Artemisia Gentileschi:
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Category:
- Key People:
- Guarino Guarini
- Sir Sacheverell Sitwell, 6th Baronet
- Palomino De Castro Y Velasco
- Jean-François de La Harpe
- Francisco Pacheco
- Related Topics:
- the arts
- Baroque music
- Baroque architecture
- Neo-Baroque
- Late Baroque
- On the Web:
- Boise State University - Introduction To Art - Baroque Architecture (Mar. 08, 2024)
Top Questions
Where does the term Baroque come from?
The term Baroque probably derived from the Italian word barocco, which philosophers used during the Middle Ages to describe an obstacle in schematic logic. Subsequently, the word came to denote any contorted idea or involute process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an imperfectly shaped pearl. In art criticism the word Baroque has come to describe anything irregular, bizarre, or otherwise departing from rules and proportions established during the Renaissance. Until the late 19th century the term always carried the implication of odd, exaggerated, and overdecorated. It was only with Heinrich Wölfflin’s pioneering study, Renaissance und Barock (1888), that the term was used as a stylistic designation rather than as a term of thinly veiled abuse and that a systematic formulation of the characteristics of Baroque style was achieved.
Read more below:The origin of the term
What are the characteristics of Baroque art and architecture?
The work that distinguishes the Baroque period is stylistically complex and even contradictory. Currents of naturalism and Classicism, for example, coexisted and intermingled with the typical Baroque style. In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts.
Read more below:The origin of the term
How did Baroque art and architecture come about?
Three broad tendencies had an impact on Baroque art, the first of which was the Counter-Reformation. Contending with the spread of the Protestant Reformation, the Roman Catholic Church, after the Council of Trent (1545–63), adopted a propagandist program in which art was to serve as a means of stimulating the public’s faith in the church. The Baroque style that evolved was both sensuous and spiritual. Whereas a naturalistic treatment rendered the religious image more accessible to the average churchgoer, dramatic and illusory effects were used to stimulate devotion and convey the splendour of the divine. The second tendency was the consolidation of absolute monarchies—Baroque palaces were built on a monumental scale to display the power of the centralized state, a phenomenon best displayed at Versailles. The third tendency was a broadening of human intellectual horizons, spurred by developments in science and explorations of the globe. These produced a new sense of human insignificance (particularly abetted by the Copernican displacement of Earth from the centre of the universe) and of the infinitude of the natural world. Landscape paintings in which humans are portrayed as minute figures in a vast setting were indicative of this changing awareness of the human condition.
Read more below:Three main tendencies of the era
Which artists are associated with the Baroque style?
Annibale Carracci and Caravaggio were the two Italian painters who helped usher in the Baroque and whose styles represent, respectively, the classicist and realist modes. The painter Artemisia Gentileschi was recognized in the 20th century for her technical skill and ambitious history paintings. Gian Lorenzo Bernini, whose accomplishments included the design of the colonnade fronting St. Peter’s Basilica in Rome, was the greatest of the Baroque sculptor-architects. The orderly paintings of Nicolas Poussin and the restrained architecture of Jules Hardouin-Mansart reveal that the Baroque impulse in France was more subdued and classicist. In Spain, the painter Diego Velázquez used a sombre but powerful naturalistic approach that bore only some relation to the mainstream of Baroque painting. The style, meanwhile, made limited inroads to northern Europe, notably in what is now Belgium. That Spanish-ruled largely Roman Catholic region’s greatest master was the painter Peter Paul Rubens, whose tempestuous diagonal compositions and full-blooded figures are the epitome of Baroque painting. Art in the Netherlands, however, is more complex. Conditioned by the realist tastes of its middle-class patrons, such towering masters as Rembrandt, Frans Hals, and Johannes Vermeer remained largely independent of the Baroque in important respects, but many art texts nonetheless equate them with the style. The Baroque did have a notable impact in England, however, particularly in the architecture of Sir Christopher Wren.
Read more below:Architecture, painting, and sculpture
How did the Rococo style differ from the Baroque?
