The Baroque ( US: or UK: ) is very ornate and often architectural style , fancy art and music that flourished in Europe from the early 17th century to the end of the 18th century. It follows the Renaissance style and precedes the Neoclassical style. It was encouraged by the Catholic Church as a means to counteract the simplicity and conservation of Protestant architecture, art and music, although Baroque Lutheran art was developed in several parts of Europe as well. Baroque style uses contrast, movement, incredible detail, splendor and surprise to achieve awe. This style began in the first third of the seventeenth century in Rome, then spread rapidly to France, northern Italy, Spain and Portugal, then to Austria and southern Germany. By the 1730s, it had evolved into a more flamboyant variant, called rocaille or Rococo , which appeared in France and Central Europe until the late 18th century.
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The word baroque is a Portuguese term for pearl (barocco) with irregular shapes. Mention for other Roman terms includes: barroco in Portuguese, barrueco in Spanish, and barocco in Italian. It is used in French to describe pearls in the inventory treasure of Charles V in 1531.
In the 18th century, this term is usually used to describe music. In an anonymous satire review of the Jean-Philippe Rameau premiÃÆ'¨re of Hippolyte et Aricie in October 1733, printed at the Mercure de France in May 1734, critics wrote that the novelty in the opera this is "du barocque", complaining that music does not have a coherent melody, unmitigated with dissonance, constantly changing keys and meters, and quickly running through each composition device.
Jean-Jacques Rousseau, who is a musician and composer and philosopher, wrote in 1768 in Encylopedià ©  © : "Baroque music is that where harmony becomes chaotic, and full of modulation and dissonance. unnatural, the intonation is difficult, and the movement is limited It seems that the term is derived from the word 'baroco' used by logicians. "
It was first used to describe the period of art that followed the Renaissance in 1855 by the Swiss art historian Jacob Burckhardt in an article in Le Cicerone's journal. He used the term to attack the movement to subvert Renaissance values. The term "baroque style" did not enter the dictionary AcadÃÆ'Â © nie franÃÆ'§aise until 1878, when it lost its original negative connotation. In 1888, the art historian Heinrich WÃÆ'¶lfflin published his first serious academic work on style, Renaissance und Barock , illustrating the distinction between Renaissance and Baroque paintings, sculptures and architecture.
Maps Baroque
Architecture: origin and characteristics
The Baroque style of architecture is the result of a doctrine adopted by the Catholic Church in the Council of Trent in 1545-63, in response to the Protestant Reformation. The first phase of Counter-Reform has imposed a heavy academic style on the religious architecture, which has attracted intellectuals but not the mass of church visitors. The Trent Council decided to attract a more popular audience, stating that art should communicate religious themes with direct and emotional involvement. Baroque Lutheran art was developed as a marker of confessional identity, in response to the Supreme Calvinist Iconoclasm.
The Baroque churches are designed with a large central space, where worshipers can be close to the altar, with domes or domes above height, allowing light to illuminate the church below. The dome is one of the central symbolic features of baroque architecture that describes the union between the heavens and the earth. The interior of the dome is decorated with angelic paintings and saints, and with the statues of the angels, giving them the impression below. looking to heaven. Another specialty of the baroque church is the quadratura ; the tromp-l'oeil paintings on the ceiling in the cement frame, both original and painted, are crammed with paintings of saints and angels and linked to architectural details with balustrades and consoles. Quadratura Atlantes painting under the cornice seems to support the church ceiling. Unlike the painted ceiling of Michelangelo in the Sistine Chapel, which combines the various landscapes, each with its own perspective, to be seen at one time, the Baroque ceiling paintings are carefully crafted so that the viewers on the church floor will see the whole sky -literate in true perspective, as if the numbers were real.
The interior of baroque churches became more and more in the High Baroque, and focused around the altar, usually placed under the dome. The most famous baroque decorative works of the High Baroque are Chairman of Saint Peter (1647-53) and Baldachino of St. Peter (1623-34), both by Gian Lorenzo Bernini, at St. Peter's Basilica in Rome. Baldequin of St. Peter is an example of an opposing balance in Baroque art; the gigantic proportion of the piece, with a clear canopy clear; and the contrast between solid bent columns, bronze, gold and marble from pieces with curtains flowing from the angels in the canopy. Dresden Frauenkirche serves as a prominent example of Lutheran Baroque art, which was completed in 1743 after being commissioned by Dresden's Lutheran city council and "compared to an eighteenth-century observer to St. Peter in Rome".
