
==Old== Well, I am confused. According to the log: (diff) Baroque 12:54 pm (2 changes) [*removed "characterized by intricate detail", added some architects] . . . . . MichaelTinkler This removal is confusing. As far as I know (in literature, music, and architecture) Baroque style is always characterised by intricate detail. so why did Michael remove this? ---- well, because "intricate detail" in the field of art and architecture is far too unsubtle to be of any use. I doubt it's useful in music, either. Renaissance and Neoclassical art and architecture are subject to as much detail as Baroque. What do you mean by 'detail' that is useful? --MichaelTinkler ---- I don't know the protocol for handling talk:Baroque pages, but I'm surprised that you think its okay to remove a link to the talk page when you answer a question and then ask me a question... The point of a talk:Baroque link is to show that there is some discussion that may not be appropriate on the main page. by removing the link, you have basically said my question or opinion has no value. It isn't the issue of detail that makes the Baroque style important. it's the intricate nature of the detail that makes it important. If fractals had existed in the Baroque times, they would have been called Baroque as well. Intricacy as opposed to simplicity is an easily recognized characteristic, and may be applied to many endeavors of life. And it is characterstic of the baroque style. ----- whoops - I didn't mean to delete the Talk link! I apologize very much for that. Well, 'intricacy' (though I believe he uses the word 'complexity') vs. 'simplicity' is one of the 5 (I think it's 5) difference Wolfflin identifies for the differences between Classic (his word for High Renaissance) and Baroque. That, of course, elides Mannerism. Lots and lots of baroque architecture (the area I know best) is literally quite simple in terms of surface detail - I'm thinking of Bernini's Piazza San Pietro and the surfaces of Borromini's San'Ivo. One can, of course, oppose Guarino Guarini's Chapel of the Holy Shroud in Turin, but he's a lot less characteristic than either of those two Roman examples, or Wren's St. Paul in London. I would read 'intricate detail' to mean 'fussy'. That is much more a characteristic of Rococo. Also, the word 'detail' has a variety of meanings in different art forms and media. I sincerely don't think it's a particularly useful introductory sentence to what will eventually be a fairly long article! --MichaelTinkler ---- I agree that Rococo is intricate as well. When I checked out my definitions at www.dictionary.com, I found that some authors (obviously some of those I have read) equate the two styles. Baroque is known for intricate ornamentation and I'm not sure what that difference (in a general sense of the word) between ornamentation and details might suggest. ---- Sources I've just read say that late Baroque merge into early Roccoco. And that in some countries, particularly Protestant ones, Baroque did not become as "wild". However I will protest any description of Baroque as simple. -rmhermen ----- Renaissance art in many media is as 'ornamented' or 'intricate' as the Baroque. I'm thinking (just off hand) of Cellini's metalwork and in fact any finished bronze or gold work of the High or Late Renaissance. They're as covered with 'linear detail' as anything in the Baroque. There is also little difference in the level of *surface detail* in the ornamental nature of, say, renaissance and baroque column capitals. Please note, I'm not denying there's a difference. There is a stunning difference between a dry, rather dull capital in 1450 or 1500 and something created by Guarino Guarini or Borromini in the 17th century. One is 'renaissance' and the other is 'baroque'. However, it is not a matter of the number of lines cut in the leaves. It is a matter of a sense of animation, a flowing line, a liveliness. Similarly, there is no less dependence on geometry in the baroque than in the renaissance. The difference is that the preferred geometric figures are no longer Regular figures (circle, square), but instead tend toward the oval, the ellipse (Piazza San Pietro), the 6-pointed star (St. Ivo della Sapienza, Rome). That is a *characteristic* difference, but it has nothing to with surfaces. Borromini's masonry is quite conservative -- it's his geometry that's over the top. I guess my basic problem may go back to the idea that "Wikipedia is not a dictionary" (see FAQ) - we don't even need to start an entry with a simplification. Of course, I'm sure you meant it only as a beginning, and you and I have spent all this time going back and forth when we could have been adding Baroque entries to be elaborated by others, too. Oh, well - an afternoon (I'm GMT minus 4) not badly spent. --MichaelTinkler ----- not to worry, rmhermen - I'll protest any description of Modernist Architecture as 'simple', too. A Miesian glass box may look simple from 1000 feet in a photograph.... ---MichaelTinkler. ----- Is there a reason that baroque art starts in the early 1600's but baroque music in the late 1600's? What about architecture? ---rmhermen ------ yes. See :Periodization. These stylistic terms are very very very messy. The Renaissance starts at different dates for different media, and at different dates in different countries for the same medium. I have real trouble with the :Cultural movement entry because of this. ---- Style itself is very very very messy: not everyone in 1967 was a hippie. Baroque doesn't begin on April 7, 1609. Styles are rarely completely in control of works of art and literature any any time. The recent inclusion of metaphysical poets as 'Baroque' shows that "Mannerist' is not an easy concept to grasp either... User:Wetman 22:35, 10 Dec 2003 (UTC) ---- These paragraphs seem inconsistent: 'Baroque'...is a French translation of the Italian word "Barocco"; some authors believe it comes from the Portuguese "Barroco" (irregular pearl, or false jewel - notably, an ancient similar word, "Barlocco" or "Brillocco", is used in Roman dialect for the same meaning), or from a now obsolete Italian "Baroco" (that in logical Scholastica was used to indicate a syllogism with weak content). and at the end: Baroque pearls are natural pearls that deviate from the usual, regular forms. In particular, they are pearls that do not have an axis of rotation. It was this use of the term for irregular pearls that eventually lent its name to the baroque movement. So is this fact or theory? Somebody please clarify. User:Palefire ---- I don't like the position of the picture, to the left of the TOC like that...I tried to fix it, but the caption wouldnt display. the caption, by the way, doesn't make much sense --User:Tothebarricades.tk 02:21, 6 Jul 2004 (UTC) == baroque - Handel == his first name should be written either in German; Friedrich, or English Frederic, but not Frideric, as you have it. He was born in Germany was court musician to King Georg and had a fall-out with him. Went to England, but, as fate will have it, Georg became king of England as George I (the first) he made up with him with the watermusic. ==Removing introduced waffle== Originated ''"somewhere between 1550 and 1600"''A mention of a "proto-Baroque" has been made. No Baroque in 1550. That's Mannerism we're looking at. El Greco is not Baroque. Baroque is not a movement in art ''history'' it's a movement in art itself. I have edited "hidden" links to make them explicit. A link like 17th Century Philosophy linked in the text as "The Age of Reason" just compounds the editor's own confusion. Will Durant entitled that volume ''The Age of Reason Begins''. I didn't take out this: ''"The Baroque was defined by Woelffrin as the age where the oval replaced the circle as the center of composition, that centralization replaced balance, and that coloristic and "painterly" effects began to become more prominent."'' The critic Heinrich Wolfflin was a long time ago. And this misremembers a second-hand retelling of something Wolfflin might have said in some particular context. We need more images to make points come alive. I found the Rubens among UnusedImages here. User:Wetman 01:13, 17 Jul 2004 (UTC) ==Potential nomination for removal as a featured article== Hi, this article no longer meets a number of the Wikipedia:What is a featured article for a featured article. 