The Rococo style originated in Paris about 1700 and was soon adopted throughout France and later in other countries, principally Germany and Austria. Like the Baroque style, Rococo was used in the decorative arts, interior design, painting, architecture, and sculpture. It is often characterized as the final phase of the Baroque, but the style differs from its predecessor in its intimate scale, asymmetry, lightness, elegance, and exuberant use of curving natural forms in ornamentation. Rococo painting in France, for example, began with the graceful, gently melancholic paintings of Antoine Watteau, culminated in the playful and sensuous nudes of François Boucher, and ended with the freely painted genre scenes of Jean-Honoré Fragonard. French Rococo painting in general was characterized by easygoing, lighthearted treatments of mythological and courtship themes, the introduction of the family as subject, rich and delicate brushwork, a relatively light tonal key, and sensuous colouring.
Baroque art and architecture, the visual arts and building design and construction produced during the era in the history of Western art that roughly coincides with the 17th century. The earliest manifestations, which occurred in Italy, date from the latter decades of the 16th century, while in some regions, notably Germany and colonial South America, certain culminating achievements of Baroque did not occur until the 18th century. The work that distinguishes the Baroque period is stylistically complex, even contradictory. In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts.
The origin of the term
The term Baroque probably ultimately derived from the Italian word barocco, which philosophers used during the Middle Ages to describe an obstacle in schematic logic. Subsequently the word came to denote any contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl.
In art criticism the word Baroque came to be used to describe anything irregular, bizarre, or otherwise departing from established rules and proportions. This biased view of 17th-century art styles was held with few modifications by critics from Johann Winckelmann to John Ruskin and Jacob Burckhardt, and until the late 19th century the term always carried the implication of odd, grotesque, exaggerated, and overdecorated. It was only with Heinrich Wölfflin’s pioneer study Renaissance und Barock (1888) that the term Baroque was used as a stylistic designation rather than as a term of thinly veiled abuse, and a systematic formulation of the characteristics of Baroque style was achieved.
Three main tendencies of the era
Three broader cultural and intellectual tendencies had a profound impact on Baroque art as well as Baroque music. The first of these was the emergence of the Counter-Reformation and the expansion of its domain, both territorially and intellectually. By the last decades of the 16th century the refined, courtly style known as Mannerism had ceased to be an effective means of expression, and its inadequacy for religious art was being increasingly felt in artistic circles. To counter the inroads made by the Reformation, the Roman Catholic Church after the Council of Trent (1545–63) adopted a propagandistic stance in which art was to serve as a means of extending and stimulating the public’s faith in the church. To this end the church adopted a conscious artistic program whose art products would make an overtly emotional and sensory appeal to the faithful. The Baroque style that evolved from this program was paradoxically both sensuous and spiritual; while a naturalistic treatment rendered the religious image more accessible to the average churchgoer, dramatic and illusory effects were used to stimulate piety and devotion and convey an impression of the splendour of the divine. Baroque church ceilings thus dissolved in painted scenes that presented vivid views of the infinite to the observer and directed the senses toward heavenly concerns.
The second tendency was the consolidation of absolute monarchies, accompanied by a simultaneous crystallization of a prominent and powerful middle class, which now came to play a role in art patronage. Baroque palaces were built on an expanded and monumental scale in order to display the power and grandeur of the centralized state, a phenomenon best displayed in the royal palace and gardens at Versailles. Yet at the same time the development of a picture market for the middle class and its taste for realism may be seen in the works of the brothers Le Nain and Georges de La Tour in France and in the varied schools of 17th-century Dutch painting. (For a detailed discussion of this phenomenon, see Rembrandt van Rijn.)
The third tendency was a new interest in nature and a general broadening of human intellectual horizons, spurred by developments in science and by explorations of the globe. These simultaneously produced a new sense both of human insignificance (particularly abetted by the Copernican displacement of the Earth from the centre of the universe) and of the unsuspected complexity and infinitude of the natural world. The development of 17th-century landscape painting, in which humans are frequently portrayed as minute figures in a vast natural setting, is indicative of this changing awareness of the human condition.
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