman 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 Second earliest period in orchestral music. Beginning of instrumental concertos. The term Baroque was derived from a Portuguese word meaning "a pearl of irregular shape" implying strangeness and abnormality. Can be recognized by the "complex" for lack of a better word melody line. Cannons and fugues were very popular in the baroque period.
During the 17th century, Baroque architecture spread through Europe and Latin America, where it was particularly promoted by the Jesuits.
If you could read my mind guitar tab pdf the essence of trading psychology in one skill pdf download