1.) It does not Wikipedia:Cite sources. Best would be to add the most trusted resources in the field, some print resources especially, but also online references are better than none. Those sources would likely help with good material to further improve the article anyway. 2.) It does not have a Wikipedia:Lead section 3.) The images, while great, may not all be freely licensed properly for Wikipedia. The Web gallery of art states: "The Web Gallery of Art is copyrighted as a database. Images and documents downloaded from this database can only be used for educational and personal purposes. Distribution of the images in any form is prohibited without the authorization of their legal owner." That may be an incorrect claim, but that needs to be dealt with carefully. I really hate to [[Wikipedia:Featured_article_removal_candidates|nominate an article for removal as a featured article, so I thought I would ask for help here first. Hopefully someone here can handle this. But because I believe all featured articles need to meet the same standards, I will nominate it if no one is able to fix these issues. Thanks - User:Taxman 23:27, Oct 26, 2004 (UTC) :It's a good thing the criteria for Featured Article are being raised. Articles like Crushing by elephant and Academia were hugely improved ''after'' being exposed upon the Main Page. A subsection here, The idea of \"Baroque\" ought to cover the main literature. Photos of sculpture may not be covered by the standard template, viz: Why not just remove the nomination? --User:Wetman 01:09, 27 Oct 2004 (UTC) :I don't understand, remove what nomination? I did not want to nominate it at Wikipedia:Featured article removal candidates at all until the contributors to this article had had a chance at least to fix the issues I noticed. - User:Taxman 14:11, Oct 27, 2004 (UTC) ==Format== Someone has put all the caredully-balanced illustrations in a strip down the right-hand side. Is this progress? --User:Wetman 14:26, 4 Nov 2004 (UTC) :I did it - sorry, but I didn't think the original layout was at all "carefully balanced". I don't like left-floated images at the best of times, and the original arrangement was quite messy and disrupted the flow of the text. The different sizes and the right-left combination in the lead section section and after the TOC were particularly jarring, I thought - there was a narrow band of text one or two words wide between the images in the lead section. -- User:ALoan User_talk:ALoan 15:02, 4 Nov 2004 (UTC) ::Good work, I do feel that not keeping all of them on the right makes the article visually more attractive, easier on the eyes. I have started on a new lead section and moved the old text to its own section. The lead section could use some more text and the new "Evolution" section probably could be structured a bit better as well (maybe also under a different heading). -- User:Solitude\User_talk:Solitude ">User:Solitude|User:Solitude\User_talk:Solitude 15:39, Nov 4, 2004 (UTC)
:::Oh, if you are actually going to help the structure and content, I'll leave it to you :) I was only moving the furniture around to avoid bumping into it. -- User:ALoan User_talk:ALoan 16:07, 4 Nov 2004 (UTC)
==Opening paragraph==
... ''around 1600 in Rome, Italy'' So that's not Rome, New York, after all, eh. My goodness, this certainly leaves no room for doubt in our minds! ''In later centuries'' --that would be during the 18th century and the 19th century: which manifestation of Baroque is intended here? ...'' a sense of blurring different art movements'' I'm certainly getting the blurring part, but is "art movements" really what's meant? --User:Wetman 01:31, 7 Nov 2004 (UTC)
==Capitalization==
Is the inconsistent capitalization of Baroque/baroque intentional - or does it need to be made consistent? User:Kdammers 09:15, 4 May 2005 (UTC)
:No inference intended, I think. A matter of style: neoclassical, classic, renaissance, romantic, rococo art. Or Neoclassical, Renaissance etc. Uncapitalized as a baroque fountain, but capitalized as a fountain that fully expresses the Baroque. A broque pearl, but the Baroque style? Maybe it's immediate context rather than an Olympian consistency. --User:Wetman
::Well, then maybe we should try to put some order into the page. In any case, for me, a baroque fountain is one that is flamboyant whereas a Baroque fountain is one that is in the Baroque style &/or from the Baroque period. I think that IF the article is to have variations, then they should be meaningful (lest they otherwise confuse). User:Kdammers 01:48, 8 May 2005 (UTC)
:I agree. Consistency within an article is always good. --User:Wetman 04:21, 8 May 2005 (UTC)
Done. The capital is not required for the period, but widely used and i think always accepted. IMO it is also desirable for clarity, and i'm adding a sentence about "barrocco" that will use "baroque". --User:Jerzy·User talk:Jerzy 16:04, 10 Jun 2005 (UTC)
:"Baroque" as an adjective should be confined to nouns where there is no confusion about the Baroque style: baroque politics, baroque fears etc. If it is a manmade object, "baroque" always means Baroque. There are plenty of other adjectives that connote exhuberance, extravagance, animation, etc. --User:Wetman 19:02, 10 Jun 2005 (UTC)
:*That's a great idea, but you're not talking about the English language. The word "baroque" with a mandatory lower case B has dicdefs like "characterized by grotesqueness". English was not designed to guaranteed disambiguation.
::--User:Jerzy·User talk:Jerzy 19:46, 10 Jun 2005 (UTC)
:I was merely offering the usage of those people who would not characterize a Fabergé egg as "baroque" merely because it was elaborate, when it was in fact Neoclassicism in design. I am indeed talking about the English language, you see. --User:Wetman 21:15, 10 Jun 2005 (UTC)
:* I may ''still'' be confused. On my continuing assumption that this is discussion pursuant to editing the page, rather than idle conversation, i suggest (since i have trouble imagining it) that you propose or boldly edit in wording for the article that makes your point in a way that is useful to WP users. (IMO, what you describe is a useful, even laudible, habit in cases where the context allows for confusion (talking to people interested in Faberge who don't know his era, or don't know an era for the Baroque age?) for those who find it natural. But as a listener/reader, you don't need to know about the habit to profit from it.) The only purpose in mentioning it is to urge adopting it -- IMO unencyclopedic.
:: If OTOH this is idle conversation, i'm outta here.
