Baroque art is an art form that began to be popular in Europe in the late 16th century, not only in painting, baroque art represents the entire field of art, including music, architecture, decorative arts, etc., the connotation is also extremely complex. But the most basic feature is to break the seriousness of the Renaissance, implicit and balanced, exalting luxury and grandeur, focusing on the expression of strong emotions, the atmosphere is warm and tense, with piercing, moving artistic effect.
Explanation 2:
Baroque Art
Baroque was a style of art widely practiced in the 17th century. The origin of its name varies; one says it comes from Portuguese or Spanish, meaning an unrounded bead; another says it comes from Italian, with connotations of oddity, eccentricity, or error in inference. Overall the name was derogatory at the time, and was the term used by 18th century classical art theorists for an art style of the previous century. The classicists considered Baroque to be a degenerate and disintegrating art, and it was only later that a fairer assessment of Baroque art was made. Baroque art arose in the second half of the 16th century, its heyday was the 17th century, and it declined into the 18th century, except in northern and central Europe. Baroque art first arose in Italy, it is undoubtedly related to the Counter-Reformation, Rome was the center of the church's power at that time, so it is not surprising that it sprang up in Rome, it can be said that, although Baroque art is not a religious invention, but it is for the church to serve the church and be used by the religion, and the church is the strongest pillar of it. In a nutshell, baroque art has some characteristics as follows: first of all, it has luxurious characteristics, it has both religious characteristics and hedonistic colors; secondly, it is a kind of passionate art, which breaks the rational serenity and harmony, with a strong romanticism, and puts great emphasis on the artist's rich imagination thirdly, it is extremely emphasized, the movement, the movement and the change can be said to be the soul of the baroque art; fourthly, it is very concerned with the Fifth, it is comprehensive, baroque art emphasizes the comprehensive means of art forms, for example, in the architecture of the importance of architecture and sculpture, painting, in addition, baroque art also absorbed some of the factors and imaginations of literature, drama, music and other fields; Sixth, it has a strong religious color, religious themes in baroque art occupies a dominant position; Seventh, most of the baroque artists had a tendency to stay away from life and times, such as in some zenith paintings, where the human figure became as insignificant as some floral patterns. Of course, some positive Baroque art masters are not in this case, such as Rubens, Benigni's works and life still maintain a close connection.
Baroque art refers to a form of art that became popular in Europe in the late (16th) century, not only in painting, but Baroque art represents the entire field of art, including music, architecture, decorative arts and so on.
Explanation Three:
Baroque Art
I. The Concept of Baroque Art
1. Significance and Background
Baroque art (Baroque art) is a seventeenth-century European style of art, which was first originated in the 17th-century papal rule in Rome, and at that time, Italy was the center of European art, but in the late Baroque period, the center of European art moved to France. Art center moved to France, it does not have a clear art style, can only be regarded as a hobby and fashion.
The Renaissance means balance, moderation, solemnity, reason and logic; while the Baroque means movement, the pursuit of novelty, the enthusiasm for the infinite, uneasiness and contrast, as well as a variety of art forms bold fusion. Instead of the calm and restraint of Renaissance art, Baroque art was dramatic, luxurious, and exaggerated.
Seventeenth-century European power expansion, the plunder of overseas colonies accumulated huge wealth, life advocate luxury enjoyment, so the architecture, music, art also requires luxury and vivid, rich in passionate mood.
The seventeenth-century Europe was characterized by a power struggle between the old and new religions. The forces of the old religion used violence to suppress the believers, and then actively utilized the artistic thought form - Baroque, to confuse and conquer the hearts and minds of the people.
Baroque art did not reject the sensual pleasures of the heretics, but was also faithful to the Christian worldview, and was therefore a "Christianized Renaissance.
2. Etymology and Meaning
The origin of the word baroque may be threefold: the Italian baroco, referring to a kind of theological discussion in the Middle Ages which was elaborate and ludicrous; the Italian barocchio, referring to ambiguous and suspicious buying and selling; and the Portuguese barocco, referring to the deformed pearl. All three words contain the meaning of strange, so from the eighteenth-century architects reproach the seventeenth-century style of complexity and test, angry called it "ridiculous, strange, baroque" appellation, baroque this word has been inherited into the habit.
Scholarly research, to determine the status of Baroque art is the German art historian Wolfflin (H. wofflin), his book "Renaissance and Baroque" (1888), "Principles of Art History" (1915), the former pointed out that the Baroque is the main school after the Renaissance, and its formal characteristics of the analysis and historical investigation. The latter argued that the Baroque style could be taken as a characteristic of every culture or civilization entering a later stage, giving it a more universal meaning.
Second, the performance of Baroque art
Architecture
The history of Western urban planning began in the Baroque period, when the most striking buildings were churches and palaces. Architects thought of a building as an individual whole shaped by many requirements, so Baroque buildings often looked like large sculptures.
Drawing Renaissance buildings on a plan, they are ***identical*** to squares, circles and crosses, while Baroque buildings are typified by ellipses, olive shapes, and more complex shapes that are variations on complex geometric figures.