Crooked columns in the interior of the church are one of the hallmarks of the Baroque. It provides a sense of movement and also a dramatic new way to reflect light. Cartouche is another hallmark of baroque decoration. This is a large plaque of marble or stone carvings, usually oval-shaped and with rounded surfaces, which carry images or text in gold-plated letters, and placed as an interior decoration or above the building's doorstep, sending messages to people in under. They show a variety of inventions, and are found in all types of buildings, from cathedrals and palaces to small chapels.
Baroque architects sometimes use perspectives that are forced to create illusions. For the Palazzo Spada in Rome, Borromini uses diminishing size columns, narrowed floors, and miniature statues in the garden outside to create the illusion that the length of the hallway is thirty meters, when in fact it is only seven meters long. A statue at the end of the hall looked human-sized, though it was only six inches high. Borromini designed the illusion with the help of a mathematician.
Italian Baroque Architecture
The first building in Rome that had a Baroque facade was the Church of GesÃÆ'¹ in 1584; it was plain by Baroque standards then, but marked a break with the traditional Renaissance facade that preceded it. The interior of this church remained very tough until the Baroque was high, when lavishly decorated.
In Rome in 1605, Paul V became the first of a series of whales who commissioned basilicas and church buildings designed to inspire emotions and admiration through form proliferation, and a wealth of colors and dramatic effects. Among the most influential monuments of the Early Baroque are the facade of St. Peter's Basilica (1606-1619), and the new nave and loggia connecting the facade to the dome of Michelangelo in the previous church. The new design creates a dramatic contrast between the towering dome and the disproportionate facade, and the contrast on the facade itself between the Doric columns and the mass of the foyer.
In the mid to late 17th century, style reached its peak, then called High Baroque. Many monumental works commissioned by Pope Urban VIII and Alexander VII. Sculptor and architect Gian Lorenzo Bernini designed a new quadruple sequence around St. Peter's Square (1656 to 1667). Three gallery columns in a gigantic ellipse balance the domes of greatness and give the Church and unite the unity and feelings of the gigantic theater.
Another major innovator of the Italian High Baroque was Francesco Borromini, whose main occupation was the Church of San Carlo alle Quattro Fontane or Saint Charles of the Four Fountains (1634-46). The feeling of movement is not given by decoration, but by the wall itself, which is undulating and by convex and convex elements, including the oval tower and the balcony that is inserted into the concae path. The interior is equally revolutionary; the main room of the church is oval, under the oval dome.
The painted ceiling, crammed with angels and saints and the architectural effects of tromp-l'oeil, is an important feature of the Italian High Baroque. The great work included the entry of Saint Ignace into Paradise by Andrea Pozzo (1685-1695) at the Church of St. Ignatius in Rome, and Victory of the name of Jesus by Giovanni Battista Gaulli at the Church of GesÃÆ'¹ in Rome (1669-1683), featuring figures spilled out of photo frames and dramatic tilting lighting and bright dark contrasts. The style spread rapidly from Rome to other parts of Italy: It appeared in Venice at the church of Santa Maria della Salute (1631-1687) by Baldassare Longhena, a very original octagonal shape crowned with a huge dome. It also appeared in Turin, especially in the Chapel of the Holy Shroud (1668-1694) by Guarino Guarini. This style also began to be used in the palace; Guarini designed the Palazzo Carignano in Turin, while Longhena designed Ca 'Rezzonico on the Grand Canal, (1657), ending by Giorgio Massari with decorated paintings by Giovanni Battista Tiepolo. A series of large earthquakes in Sicily require a major rebuilding, and some are built in the exuberant Baroque or Rococo style.
Spanish Baroque Architecture
The Catholic Church in Spain, and in particular the Jesuits, is the driving force of the Spanish Baroque Architecture. The first major work in style was San Isidro Chapel in Madrid, beginning in 1643 by Pedro de la Torre. This contrasts the extreme wealth of ornaments on the exterior with its simplicity in the interior, split into multiple spaces and using light effects to create a sense of mystery. The cathedral in Santiago de Compostela is modernized with a series of Baroque additions beginning in the late 17th century, starting with the very-well-preserved bell tower (1680), then flanked by two even taller and more ornate towers, called > Obradorio , added between 1738 and 1750 by Fernando de Casas Novoa, Another marker of the Spanish Baroque is the chapel tower of the San Telmo Palace in Seville by Leonardo de Figueroa.