:: --User:Jerzy·User talk:Jerzy 14:59, 11 Jun 2005 (UTC)
[[Image:Rubens.adoration.650pix.jpg|thumb|right|250px|''Adoration,'' by Peter Paul Rubens: dynamic figures spiral down around a void: draperies blow: a whirl of movement lit in a shaft of light, rendered in a free bravura handling of paint]] In the arts, the Baroque (or baroque) is both a period and the style that dominated it. Baroque style used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur from sculpture, painting, literature, and music. The style started around 1600 in Rome, Italy and spread to most of Europe. In music, the Baroque applies to the final period of dominance of imitative counterpoint. (The name adapted a French language adjective that is derived from the Portuguese language noun "barrucco"; both described a pearl of irregular shape. Some confusion can occur in using for the period and style the Minusculed version "baroque", which can instead mean merely "elaborate" (or especially "overly elaborate") without implying connection to the period.) The popularity and success of the "Baroque" was encouraged by the Catholic Church when it decided that the drama of the Baroque artists' style could communicate religious themes in direct and emotional involvement. The secular aristocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and would-be competitors. Baroque palaces are built round an entrance sequence of courts, anterooms, grand staircases, and reception rooms of sequentially increasing magnificence. Many forms of art, music, architecture, and literature inspired each other in the "Baroque" cultural movement. ==Evolution of the Baroque== The Baroque originated around 1600. The canon promulgated at the Council of Trent (1545–63), by which the Catholicism addressed the representational arts by demanding that paintings and sculptures in church contexts should speak to the illiterate rather than to the well-informed, is customarily offered as an inspiration of the Baroque, which appeared, however, a generation later. This turn toward a populist conception of the function of ecclesiastical art is seen by many Art history as driving the innovations of Michelangelo Merisi and the Carracci brothers, all of whom were working (and competing for commissions) in Rome around 1600. The appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th century Mannerism art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, and dramatic (''see the ''Prometheus'' sculpture below''). Baroque art drew on certain broad and heroic tendencies in Annibale Caracci and his circle, and found inspiration in other artists like Antonio da Correggio and Michelangelo Merisi and Federico Barocci, nowadays sometimes termed 'proto-Baroque'. Louvre_Museum):_a_hectic_tour-de-force_of_violent_contrasts_of_stress,_multiple_angles_and_viewpoints,_and_extreme_emotion">Image:Adampromethe.jpg|thumb|right|250px|''Prometheus'', by Nicolas-Sébastien Adam, 1737 (Louvre Museum): a hectic tour-de-force of violent contrasts of stress, multiple angles and viewpoints, and extreme emotion Germinal ideas of the Baroque can also be found in the work of Michelangelo Buonarroti. Some general parallels in music make the expression \"Baroque music\" useful: there are contrasting phrase lengths, harmony and counterpoint have ousted polyphony, and orchestral color makes a stronger appearance. See the entry Baroque music. Similar fascination with simple, strong, dramatic expression in poetry, where clear, broad syncopated rhythms replaced the enknotted elaborated metaphysical similes employed by Mannerisms such as John Donne and imagery that was strongly influenced by visual developments in painting, can be sensed in John Milton's ''Paradise Lost,'' a Baroque epic. Though Baroque was superseded in many centers by the Rococo style, beginning in France in the late 1720s, especially for interiors, paintings and the decorative arts, Baroque architecture remained a viable style until the advent of Neoclassicism in the later 18th century. See the Neapolitan palace of Caserta, a Baroque palace (though in a chaste exterior) that was not even begun until 1752. Critics have given up talking about a "Baroque ''period''". In paintings, Baroque gestures are broader than Mannerist gestures: less ambiguous, less arcane and mysterious, more like the stage gestures of opera, a major Baroque artform. Baroque poses depend on ''contrapposto'' ("counterpoise"), the tension within the figures that moves the planes of shoulders and hips in counterdirections. See Benini's ''David'' (''below, left''). [[image:Berndavi.JPG|thumb|left|200px|Gian Lorenzo Bernini's ''David'' (1623–24): Baroque freeze-frame stopped action, ''contrapposto'' and theatrical emotion]] The dryer, chastened, less dramatic and coloristic, later stages of 18th century Baroque architectural style are often seen as a separate Late Baroque manifestation. See the entry Claude Perrault. Academic characteristics in the neo-Palladian architectural style, epitomized by William Kent, are a parallel development in Britain and the British colonies: within doors, Kent's furniture designs are vividly influenced by the Baroque furniture of Rome and Genoa, hieratic tectonic sculptural elements meant never to be moved from their positions completing the wall elevation. Baroque is a style of unity imposed upon rich and massy detail. The Baroque was defined by Heinrich Wölfflin as the age where the oval replaced the circle as the center of composition, that centralization replaced balance, and that coloristic and "painterly" effects began to become more prominent. Art historians, often Protestant ones, have traditionally emphasized that the Baroque style evolved during a time in which the Roman Catholic Church had to react against the many revolutionary cultural movements that produced a new science and new forms of religion— Reformation. It has been said that the monumental Baroque is a style that could give the Papacy, like political absolutism, a formal, imposing way of expression that could restore its prestige, at the point of becoming somehow symbolic of the Catholic Reformation. Whether this is the case or not, it was successfully developed in Rome, where Baroque architecture widely renewed the central areas with perhaps the most important urbanistic revision. ==Baroque visual art == [[Image:BarocciAeneas.jpg|thumb|250px|''Aeneas flees burning Troy,'' Federico Barocci, 1598: a moment caught in a dramatic action from a classical source, bursting from the picture plane in a sweeping diagonal perspective.]] ''Main article:'' Baroque art 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 (now at the Louvre) [http://www.students.sbc.edu/vandergriff04/mariedemedici.html], 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. Another frequently cited work of Baroque art is Bernini's "Saint Theresa in ecstasy" for the Cornaro chapel in S. Maria della Vittoria, which brings together multiple arts, including opera [http://www.boglewood.com/cornaro/xteresa.html]. The later baroque style gives way gradually to Rococo. A comparison with Rococo, will help define Baroque by contrast. ==Baroque sculpture == In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms— they spiralled 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. The architecture, sculpture and fountains of Gian Lorenzo Bernini (1598–1680) give highly-charged characteristics of Baroque style. Bernini was undoubtedly the most important sculptor of the Baroque period. He approached Michelangelo Buonarroti 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. ===Bernini's Cornaro chapel: the complete work of art=== A good example of Bernini's work that helps us understand the Baroque is his ''St. Theresa in Ecstasy'' (1645–52), created for the Cornaro Chapel of the church of Santa Maria della Vittoria, Rome. Bernini designed the entire chapel, a subsidiary space along the side of the church, for the Cornaro family. He had, in essence, a brick box shaped something like a proscenium stage space with which to work. He created a main statue as the focal point of the chapel, surrounded the monochromatic marble statue (a soft white) with a polychromatic marble architectural framing concealing a window to light the statue from above, and placed shallow relief sculpture figure-groups of the Cornaro family in opera boxes along the two side walls of the chapel. The setting places the viewer as a spectator in front of the statue with the