The idea of endowing architectural elements with movement in the form of regular wavy curves and counter-curves is the most important characteristic of all Baroque art. Renaissance architecture, like modern architecture, was based on simple, basic proportions and interrelationships; whereas Baroque architecture no longer revered that implicit logic, but sought unexpected, theater-like effects. For example:
Michelangelo assistant Vignola (Vignola,1507-1673) and Della? Borda (G. della porta C. 1537-1602) completed the Church of Jesus in Rome between 1568 and 1584, which is recognized as a masterpiece of the shift from stylistic to baroque. The interior of this church highlights the main nave and the central dome, reinforces the central door, and displays new characteristics with its structural rigor and strong central effect. As a result, the interior and facade of the Church of Jesus later became the model for Baroque architecture, which can also be called the 'Pre-Baroque Style'.
The representative of early Baroque architecture in the seventeenth century was C. Maderno (1556-1629), who completed Michelangelo's unfinished St. Peter's Church (1607-15, Vatican, Rome, with another exclusive website for detailed picture analysis) in 1607-15, and emphasized the main entrance in a dramatic way, for example, by changing from flattened square columns to half-cylindricals, and then He emphasized the main entrance in dramatic ways, for example from a flat square column to a half-column to a three-quarter-column, giving the building a complex and dynamic three-dimensional shape. His design of a projecting facade or a y recessed facade allows for further connection between the church and the space in the square in front of it.
The greatest master of seventeenth-century Baroque architecture is Bernini (G.L. Bernini, 1598-1680), a sculptor and both fine architecture, in 1624-33 years to complete in St. Peter's Basilica in the bronze Huagai, is a huge canopy up to 29 meters high to four spiral carved columns to support the cover of the top of the roof, majestic and ornate (much like the set decoration). Also designed for St. Peter's Basilica is the double-armed, circular-arched piazza and colonnade in front of the door (1657), making it one of the most piazza buildings in the West.
Borromini (F. Borromini, 1599 ~ 1667) is another master of Baroque architecture in its heyday, preferring to use the concave-convex curves and a variety of geometric forms of complex interlacing, from the overall layout to the detailed arrangements, can be unique, representative works such as four springs of the "S. Carlo (S. Carlo) Church" (1665-67, Rome), known as a model of Baroque architecture. It is considered a model of Baroque architecture.
In addition to the above Roman area, the Turin area in northern Italy also has considerable development, Guarini (G. Guarini, 1624-83) built the "St. Cloth's Chapel" (1668-94) dome, the performance of heaven's dome, giving people a kind of remote and endless eternal ethereal thoughts.
Western European countries, Baroque architecture and the combination of the characteristics of each place and each has its own strengths, such as Britain, France and other countries with a more rigorous color, such as the Palace of Versailles in Paris (1669 ~ 85, the mouse point and click to see the appearance of the 360-degree rotating map), the southern Germany is gorgeous and brilliant to the ultimate extent that Spain and its rule of Latin America is also a fertile ground for the Baroque one.
Sculpture
Baroque sculpture is sometimes a part of the building, the artist to express the real earthly techniques to achieve maturity and perfection, for example, according to the subject of the men and women of all ages to show the appearance of the human skin, curly hair, clothing, fabric texture are very realistic. The display of motion is its most important feature, and the figures are no longer sculpted in a static or resting position, but are always in motion.
The most famous is Gian Lorenzo Bernini's (1598-1680) masterpiece "St. Theresa (St. Theresa's Illusion)" (1645-52, St. Mary's Church, Rome), which is a combination of religious and functional, and the appreciation of this type of statue should be viewed together with the architecture and paintings in order to produce visual hallucinations. This style also influenced Western Europe. Other masterpieces include the Fountain of the Four Rivers (partial view, 1648-51, Piazza Navona, Rome), and David (David, 1623-24, marble, 170 cm high, Galleria Borghese, Rome).
French Baroque master sculptors include:
Miro of Crotona (1671-83, Louvre, Paris) by P. Puget (1620-94).
Bust of Leblanc (1676) and Bust of Louis XIV (1680, Versailles) by A. Coysevox (1640-1720).
Painting
The grandeur and grandeur of painting, full of dynamism, superb variations of perspective (such as foreshortening), dramatic composition, undulating and fluctuating, embodying infinite space, and the contrast of ideal light, which produces a unified and coordinated picture, such as the effect of a stage set, are the characteristics of Baroque painting.
Italy
Caravaggio (1573-1610), a pioneer of Baroque painting, characterized his works by the use of light to obtain dramatic effects in the picture, but also by the use of chiaroscuro to set off a real sense of space, and abandoned the depiction of details. His attitude towards nature was intuitive, and he used rough or simple citizens as models for his portraits. He even took a different approach to still life painting. His masterpieces include Dinner at Emmaus (1601, National Gallery, London), The Burying of Christ (1604, Vatican Museum of Art), Basket of Fruit (still life, 1596, 46 x 64.5 cm, Milan, Museo di Brosiana), and The God of Wine (1597, Museo dell'Uffizi, Florence). His personality was wild, irascible, irritable, and short-lived. He wanted to break away from stereotypes and rethink art, and was stylistically known as a 'naturalist'.
Carracci (1560-1609), a diligent practitioner of classical beauty, is represented by the altarpiece, Madonna Mourning the Death of Christ (1603, 92,8 x 103,2 cm, National Gallery, London), in which the light shining on the form of the Savior, and the overall triggering of the emotions of the viewer are all Baroque. The light shining on the Savior's form and the way the painting as a whole evokes the viewer's emotions are baroque, with a simple, harmonious composition that is somewhat sentimental but avoids reminding people of the horror of death and the agony of the crucifixion.