Granada has just been freed from the Moors in the 15th century, and has different Baroque varieties. The painter, sculptor, and architect Alonso Cano designed the Baroque interior at Granada Cathedral between 1652 and his death in 1657. It featured a dramatic contrast from the large white columns and gold decorations.
Some of the most ornate and elaborately decorated architecture of the day was designed by the Churriguera brothers, working mainly in Salamanca and Madrid. Church of San Esteban in Salamanca (1693) is one of the most luxurious baroque churches anywhere. Their other works include buildings in the town square, Plaza Mayor Salamanca (1729).
Other leading Spanish baroque architects from the late Baroque include Pedro de Ribera, a student of Churriguera, who designed the Royal Hospice of San Fernando in Madrid, and Narciso Tomà © Å ©, who designed the famous El Transparente altar at the Toledo Cathedral (1729-32) , in a certain light, floating upward.
The Spanish Baroque architects have far-reaching effects beyond Spain; their work is very influential in churches built in Spanish colonies in Latin America. The church built by the Jesuits for a college in TepotzotlÃÆ'¡n, with decorations and Baroque towers, is a good example.
Central Europe and Rococo (1740 -an) -1770d)
From 1680 to 1750, many highly ornate cathedrals, monasteries, and pilgrimage churches were built in central Europe, in Bavaria, Austria, and now the Czech Republic. The princes from different parts of the region also chose Baroque for their palaces and residence, and often used Italian-trained architects to build it. Leading architects include Johann Fischer von Erlach, Luke von Hildebrandt and Dominikus Zimmermann in Bavaria, Balthasar Neumann in Bruhl, and MatthÃÆ'¤us Daniel PÃÆ'¶ppelmann in Dresden. In Prussia, Frederic II of Prussia was inspired by the Grand Trianon of the Palace of Versailles, and used it as a model for his summer residence, Sanssouci, in Potsdam, designed for him by Georg Wenzeslaus von Knobelsdorff (1745-1747). Another baroque palace's architectural masterpiece is Zwinger in Potsdam, a former small family of Dukes Sachsen palaces in the 18th century.
One of the best examples of rococo churches is the Basilica Vierzehnheiligen, or Basilica of the Fourteen Assistants, a pilgrimage church located near the town of Bad Staffelstein near Bamberg, in Bavaria, southern Germany. The basilica was designed by Balthasar Neumann and was built between 1743 and 1772, the plan of a series of interconnected circles around the middle oval with the altar placed in the exact center of the church. The interior of this church depicts the height of Rococo's decor.
Another noteworthy example of this style is the Church of Wies Pilgrimage (German: Wieskirche ). It was designed by the brothers J. B. and Dominikus Zimmermann. It is located in the foothills of the Alps, in the municipality of Steingaden in the Weilheim-Schongau district of Bavaria, Germany. Construction lasts between 1745 and 1754, and its interiors are decorated with frescoes and with stuccowork in the tradition of Wessobrunner School. It is now a UNESCO World Heritage Site.
Another important example is St. Nicholas (Malá Strana) in Prague (1704-55), built by Christoph Dientzenhofer and his son Kilian Ignaz Dientzenhofer. The decor covers all the interior walls of the church. The altar is placed in the lower center of the central dome, and is surrounded by a chapel, The light descends from the dome above and from the surrounding chapel. The altar is entirely surrounded by arches, columns, curved ledges and colored stone pilasters, adorned with sculptures, creating a deliberate obfuscation between real architecture and decoration. The architecture is transformed into a theater of light, color and movement.
French Baroque Classic
France largely rejects the baroque style of ornaments from Italy, Spain, Vienna and throughout Europe. The French Baroque style (often termed "Grand Classicism" or "Classical only in French) is closely related to the works constructed for Louis XIV and Louis XV; features more geometric and gauge than baroque, and less elaborate decoration on the facade and in the interior. Louis XIV invited the baroque master, Bernini, to surrender the design to the new wing of the Louvre, but turned it down for a more classic design by Claude Perrault and Louis Le Vau.
The main architect styles include FranÃÆ'§ois Mansart (Chateau de Balleroy, 1626-1636), Pierre Le Muet (Church of Val-de-Grace, 1645-1665), Louis Le Vau (Vaux-le-Vicomte, 1657-1661) and especially Jules Hardouin Mansart and Robert de Cotte, whose work includes Galerie des Glaces and the Grand Trianon at Versailles (1687-1688). Mansart was also responsible for Baroque-classicism from Place VendÃÆ''me (1686-1699).