Cornaro family leaning out of their box seats and craning forward to see the mystical ecstasy of the saint. The statue of St. Theresa of Avila is highly idealized in detail and in an imaginary setting. St. Theresa of Avila, one of the most popular saints of the Catholic Reformation, wrote narratives of her mystical experiences aimed at the nuns of her Carmelite Order; these writings had become popular reading among lay people interested in pursuing spirituality. She once described the love of God as piercing her heart like a burning arrow. Bernini literalizes this image by placing St. Theresa on a cloud in a reclining pose; what can only be described as a Cupid figure holds a golden arrow (the arrow is made of metal) and smiles down at her. The angelic figure is not preparing to plunge the arrow into her heart— rather, he has withdrawn it. St. Theresa's face reflects not the anticipation of ecstasy, but her current fulfillment, which can only be described as orgasmic. The blending of religious and erotic was intensely offensive to both neoclassical restraint and, later on, to Victorian prudishness; it is part of the genius of the Baroque. Bernini, who shows every sign in his writings of being a convinced and conventionally devout Catholic, is not attempting to satirize the experience of a virgin who lived a life of celibacy, but rather reflects a complex truth about religious experience— that it is an experience that takes place in the body. Theresa described her bodily reaction to spiritual enlightenment in a language of ecstasy used by many mystics, and Bernini did her the favor of taking her seriously. The Cornaro family promotes itself discreetly in this chapel; they are represented visually, but are placed on the sides of the chapel, witnessing the event from balconies. As in an opera house, the Cornaro have a privileged position in respect to the viewer, in their private reserve, closer to the saint; the viewer, however, has a better view from the front. They attach their name to the chapel, but St. Theresa is the focus. It is a private chapel in the sense that no one could say mass on the altar beneath the statue (in the 17th century and probably through the 19th) without permission from the family, but the only thing that divides the viewer from the image is the altar rail. The spectacle functions both as a demonstration of mysticism and as a piece of family pride. ==Baroque architecture== ''Main article:'' Baroque architecture In Baroque architecture, new emphasis was placed on bold massing, colonnades, domes, light-and-shade (''chiaroscuro''), 'painterly' color effects, and the bold play of volume and void. In interiors, Baroque movement around and through a void informed monumental staircases that had no parallel in previous architecture. The other Baroque innovation in worldly interiors was the state apartment, a processional sequence of increasingly rich interiors that culminated in a presence chamber or throne room or a state bedroom. The sequence of monumental stair followed by state apartment was copied in smaller scale everywhere in aristocratic dwellings of any pretensions. Baroque architecture was taken up with enthusiasm in central Germany (see e.g. Ludwigsburg Palace and Zwinger Dresden) and Austria. In England the culmination of Baroque architecture was embodied in work by Sir Christopher Wren, Sir John Vanbrugh and Nicholas Hawksmoor, from ca. 1660 to ca. 1725. Many examples of Baroque architecture and town planning are found in other European towns, and in the Spanish Americas. Town planning of this period featured radiating avenues intersecting in squares, which took cues from History of gardening. For examples see: List of examples of typical Baroque architecture [[Image:GarnierOperaParis.jpg|thumb|right|200px|Neo-Baroque: the foyer of Charles Garnier (architect)'s Paris Opera, Paris, planned under the Second Empire, 1861, finally opened 1875]] ===Neo-Baroque architecture=== *Paris Opera, Charles Garnier (architect) *Semper Oper (Dresden) ==Baroque theater and dance== In theater, the elaborate conceits, multiplicity of plot turns, and variety of situations characteristic of Mannerism (William Shakespeare, for instance) are superseded by opera, which drew together all the arts in a unified whole. Baroque dance was popular in the Baroque era. ==Baroque literature and philosophy== Baroque actually expressed new values, which often are summarised in the use of metaphor and allegory, widely found in Baroque literature, and in the research for the "maraviglia" (wonder, astonishment — as in Marinism), the use of artifices. If Mannerism was a first breach with Renaissance, Baroque was an opposed language. It represented the evidence of the crisis of Renaissance neoclassical schemes— the psychological pain of Man, disbanded after the Nicolaus Copernicus and the Martin Luther revolutions, in search of solid anchors, in search of a proof of an ultimate human power, was to be found in both the art and architecture of the Baroque period. A relevant part of works was made on religious themes, since the Roman Church was the main "customer." Virtuosity was researched by artists (and the Virtuoso became a common figure in any art,) together with realism and care for details (some talk of a typical "intricacy.") Not without a certain correctness, it is said that the privilege given to external forms had to compensate and balance the lack of contents that has been observed in many Baroque works: Marino's "Maraviglia", for example, is practically made of the pure, mere form. Fantasy and imagination should be evoked in the spectator, in the reader, in the listener. All was focused around the individual Man, as a straight relationship between the artist, or directly the art and its user, its client. Art is then less distant from user, more directly approaching him, solving the cultural gap that used to keep art and user reciprocally far, by Maraviglia. But the increased attention to the individual, also created in these schemes some important genres like the ''Romanzo'' (novel) and let popular or local forms of art, especially dialectal literature, to be put into evidence. In Italy this movement toward the single individual (that some define a "cultural descent", while others indicate it was a possible cause for the classical opposition to Baroque) caused Latin to be definitely replaced by Italian. In English literature, the metaphysical poets represent a closely related movement; their poetry likewise sought unusual metaphors, which they then examined in often extensive detail. Their verse also manifests a taste for paradox, and deliberately inventive and unusual turns of phrase. ==Baroque music== '' Main article:'' Baroque music The term ''Baroque'' also is used to designate the style of music composed during a period that overlaps with that of Baroque art, but usually covers a slightly later period. J.S. Bach and George Frederick Handel are its leading lights; see Baroque music for discussion. It is an interesting question to what extent Baroque music shares aesthetic principles with the visual and literary arts of the Baroque period. A fairly clear, shared element is a love of ornamentation, and it is perhaps significant that the role of ornament was greatly diminished in both music and architecture as the Baroque gave way to the Classical period. It should be noted that the application of the term to music is a relatively recent development: the first use of the word to apply to music was only in 1919, by Curt Sachs, and it was not until 1940 that it was first used in English (in a published article by Manfred Bukofzer); even as late as 1960 there was still considerable dispute in academic circles over whether music as diverse as that by Jacopo Peri, François Couperin and J.S. Bach could be meaningfully bundled together with a single term. === Examples of typical Baroque music === *Johann Sebastian Bach (1685–1750), ''The Art of Fugue'' *Antonio Vivaldi (1678–1741), ''L'Estro Armonico'' *Domenico Scarlatti (1685–1757), Sonatas for Cembalo or Harpsichord *Georg Friedrich Handel (1685–1759), ''Water Music Suite'' for Orchestra *Georg Philipp Telemann (1681 - 1767), Der Tag des Gerichts ''The Day of Judgement'' (1762) ==The term "Baroque"== The word "Baroque", like most Periodization or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th and early 18th centuries. It is a French language translation of the Italian word "Barocco". Some authors believe it comes from the Portuguese language "Barroco" (meaning an irregular pearl, or false jewel—notably, an ancient similar word, "Barlocco" or "Brillocco", is used in Rome dialect for the same meaning—and natural pearls that deviate from the usual, regular forms so they do not have an axis of rotation are known as "baroque pearls"). Alternatively, it may derive from the now obsolete Italian language "Baroco" (meaning, in logical ''Scholastica'', a syllogism with weak content). A common definition, before the term ''Barocco'' was used, called this genre simply the style of The Flying Forms. The term "Baroque" was initially used with a derogatory meaning, to underline the excesses of its emphasis, of its eccentric redundancy, its noisy abundance of details, as opposed to the clearer and sober rationality of the Renaissance. It was first rehabilitated by the Switzerland Art History, Heinrich Wölfflin (1864–1945) in his ''Renaissance und Barock'' (1888); Wölfflin identified the Baroque as "movement imported into mass," an art antithetic to Renaissance art. He did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Writers in French and English did not begin to treat Baroque as a respectable study until Wölfflin's influence had made German scholarship pre-eminent. In modern usage, the term "Baroque" may still be used, usually pejoratively, to describe works of art, craft, or design that are thought to have excessive ornamentation or complexity of line, or, as a synonym for "Byzantine Empire#\"Byzantine\"", to describe literature, computer programs, contracts, or laws that are thought to be excessively complex, indirect, or obscure in language, to the extent of concealing or confusing their meaning. A "Baroque fear" is deeply felt, but utterly beyond daily reality. ==External links == *[http://etext.lib.virginia.edu/cgi-local/DHI/dhi.cgi?id=dv1-27 ''Dictionary of the History of Ideas'':] Baroque in literature *[http://www.ibiblio.org/wm/paint/glo/baroque/ Webmuseum Paris] ==Further reading== *Heinrich Wölfflin, 1964. ''Renaissance and Baroque'' (Reprinted 1984; originally published in German, 1888) The classic study. *Michael Kitson, 1966. ''The Age of Baroque'' *John Rupert Martin, 1977. ''Baroque'' A more detailed survey. *Germain Bazin, 1964. ''Baroque and Rococo'', (Originally published in French; reprinted as ''Baroque and Rococo Art'', 1974) Cultural movements Roman Catholic Church art
''Testing''
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==Old== Well, I am confused. According to the log: (diff) Baroque 12:54 pm (2 changes) [*removed "characterized by intricate detail", added some architects] . . . . . MichaelTinkler This removal is confusing. As far as I know (in literature, music, and architecture) Baroque style is always characterised by intricate detail. so why did Michael remove this? ---- well, because "intricate detail" in the field of art and architecture is far too unsubtle to be of any use. I doubt it's useful in music, either. Renaissance and Neoclassical art and architecture are subject to as much detail as Baroque. What do you mean by 'detail' that is useful? --MichaelTinkler ---- I don't know the protocol for handling talk:Baroque pages, but I'm surprised that you think its okay to remove a link to the talk page when you answer a question and then ask me a question... The point of a talk:Baroque link is to show that there is some discussion that may not be appropriate on the main page. by removing the link, you have basically said my question or opinion has no value. It isn't the issue of detail that makes the Baroque style important. it's the intricate nature of the detail that makes it important. If fractals had existed in the Baroque times, they would have been called Baroque as well. Intricacy as opposed to simplicity is an easily recognized characteristic, and may be applied to many endeavors of life. And it is characterstic of the baroque style. ----- whoops - I didn't mean to delete the Talk link! I apologize very much for that. Well, 'intricacy' (though I believe he uses the word 'complexity') vs. 'simplicity' is one of the 5 (I think it's 5) difference Wolfflin identifies for the differences between Classic (his word for High Renaissance) and Baroque. That, of course, elides Mannerism. Lots and lots of baroque architecture (the area I know best) is literally quite simple in terms of surface detail - I'm thinking of Bernini's Piazza San Pietro and the surfaces of Borromini's San'Ivo. One can, of course, oppose Guarino Guarini's Chapel of the Holy Shroud in Turin, but he's a lot less characteristic than either of those two Roman examples, or Wren's St. Paul in London. I would read 'intricate detail' to mean 'fussy'. That is much more a characteristic of Rococo. Also, the word 'detail' has a variety of meanings in different art forms and media. I sincerely don't think it's a particularly useful introductory sentence to what will eventually be a fairly long article! --MichaelTinkler ---- I agree that Rococo is intricate as well. When I checked out my definitions at www.dictionary.com, I found that some authors (obviously some of those I have read) equate the two styles. Baroque is known for intricate ornamentation and I'm not sure what that difference (in a general sense of the word) between ornamentation and details might suggest. ---- Sources I've just read say that late Baroque merge into early Roccoco. And that in some countries, particularly Protestant ones, Baroque did not become as "wild". However I will protest any description of Baroque as simple. -rmhermen ----- Renaissance art in many media is as 'ornamented' or 'intricate' as the Baroque. I'm thinking (just off hand) of Cellini's metalwork and in fact any finished bronze or gold work of the High or Late Renaissance. They're as covered with 'linear detail' as anything in the Baroque. There is also little difference in the level of *surface detail* in the ornamental nature of, say, renaissance and baroque column capitals. Please note, I'm not denying there's a difference. There is a stunning difference between a dry, rather dull capital in 1450 or 1500 and something created by Guarino Guarini or Borromini in the 17th century. One is 'renaissance' and the other is 'baroque'. However, it is not a matter of the number of lines cut in the leaves. It is a matter of a sense of animation, a flowing line, a liveliness. Similarly, there is no less dependence on geometry in the baroque than in the renaissance. The difference is that the preferred geometric figures are no longer Regular figures (circle, square), but instead tend toward the oval, the ellipse (Piazza San Pietro), the 6-pointed star (St. Ivo della Sapienza, Rome). That is a *characteristic* difference, but it has nothing to with surfaces. Borromini's masonry is quite conservative -- it's his geometry that's over the top. I guess my basic problem may go back to the idea that "Wikipedia is not a dictionary" (see FAQ) - we don't even need to start an entry with a simplification. Of course, I'm sure you meant it only as a beginning, and you and I have spent all this time going back and forth when we could have been adding Baroque entries to be elaborated by others, too. Oh, well - an afternoon (I'm GMT minus 4) not badly spent. --MichaelTinkler ----- not to worry, rmhermen - I'll protest any description of Modernist Architecture as 'simple', too. A Miesian glass box may look simple from 1000 feet in a photograph.... ---MichaelTinkler. ----- Is there a reason that baroque art starts in the early 1600's but baroque music in the late 1600's? What about architecture? ---rmhermen ------ yes. See :Periodization. These stylistic terms are very very very messy. The Renaissance starts at different dates for different media, and at different dates in different countries for the same medium. I have real trouble with the :Cultural movement entry because of this. ---- Style itself is very very very messy: not everyone in 1967 was a hippie. Baroque doesn't begin on April 7, 1609. Styles are rarely completely in control of works of art and literature any any time. The recent inclusion of metaphysical poets as 'Baroque' shows that "Mannerist' is not an easy concept to grasp either... User:Wetman 22:35, 10 Dec 2003 (UTC) ---- These paragraphs seem inconsistent: 'Baroque'...is a French translation of the Italian word "Barocco"; some authors believe it comes from the Portuguese "Barroco" (irregular pearl, or