The main work of this period is the Palace of Versailles, beginning in 1661 by Le Vau with decorations by painters Charles Le Brun. The park was designed by AndrÃÆ' Â © Le NÃÆ'Â'tre specifically to complement and strengthen the architecture. The Galerie des Glaces (Hall of Mirrors), center of chÃÆ' Â ¢ teau, with panties by Le Brun, was built between 1678 and 1686. Mansart completed the Grand Trianon in 1687. The chapel designed by de Cotte, completed in 1710. Following death Louis XIV, Louis XV adds a more intimate Petit Trianon and a highly ornate theater. The fountain in the garden is designed to be viewed from the interior, and to add dramatic effects. The palace was admired and copied by other European kings, especially the great Peter of Russia, who visited Versailles at the beginning of Louis XV's reign, and built his own version at Peterhof Palace near Saint Petersburg, between 1705 and 1725.
Russian Baroque
The Russian Baroque Debut, or Petrine Baroque, followed Peter the Great's long trip to Western Europe in 1697-98, where he visited the Chateaux of Fontainebleu and Versailles as well as other architectural monuments. He decided, on his return to Russia, to build similar monuments in St. Petersburg. Petersburg, when he moved the Russian capital there in 1712. The early main monuments in Petrin baroque included Peter and Paul Cathedral and Menshikov Palace. During the reign of Queen Anna and Elizaveta Petrovna, Russian architecture was dominated by the posh baroque style of Bartolomeo Rastrelli; called Elizabethan Baroque. The typical buildings of Rastrelli include the Winter Palace, Catherine Palace and Smolny Cathedral. Other typical monuments of the Elizabethan Baroque are the bell towers of Troitse-Sergiyeva Lavra and Red Gate.
Painting
Baroque artists work deliberately to separate themselves from Renaissance painters. In their palettes, they use warm and strong colors, and mainly make use of the main colors of the painting at that time, red, blue and yellow, often putting the three in close proximity. In their lighting, they avoid lighting Renaissance paintings and use strong contrast of light and darkness on certain parts of the image to draw attention to the action or the main figure. In their compositions, they avoided the quiet scenes of the Renaissance paintings, and chose the greatest moments of movement and drama. Unlike the quiet faces of Renaissance paintings, the faces in the Baroque paintings clearly express their emotions. They often use asymmetry, with actions that occur away from the center of the image, and create ax that is not vertical or horizontal, but tilted to the left or right, giving a sense of instability and movement. They enhance the impression of this movement by wearing the costumes of figures blown by the wind, or moved by their own movements. The overall impression is movement, emotion, and drama.
Another important element of baroque painting is allegory; each painting tells a story and has a message, often encrypted in allegorical symbols and characters, that the viewer wants to know and read.
Peter Paul Rubens introduced the Flemish Baroque in 1610-11, with a combination of skillful emotion, movement and drama, In Italy, artists often collaborate with architects on interior decoration; Pietro da Cortona was one of the 17th century painters who used this illusionist painting method. Among his most important commissions were the wall paintings he painted for the Barberini family's palace (1633-39), to glorify the reign of Pope Urban VIII. The composition of Pietro da Cortona is the largest decorative fresco held in Rome since the work of Michelangelo in the Sistine Chapel. They give viewers a look to the ceiling the impression that they see the sky is full of saints and angels.
Other great painters closely associated with the Baroque style include Guido Reni, Domenichino, Caravaggio, Andrea Pozzo, Paolo de Matteis and Annibale Carracci in Italy; Nicolas Poussin and Georges de La Tour in France (though Poussin spent much of his time in Italy), Francisco de ZurbarÃÆ'¡n in Spain, and Adam Elsheimer in Germany. FranÃÆ'§ois Boucher is an important figure in the late Baroque France, in what is known as the rocaille style, which designs rugs, carpets and theatrical decorations as well as paintings. His work is very popular with Madame Pompadour, Madame King Louis XV. His paintings feature a mythological, and somewhat erotic, romantic theme.
Statue
The dominant figure in the baroque statue is Gian Lorenzo Bernini. Under the patronage of Pope Urban VIII, he made a series of extraordinary monumental statues of saints and figures whose faces and movements clearly express their emotions, as well as statues of incredible realism portraits, and highly decorative works for the Vatican, including an impressive Chairman. St. Peter under the dome in St. Peter's Basilica In addition, he designed a fountain with monumental groups of statues to decorate the main square of Rome.
Baroque sculptures are primarily inspired by ancient Roman statues, especially by the famous LaocoÃÆ'¶n statue of the First Century, which is on display at the Vatican gallery. When he visited Paris in 1665, Bernini spoke to students at the Academy of painting and sculpture, he advised students to work from the classical model, not from nature. He told the students, "When I have trouble with my first statue, I consult with Antinous like an oracle."
Famous baroque sculptor from France including ÃÆ' â € ° tienne Maurice Falconet and Jean Baptiste Pigalle. Pigalle was commissioned by Frederick the Great to create statues for his own version of Frederick versailles at Sanssouci in Potsdam, Germany. Falconet also received an important overseas commission, creating the famous statue of Peter the Great on a horse found at St. Petersburg.
In Spain, sculptor Francisco Salzillo works exclusively on religious themes, using polychrome wood. Some of the best baroque sculptures found on the golden cement alleys of Spanish colonies in the New World, were made by local craftsmen; examples include the Rosario Chapel of the Church of Santo Domingo in Oaxaca, Mexico (1724-31).
Music and ballet
The Baroque term is also used to designate musical styles composed during periods overlapping with Baroque art. The first use of the term 'baroque' for music is criticism. In anonymous, satirical reviews of the premiÃÆ'¨re in October 1733 from Rameau Hippolyte et Aricie, printed at Mercure de France in May 1734. The criticism implied that the novelty in this opera is "du barocque," complaining that music lacks a coherent melody, filled with incessant irregularity, constantly changing keys and meters, and quickly running through each composition device. Jean-Jacques Rousseau, who is a musician and composer and philosopher, made a very similar observation in 1768 at the famous Dyna Diderot Encyclopedia of Denisot: "Baroque music is that where harmony is confused, and full of modulation and dissonance.The singing is rough and unnatural, the intonation is difficult, and the movement is limited It seems that the term is derived from the word 'baroco' used by logicians. "
The general use of the term for the music of the period began only in 1919, by Curt Sachs, and it was not until 1940 that was first used in English in an article published by Manfred Bukofzer.
Baroque is a period of experimentation and musical innovation. Newly discovered forms, including concertos and sinfonia. Opera was born in Italy at the end of the 16th century (with the largely lost Jacopo Peri , produced in Florence in 1598) and soon spread throughout Europe: Louis XIV created the first Academy of Music, In 1669, poet Pierre Perrin opened the opera academy in Paris, the first opera theater in France open to the public, and the first
Classical ballet also comes from the Baroque era. The dance style of the palace was brought to France by Marie de Medici, and at first the members of the palace itself were the dancers. Louis XIV himself appeared in public in several ballet. In March 1662, Acadà © ake Royale de Danse, founded by the King. It was the first professional school and dance company, and set the standards and vocabulary for ballet throughout Europe during that period.
Several new instruments, including pianos, were introduced during this period. The invention of the piano is credited to Bartolomeo Cristofori (1655-1731) from Padua, Italy, employed by Ferdinando de 'Medici, the Archbishop of Tuscany, as the Guardian of Instruments.. Cristofori named the instrument un cimbalo di cipresso di piano e forte ("keyboard cypress softly and hard"), shortened over time as pianoforte , fortepiano >, and then, simply, the piano.