false jewel - notably, an ancient similar word, "Barlocco" or "Brillocco", is used in Roman dialect for the same meaning), or from a now obsolete Italian "Baroco" (that in logical Scholastica was used to indicate a syllogism with weak content). and at the end: Baroque pearls are natural pearls that deviate from the usual, regular forms. In particular, they are pearls that do not have an axis of rotation. It was this use of the term for irregular pearls that eventually lent its name to the baroque movement. So is this fact or theory? Somebody please clarify. User:Palefire ---- I don't like the position of the picture, to the left of the TOC like that...I tried to fix it, but the caption wouldnt display. the caption, by the way, doesn't make much sense --User:Tothebarricades.tk 02:21, 6 Jul 2004 (UTC) == baroque - Handel == his first name should be written either in German; Friedrich, or English Frederic, but not Frideric, as you have it. He was born in Germany was court musician to King Georg and had a fall-out with him. Went to England, but, as fate will have it, Georg became king of England as George I (the first) he made up with him with the watermusic. ==Removing introduced waffle== Originated ''"somewhere between 1550 and 1600"''A mention of a "proto-Baroque" has been made. No Baroque in 1550. That's Mannerism we're looking at. El Greco is not Baroque. Baroque is not a movement in art ''history'' it's a movement in art itself. I have edited "hidden" links to make them explicit. A link like 17th Century Philosophy linked in the text as "The Age of Reason" just compounds the editor's own confusion. Will Durant entitled that volume ''The Age of Reason Begins''. I didn't take out this: ''"The Baroque was defined by Woelffrin as the age where the oval replaced the circle as the center of composition, that centralization replaced balance, and that coloristic and "painterly" effects began to become more prominent."'' The critic Heinrich Wolfflin was a long time ago. And this misremembers a second-hand retelling of something Wolfflin might have said in some particular context. We need more images to make points come alive. I found the Rubens among UnusedImages here. User:Wetman 01:13, 17 Jul 2004 (UTC) ==Potential nomination for removal as a featured article== Hi, this article no longer meets a number of the Wikipedia:What is a featured article for a featured article. 1.) It does not Wikipedia:Cite sources. Best would be to add the most trusted resources in the field, some print resources especially, but also online references are better than none. Those sources would likely help with good material to further improve the article anyway. 2.) It does not have a Wikipedia:Lead section 3.) The images, while great, may not all be freely licensed properly for Wikipedia. The Web gallery of art states: "The Web Gallery of Art is copyrighted as a database. Images and documents downloaded from this database can only be used for educational and personal purposes. Distribution of the images in any form is prohibited without the authorization of their legal owner." That may be an incorrect claim, but that needs to be dealt with carefully. I really hate to [[Wikipedia:Featured_article_removal_candidates|nominate an article for removal as a featured article, so I thought I would ask for help here first. Hopefully someone here can handle this. But because I believe all featured articles need to meet the same standards, I will nominate it if no one is able to fix these issues. Thanks - User:Taxman 23:27, Oct 26, 2004 (UTC) :It's a good thing the criteria for Featured Article are being raised. Articles like Crushing by elephant and Academia were hugely improved ''after'' being exposed upon the Main Page. A subsection here, The idea of \"Baroque\" ought to cover the main literature. Photos of sculpture may not be covered by the standard template, viz: Why not just remove the nomination? --User:Wetman 01:09, 27 Oct 2004 (UTC) :I don't understand, remove what nomination? I did not want to nominate it at Wikipedia:Featured article removal candidates at all until the contributors to this article had had a chance at least to fix the issues I noticed. - User:Taxman 14:11, Oct 27, 2004 (UTC) ==Format== Someone has put all the caredully-balanced illustrations in a strip down the right-hand side. Is this progress? --User:Wetman 14:26, 4 Nov 2004 (UTC) :I did it - sorry, but I didn't think the original layout was at all "carefully balanced". I don't like left-floated images at the best of times, and the original arrangement was quite messy and disrupted the flow of the text. The different sizes and the right-left combination in the lead section section and after the TOC were particularly jarring, I thought - there was a narrow band of text one or two words wide between the images in the lead section. -- User:ALoan User_talk:ALoan 15:02, 4 Nov 2004 (UTC) ::Good work, I do feel that not keeping all of them on the right makes the article visually more attractive, easier on the eyes. I have started on a new lead section and moved the old text to its own section. The lead section could use some more text and the new "Evolution" section probably could be structured a bit better as well (maybe also under a different heading). -- User:Solitude\
Baroque
[[Image:Rubens.adoration.650pix.jpg|thumb|right|250px|''Adoration,'' by Peter Paul Rubens: dynamic figures spiral down around a void: draperies blow: a whirl of movement lit in a shaft of light, rendered in a free bravura handling of paint]] In the arts, the Baroque (or baroque) is both a period and the style that dominated it. Baroque style used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur from sculpture, painting, literature, and music. The style started around 1600 in Rome, Italy and spread to most of Europe. In music, the Baroque applies to the final period of dominance of imitative counterpoint. (The name adapted a French language adjective that is derived from the Portuguese language noun "barrucco"; both described a pearl of irregular shape. Some confusion can occur in using for the period and style the Minusculed version "baroque", which can instead mean merely "elaborate" (or especially "overly elaborate") without implying connection to the period.) The popularity and success of the "Baroque" was encouraged by the Catholic Church when it decided that the drama of the Baroque artists' style could communicate religious themes in direct and emotional involvement. The secular aristocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and would-be competitors. Baroque palaces are built round an entrance sequence of courts, anterooms, grand staircases, and reception rooms of sequentially increasing magnificence. Many forms of art, music, architecture, and literature inspired each other in the "Baroque" cultural movement. ==Evolution of the Baroque== The Baroque originated around 1600. The canon promulgated at the Council of Trent (1545–63), by which the Catholicism addressed the representational arts by demanding that paintings and sculptures in church contexts should speak to the illiterate rather than to the well-informed, is customarily offered as an inspiration of the Baroque, which appeared, however, a generation later. This turn toward a populist conception of the function of ecclesiastical art is seen by many Art history as driving the innovations of Michelangelo Merisi and the Carracci brothers, all of whom were working (and competing for commissions) in Rome around 1600. The appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th century Mannerism art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, and dramatic (''see the ''Prometheus'' sculpture below''). Baroque art drew on certain broad and heroic tendencies in Annibale Caracci and his circle, and found inspiration in other artists like Antonio da Correggio and Michelangelo Merisi and Federico Barocci, nowadays sometimes termed 'proto-Baroque'. Louvre_Museum):_a_hectic_tour-de-force_of_violent_contrasts_of_stress,_multiple_angles_and_viewpoints,_and_extreme_emotion">Image:Adampromethe.jpg|thumb|right|250px|''Prometheus'', by Nicolas-Sébastien Adam, 1737 (Louvre Museum): a hectic tour-de-force of violent contrasts of stress, multiple angles and viewpoints, and extreme emotion Germinal ideas of the Baroque can also be found in the work of Michelangelo Buonarroti. Some general parallels in music make the expression \"Baroque music\" useful: there