Composer and example
- Giovanni Gabrieli (c 1554/1557-1612) Sonata pian 'e forte (1597), In Ecclesiis (from Symphoniae sacrae book 2, 1615)
- Giovanni Girolamo Kapsperger (about 1580-1651) Libro primo in villanelle, 20 years (1610)
- Claudio Monteverdi (1567-1643), L'Orfeo, favola di musica (1610)
- Heinrich SchÃÆ'¼tz (1585-1672), Musikalische Exequien (1629, 1647, 1650)
- Francesco Cavalli (1602-1676), L'Egisto (1643), Ercole amante (1662), Scipione affricano (1664)
- Jean-Baptiste Lully (1632-1687), Armide (1686)
- Marc-Antoine Charpentier (1643-1704), Te Deum (1688-1698)
- Heinrich Ignaz Franz Biber (1644-1704), Mystery Sonatas (1681)
- John Blow (1649-1708), Venus and Adonis (1680-1687)
- Johann Pachelbel (1653-1706), Canon in D (1680)
- Arcangelo Corelli (1653-1713), 12 concerto grossi, Op. 6 (1714)
- Marin Marais (1656-1728), Sonnerie de Ste-GeneviÃÆ'¨ve du Mont-de-Paris (1723)
- Henry Purcell (1659-1695), Dido and Aeneas (1688)
- Alessandro Scarlatti (1660-1725), L'honestÃÆ' negli amori (1680), Il Pompeo (1683), Mitridate Eupatore ( 1707)
- FranÃÆ'§ois Couperin (1668-1733), Les barricade mystÃÆ' Â © rieuses (1717)
- Tomaso Albinoni (1671-1751), Didone abbandonata (1724)
- Antonio Vivaldi (1678-1741), The Four Seasons (1725)
- Jan Dismas Zelenka (1679-1745), Il Serpente in Bronzo (1730), Missa Sanctissimae Trinitatis (1736)
- Georg Philipp Telemann (1681-1767), Der Tag des Gerichts (1762)
- Johann David Heinichen (1683-1729)
- Jean-Philippe Rameau (1683-1764), Dardanus (1739)
- George Frideric Handel (1685-1759), Water Music (1717), Messiah (1741)
- Domenico Scarlatti (1685-1757), Sonatas for harpsichord
- Johann Sebastian Bach (1685-1750), Toccata and Fugue in D minor (1703-1707), Brandenburg Concertos (1721), St. Matthew Passion (1727)
- Nicola Porpora (1686-1768), Semiramide riconosciuta (1729)
- Giovanni Battista Pergolesi (1710-1736), Stabat Mater (1736)
Theater
The Baroque period is a golden age for theaters in France and Spain; playwrights including Corneille, Racine and Moliere in France; and Lope de Vega and Pedro CalderÃÆ'³n de la Barça Spain.
During the Baroque period, the art and the style of the theater evolved rapidly, in addition to the development of opera and ballet. Newer and larger theater designs, the invention of more complicated machine usage, the wider use of the proscenium arch, which frames the stage and hides the machine from the audience, encouraging more beautiful effects and spectacle.
Baroque has a Catholic and conservative character in Spain, following the Italian literary model during the Renaissance. The Hispanic Baroque Theater aims for public content with the ideal reality embodied by three fundamental sentiments: Catholicism, monarchy and national pride and honor derived from the world of knights, knights.
Two periods were known in the Baroque Spanish theater, with the division taking place in 1630. The first period was represented mainly by Lope de Vega, but also by Tirso de Molina, Gaspar Aguilar, GuillÃÆ'n nà © Castro, Antonio Mira de Amescua, Luis VÃÆ'  © lez de Guevara, Juan Ruiz de AlarcÃÆ'³n, Diego JimÃÆ' © nez de Enciso, Luis Belmonte BermÃÆ'ºdez, Felipe GodÃÆ'nez, Luis QuiÃÆ'  ± de Benavente or Juan PÃÆ'  © rez de MontalbÃÆ'¡n. The second period was represented by Pedro CalderÃÆ'³n de la Barca and fellow playwrights Antonio Hurtado de Mendoza, ÃÆ' lvaro Cubillo de AragÃÆ'³n, JerÃÆ'³nimo de CÃÆ'¡ncer, Francisco de Rojas Zorrilla, Juan de Matos Fragoso, Antonio Coello y Ochoa, AgustÃÆ'n Moreto, and Francisco Bances Candamo. This classification is loose because each writer has his own way and can sometimes follow the formula set by Lope. It may even be that Lope's "way" is more liberal and structured than CalderÃÆ'³n's.
Lope de Vega was introduced through Arte nuevo de hacer comedias en este tiempo (1609) new comedy . He formed a new dramatic formula that solved the three unity of Aristotle from the Italian poetry school (action, time and place) and Aristotle's fourth unity of style, the mixing of tragic elements and comics that showed various verses and verses on what was represented. Although Lope has a great knowledge of plastic art, he does not use it for most of his career as well as in theater or scenography. Comedy Lope provides a second role on the visual aspect of the representation of the theater.