are contrasting phrase lengths, harmony and counterpoint have ousted polyphony, and orchestral color makes a stronger appearance. See the entry Baroque music. Similar fascination with simple, strong, dramatic expression in poetry, where clear, broad syncopated rhythms replaced the enknotted elaborated metaphysical similes employed by Mannerisms such as John Donne and imagery that was strongly influenced by visual developments in painting, can be sensed in John Milton's ''Paradise Lost,'' a Baroque epic. Though Baroque was superseded in many centers by the Rococo style, beginning in France in the late 1720s, especially for interiors, paintings and the decorative arts, Baroque architecture remained a viable style until the advent of Neoclassicism in the later 18th century. See the Neapolitan palace of Caserta, a Baroque palace (though in a chaste exterior) that was not even begun until 1752. Critics have given up talking about a "Baroque ''period''". In paintings, Baroque gestures are broader than Mannerist gestures: less ambiguous, less arcane and mysterious, more like the stage gestures of opera, a major Baroque artform. Baroque poses depend on ''contrapposto'' ("counterpoise"), the tension within the figures that moves the planes of shoulders and hips in counterdirections. See Benini's ''David'' (''below, left''). [[image:Berndavi.JPG|thumb|left|200px|Gian Lorenzo Bernini's ''David'' (1623–24): Baroque freeze-frame stopped action, ''contrapposto'' and theatrical emotion]] The dryer, chastened, less dramatic and coloristic, later stages of 18th century Baroque architectural style are often seen as a separate Late Baroque manifestation. See the entry Claude Perrault. Academic characteristics in the neo-Palladian architectural style, epitomized by William Kent, are a parallel development in Britain and the British colonies: within doors, Kent's furniture designs are vividly influenced by the Baroque furniture of Rome and Genoa, hieratic tectonic sculptural elements meant never to be moved from their positions completing the wall elevation. Baroque is a style of unity imposed upon rich and massy detail. The Baroque was defined by Heinrich Wölfflin as the age where the oval replaced the circle as the center of composition, that centralization replaced balance, and that coloristic and "painterly" effects began to become more prominent. Art historians, often Protestant ones, have traditionally emphasized that the Baroque style evolved during a time in which the Roman Catholic Church had to react against the many revolutionary cultural movements that produced a new science and new forms of religion— Reformation. It has been said that the monumental Baroque is a style that could give the Papacy, like political absolutism, a formal, imposing way of expression that could restore its prestige, at the point of becoming somehow symbolic of the Catholic Reformation. Whether this is the case or not, it was successfully developed in Rome, where Baroque architecture widely renewed the central areas with perhaps the most important urbanistic revision. ==Baroque visual art == [[Image:BarocciAeneas.jpg|thumb|250px|''Aeneas flees burning Troy,'' Federico Barocci, 1598: a moment caught in a dramatic action from a classical source, bursting from the picture plane in a sweeping diagonal perspective.]] ''Main article:'' Baroque art 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 (now at the Louvre) [http://www.students.sbc.edu/vandergriff04/mariedemedici.html], 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. Another frequently cited work of Baroque art is Bernini's "Saint Theresa in ecstasy" for the Cornaro chapel in S. Maria della Vittoria, which brings together multiple arts, including opera [http://www.boglewood.com/cornaro/xteresa.html]. The later baroque style gives way gradually to Rococo. A comparison with Rococo, will help define Baroque by contrast. ==Baroque sculpture == In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms— they spiralled 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. The architecture, sculpture and fountains of Gian Lorenzo Bernini (1598–1680) give highly-charged characteristics of Baroque style. Bernini was undoubtedly the most important sculptor of the Baroque period. He approached Michelangelo Buonarroti 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. ===Bernini's Cornaro chapel: the complete work of art=== A good example of Bernini's work that helps us understand the Baroque is his ''St. Theresa in Ecstasy'' (1645–52), created for the Cornaro Chapel of the church of Santa Maria della Vittoria, Rome. Bernini designed the entire chapel, a subsidiary space along the side of the church, for the Cornaro family. He had, in essence, a brick box shaped something like a proscenium stage space with which to work. He created a main statue as the focal point of the chapel, surrounded the monochromatic marble statue (a soft white) with a polychromatic marble architectural framing concealing a window to light the statue from above, and placed shallow relief sculpture figure-groups of the Cornaro family in opera boxes along the two side walls of the chapel. The setting places the viewer as a spectator in front of the statue with the Cornaro family leaning out of their box seats and craning forward to see the mystical ecstasy of the saint. The statue of St. Theresa of Avila is highly idealized in detail and in an imaginary setting. St. Theresa of Avila, one of the most popular saints of the Catholic Reformation, wrote narratives of her mystical experiences aimed at the nuns of her Carmelite Order; these writings had become popular reading among lay people interested in pursuing spirituality. She once described the love of God as piercing her heart like a burning arrow. Bernini literalizes this image by placing St. Theresa on a cloud in a reclining pose; what can only be described as a Cupid figure holds a golden arrow (the arrow is made of metal) and smiles down at her. The angelic figure is not preparing to plunge the arrow into her heart— rather, he has withdrawn it. St. Theresa's face reflects not the anticipation of ecstasy, but her current fulfillment, which can only be described as orgasmic. The blending of religious and erotic was intensely offensive to both neoclassical restraint and, later on, to Victorian prudishness; it is part of the genius of the Baroque. Bernini, who shows every sign in his writings of being a convinced and conventionally devout Catholic, is not attempting to satirize the experience of a virgin who lived a life of celibacy, but rather reflects a complex truth about religious experience— that it is an experience that takes place in the body. Theresa described her bodily reaction to spiritual enlightenment in a language of ecstasy used by many mystics, and Bernini did her the favor of taking her seriously. The Cornaro family promotes itself discreetly in this chapel; they are represented visually, but are placed on the sides of the chapel, witnessing the event from balconies. As in an opera house, the Cornaro have a privileged position in respect to the viewer, in their private reserve, closer to the saint; the viewer, however, has a better view from the front. They attach their name to the chapel, but St. Theresa is the focus. It is a private chapel in the sense that no one could say mass on the altar beneath the statue (in the 17th century and probably through the 19th) without permission from the family, but the only thing that divides the viewer from the image is the altar rail. The spectacle functions both as a demonstration of mysticism and as a piece of family pride. ==Baroque architecture== ''Main article:'' Baroque architecture In Baroque architecture, new emphasis was placed on bold massing, colonnades, domes, light-and-shade (''chiaroscuro''), 'painterly' color effects, and the bold play of volume and void. In interiors, Baroque movement around and through a void informed monumental staircases that had no parallel in previous architecture. The other Baroque innovation in worldly interiors was the state apartment, a processional sequence of increasingly rich interiors that culminated in a presence chamber or throne room or a state bedroom. The sequence of monumental stair followed by state apartment was copied in smaller scale everywhere in aristocratic dwellings of any pretensions. Baroque architecture was taken up with enthusiasm in central Germany (see e.g. Ludwigsburg Palace and Zwinger Dresden) and Austria. In England the culmination of Baroque architecture was embodied in work by Sir Christopher Wren, Sir John Vanbrugh and Nicholas Hawksmoor, from ca. 1660 to ca. 1725. Many examples of Baroque architecture and town planning are found in other European towns, and in the Spanish Americas. Town planning of this period featured radiating avenues intersecting in squares, which took cues from History of gardening. For examples see: List of examples of typical Baroque architecture [[Image:GarnierOperaParis.jpg|thumb|right|200px|Neo-Baroque: the foyer of Charles Garnier (architect)'s Paris Opera, Paris, planned under the Second Empire, 1861, finally opened 1875]] ===Neo-Baroque architecture=== *Paris Opera, Charles Garnier (architect) *Semper Oper (Dresden) ==Baroque theater and dance== In theater, the elaborate conceits, multiplicity of plot turns, and variety of situations characteristic of Mannerism (William Shakespeare, for instance) are superseded by opera, which drew together all the arts in a unified whole. Baroque dance was popular in the Baroque era. ==Baroque literature and philosophy== Baroque actually expressed new values, which often are summarised in the use of metaphor and allegory, widely found in Baroque literature, and in the research for the "maraviglia" (wonder, astonishment — as in Marinism), the use of artifices. If Mannerism was a first breach with Renaissance, Baroque was an opposed language. It represented the evidence of the crisis of Renaissance neoclassical schemes— the psychological pain of Man, disbanded after the Nicolaus Copernicus and the Martin Luther revolutions, in search of solid anchors, in search of a proof of an ultimate human power, was to be found in both the art and architecture of the Baroque period. A relevant part of works was made on religious themes, since the Roman Church was the main "customer." Virtuosity was researched by artists (and the Virtuoso became a common figure in any art,) together with realism and care for details (some talk of a typical "intricacy.") Not without a certain correctness, it is said that the privilege given to external forms had to compensate and balance the lack of contents that has been observed in many Baroque works: Marino's "Maraviglia", for example, is practically made of the pure, mere form. Fantasy and imagination should be evoked in the spectator, in the reader, in the listener. All was focused around the individual Man, as a straight relationship between the artist, or directly the art and its user, its client. Art is then less distant from user, more directly approaching him, solving the cultural gap that used to keep art and user reciprocally far, by Maraviglia. But the increased attention to the individual, also created in these schemes some important genres like the ''Romanzo'' (novel) and let popular or local forms of art, especially dialectal literature, to be put into evidence. In Italy this movement toward the single individual (that some define a "cultural descent", while others indicate it was a possible cause for the classical opposition to Baroque) caused Latin to be definitely replaced by Italian. In English literature, the metaphysical poets represent a closely related movement; their poetry likewise sought unusual metaphors, which they then examined in often extensive detail. Their verse also manifests a taste for paradox, and deliberately inventive and unusual turns of phrase. ==Baroque music== '' Main article:'' Baroque music The term ''Baroque'' also is used to designate the style of music composed during a period that overlaps with that of Baroque art, but usually covers a slightly later period. J.S. Bach and George Frederick Handel are its leading lights; see Baroque music for discussion. It is an interesting question to what extent Baroque music shares aesthetic principles with the visual and literary arts of the Baroque period. A fairly clear, shared element is a love of ornamentation, and it is perhaps significant that the role of ornament was greatly diminished in both music and architecture as the Baroque gave way to the Classical period. It should be noted that the application of the term to music is a relatively recent development: the first use of the word to apply to music was only in 1919, by Curt Sachs, and it was not until 1940 that it was first used in English (in a published article by Manfred Bukofzer); even as late as 1960 there was still considerable dispute in academic circles over whether music as diverse as that by Jacopo Peri, François Couperin and J.S. Bach could be meaningfully bundled together with a single term. === Examples of typical Baroque music === *Johann Sebastian Bach (1685–1750), ''The Art of Fugue'' *Antonio Vivaldi (1678–1741), ''L'Estro Armonico'' *Domenico Scarlatti (1685–1757), Sonatas for Cembalo or Harpsichord *Georg Friedrich Handel (1685–1759), ''Water Music Suite'' for Orchestra *Georg Philipp Telemann (1681 - 1767), Der Tag des Gerichts ''The Day of Judgement'' (1762) ==The term "Baroque"== The word "Baroque", like most Periodization or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th and early 18th centuries. It is a French language translation of the Italian word "Barocco". Some authors believe it comes from the Portuguese language "Barroco" (meaning an irregular pearl, or false jewel—notably, an ancient similar word, "Barlocco" or "Brillocco", is used in Rome dialect for the same meaning—and natural pearls that deviate from the usual, regular forms so they do not have an axis of rotation are known as "baroque pearls"). Alternatively, it may derive from the now obsolete Italian language "Baroco" (meaning, in logical ''Scholastica'', a syllogism with weak content). A common definition, before the term ''Barocco'' was used, called this genre simply the style of The Flying Forms. The term "Baroque" was initially used with a derogatory meaning, to underline the excesses of its emphasis, of its eccentric redundancy, its noisy abundance of details, as opposed to the clearer and sober rationality of the Renaissance. It was first rehabilitated by the Switzerland Art History, Heinrich Wölfflin (1864–1945) in his ''Renaissance und Barock'' (1888); Wölfflin identified the Baroque as "movement imported into mass," an art antithetic to Renaissance art. He did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Writers in French and English did not begin to treat Baroque as a respectable study until Wölfflin's influence had made German scholarship pre-eminent. In modern usage, the term "Baroque" may still be used, usually pejoratively, to describe works of art, craft, or design that are thought to have excessive ornamentation or complexity of line, or, as a synonym for "Byzantine Empire#\"Byzantine\"", to describe literature, computer programs, contracts, or laws that are thought to be excessively complex, indirect, or obscure in language, to the extent of concealing or confusing their meaning. A "Baroque fear" is deeply felt, but utterly beyond daily reality. ==External links == *[http://etext.lib.virginia.edu/cgi-local/DHI/dhi.cgi?id=dv1-27 ''Dictionary of the History of Ideas'':] Baroque in literature *[http://www.ibiblio.org/wm/paint/glo/baroque/ Webmuseum Paris] ==Further reading== *Heinrich Wölfflin, 1964. ''Renaissance and Baroque'' (Reprinted 1984; originally published in German, 1888) The classic study. *Michael Kitson, 1966. ''The Age of Baroque'' *John Rupert Martin, 1977. ''Baroque'' A more detailed survey. *Germain Bazin, 1964. ''Baroque and Rococo'', (Originally published in French; reprinted as ''Baroque and Rococo Art'', 1974) Cultural movements Roman Catholic Church art
Baroque
''Testing''
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B
BA | BC | BD | BE | BF | BG | BH | BI | BJ | BK | BL | BM | BN | BO | BP | BR | BS | BT | BU | BW | BX | BY | BZ |Words begining with Baroque:
Baroque
Baroque
Baroque
Baroque-style
Baroque_architects
Baroque_Architecture
Baroque_architecture
Baroque_architecture
Baroque_Art
Baroque_art
Baroque_art
Baroque_Art_and_Architecture
Baroque_chess
Baroque_chess
Baroque_composers
Baroque_Cycle
Baroque_dance
Baroque_metal
Baroque_Music
Baroque_music
Baroque_music
Baroque_music
Baroque_musicians
Baroque_orchestra
Baroque_painters
Baroque_pearl
Baroque_Period
Baroque_style
Baroque_toilet_paper_holder
Baroque_toilet_paper_holder
Baroque_violin
Baroque_violinist
Baroque_Works
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