Tirso de Molina, Lope de Vega, and CalderÃÆ'³n are the most important playwrights in the Spanish Golden Era. Their works, known for their subtle intelligence and deep understanding of one's humanity, can be regarded as the bridge between Lope's primitive comedy and the more complicated comedy of CalderÃÆ'³n. Tirso de Molina is famous for two works, Convicted Persecution
Upon arrival in Madrid, Cosimo Lotti was brought to court Spain's most advanced theater technique in Europe. His engineering and mechanical knowledge is applied in a palace exhibit called "Fiestas" and in the river's fancy exhibition or artificial fountain called "Naumaquias". He is in charge of arranging the parks of Buen Retiro, Zarzuela and Aranjuez and the construction of the Coliseo del Buen Retiro theater. The Lope formula begins with a verse that does not meet the foundations of the palace palace and the birth of new concepts which started the career of several playwrights such as CalderÃÆ'³n de la Barca. Marking the major innovation of the New Comedy Lopesian, CalderÃÆ'³n style marks many differences, with much constructive attention and attention to its internal structure. CalderÃÆ'³n's work in formal perfection and language is very lyrical and symbolic. Freedom, vitality, and openness Lope gives the intellectual reflection of CalderÃÆ'³n and formal precision. In the comedy it reflects its ideological and doctrinal intentions above desires and actions, the work of the autos sacramentales reaches a high rank. The Comedia genre is political, multi-artistic and in a hybrid sense. The poetic text interspersed with Media and the resources derived from the architecture, music and paintings that liberate the fraud present in the Lopesian comedy consisted of a lack of sights and involving dialogue of action.
The most famous German drama writer is Andreas Gryphius, who uses Dutch Jesuit models Joost van den Vondel and Pierre Corneille. There is also Johannes Velten who combines the traditions of British comedians and commedia del'arte with the classical theater of Corneille and MoliÃÆ'¨re. The tour company was probably the most important and important in the 17th century.
End of style, criticism and academic rediscovery
Madame de Pompadour, the mistress of Louis XV, may have inadvertently contributed to the decline of baroque and rococo styles. In 1750 he sent his nephew, Abel-FranÃÆ'§ois Poisson de VandiÃÆ'¨¨res, on a two-year mission to study artistic and archaeological developments in Italy. She is accompanied by several artists, including the carver Nicolas Cochin and architect Soufflot. They returned to Paris in the spirit of classical art. VandiÃÆ'  © res became the Marquis of Marigny, and was named the Royal Director of buildings in 1754. He changed the official French architecture towards the neoclassical. Cochin became an important art critic; he denounced the petit style of Boucher, and called for a great style with a new emphasis on ancient times and nobility in the academy of architectural painting.
The German historian and art historian Johann Joachim Winckelmann also condemned baroque style, and praised the superior values ​​of classical art and architecture. In the 19th century, Baroque became the target of scorn and criticism. Neoclassical critic Francesco Milizia writes: "Borrominini in architecture, Bernini in sculpture, Pierre de Cortone in painting... is a plague of good taste, which infects a great number of artists." In the 19th century, criticism expanded; British critic John Ruskin stated that the baroque statue was not only bad, but also morally corrupt.
The Swiss-born art historian Heinrich WÃÆ'¶lfflin (1864-1945) began the rehabilitation of the Baroque in his book Renaissance und Barock (1888); WÃÆ'¶lfflin identifies Baroque as a "movement imported into the masses", an art that goes against the Renaissance art. He made no distinction between Mannerism and Baroque by modern writers, and he ignored the next phase, the academic Baroque that lasted until the 18th century. Baroque art and architecture became the mode between the two World Wars, and most remain critical. The term "Baroque" may still be usable, usually patronizing, depicting artwork, crafts, or designs that are considered to have excessive ornament or line complexity.
Italian Baroque
Spanish baroque
- Baroque in Germany, Austria and Central Europe
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French, French Baroque, or Louis XIV Style
French Baroque, 
See also
Note
Books quoted in text
Further reading
External links
- Ã, "Baroque". EncyclopÃÆ'Â|dia Britannica . 3 (issue 11). 1911.
- Baroque culture and rococo
- Paris Webmuseum
- barocke in Val di Noto - Sizilien
- Baroque in "Art History"
- Baroque style and influence of Luis XIV
- BBC Radio 4 Melvyn Bragg Program In Our Time
- "Baroque Style Guide". British Gallery. The Victoria and Albert Museum. Archived from the original on August 19, 2007 . Retrieved July 16 2007 .
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