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Multiple International Style architects and designers, but also Modernist artists criticized Baroque for its extravagance and what they saw as "excess". Ironically this was just at the same time as the critical appreciation of the original Baroque was reviving strongly. As another example of Baroque urban planning, Paris was in desperate need for an urban revival in the 19th century. The city underwent a dramatic change within its urban fabric through the help of Baron Haussmann.
History of Baroque architecture
The rich colors, swirling draperies, and excited gestures convey a feeling of a greatly impassioned crowd within a vast space. The colorful interior of Bernini's Cornaro Chapel located in the Santa Maria della Vittoria Church is highly embellished. Above her on the left, a male angel smiles down upon her, holding the spear that he will plunge into her heart. The marble seems to swirl and fall emphasizing Teresa's swoon as the sculpture is lit from a ray of golden light from above.
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Baroque Art and Architecture
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Unlike traditional depictions which emphasized Judith's beauty and delicacy and portrayed Abra as an observing witness, this work innovatively emphasizes the women's strength, their expressions conveying determined resolve, as they work together, sleeves rolled up, to do a difficult but necessary task. In the Baroque period, it became identified with the Church Militant, an expression of the victory of Christianity. But Gentileschi's portrayal took on a unique immediacy as it was informed by a personal traumatic experience. She portrayed herself as Judith and Holofernes resembles the artist Agostino Tassi, her art tutor who raped her. In 1612 he was put on trial (although it was Gentileschi who was tortured to ascertain her truthfulness), found guilty, and spent eight months in prison before being pardoned early into his sentence.
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One of the most cited examples of Baroque architecture, Jesuit Church Il Gesù is the mother church for Jesuits. Featuring a single aisle, side chapels, and a large dome over the nave and the transepts, the layout became a standard for many Baroque churches. The fresco on the nave, The Triumph of the Name of Jesus by Giovanni Battista Gaulli, is considered one of the most pristine examples of Baroque art. Baroque sculpture was primarily concerned with the representation of Biblical scenes spurred by the church but also by the beliefs of the sculptors themselves, as many worked on uncommissioned portrayals of biblical epics as well. Be it scenes from the old or new testaments, the desire of most Baroque sculptors was to portray pathos, as well as movement. The Baroque era was very much defined by the influences of the major art movement which came before it, the Renaissance.
In the 21st century, contemporary Baroque mini revivals with nicknames such as Modern Romantic continue to come and go, even if today only the most eccentric contemporary interiors would feature full-on Baroque style. While Baroque style first emerged in Italy, it culminated in Rococo, (otherwise known as Late Baroque, or rocaille style) that developed in 18th-century Paris. Rococo’s ornate, over-the-top style was as a rebuke to the strict confines of French Baroque architecture and King Louis XIV’s strict ideas about what constituted art. Many great Baroque artists were architects as well as sculptors, and common traits can be seen in their oeuvre.
Composers and examples
The columns on the left mirror the ship's masthead, intersected by its diagonals of sail and prow. On the right, the columns of the building draw the viewer's attention down to the group around the Queen descending to a launch boat. Claude innovatively chose the moment of the Queen's departure, rather than the traditional depiction of her meeting with King Solomon, allowing him to focus on a harbor scene, a subject he pioneered. Though French, he trained in Rome and subsequently, worked in the city for noted patrons, including the Duc de Bouillon, a general in the Papal army, who commissioned this work as part of a pair depicting joyful Biblical scenes.
Church of San Carlo alle Quattro Fontane
Four of these as well as the Baroque and Neoclassical city of Vigan are both UNESCO World Heritage Sites; and although they lack formal classification, The Walled City of Manila along with the city of Tayabas both contain a significant extent of Spanish-Baroque-era architecture. Representations of the natural world, as well as motifs derived from human and animal forms, were popular decorative features. The most widespread form of Baroque floral decoration was a running scroll, often combined with acanthus – a stylised version of a real plant of the same name. The leaves of the flowers have been turned into scrolling foliage, while the flowers themselves have striped petals, likely to represent a tulip, another key motif of Baroque art.
Le debarquement de Marie de Médicis au port de Marseille le 3 November
The other painting, Landscape with the Marriage of Isaac and Rebecca (1648) makes the landscape itself the subject, as the only reference to the Biblical story is a small inscription on a tree painted in the idealized pastoral. Claude's work greatly influenced J.M.W. Turner who painted Dido Building Carthage (also known as The Rise of the Carthaginian Empire) (1815), echoing this painting. Turner felt this was so important to his oeuvre that initially his will requested he be buried wrapped in the canvas. He later amended his will to request that the painting be shown, paired with his Sun Rising through Vapour, Fishermen Cleaning and Selling Fish (1807), along with Claude's pair of paintings. Early Baroque architecture was largely contained to Rome, later spreading to more Italian cities before making its way across other European nations.
Chinoiserie was a style in fine art, architecture and design, popular during the 18th century, that was heavily inspired by Chinese art, but also by Rococo at the same time. Where Asian objects were hard to obtain, European craftsmen and painters stepped up to fill the demand, creating a blend of Rococo forms and Asian figures, motifs and techniques. Aside from European recreations of objects in East Asian style, Chinese lacquerware was reused in multiple ways. European aristicrats fully decorated a handful of rooms of palaces, with Chinese lacquer panels used as wall panels.
This painting depicts the arrival of The Queen of France Marie de' Medici, dressed in resplendent silver, accompanied by the Grand Duchess of Tuscany and the Duchess of Mantua, as she disembarks on a red parapet. A soldier in a blue cloak patterned with gold fleur-de-lis to signify France, opens his arms to greet her. Above her, a mythological winged figure, representing Fame with two trumpets, heralds her arrival to marry King Henry IV. The diagonal of the red parapet that extends from the gold prow of the ship creates a sense of movement and it also divides the painting into two different worlds; the elegant and refined world of nobility above, and the classical mythological scene below.
The Cusco School of painting arose after the arrival of the Italian painter Bernardo Bitti in 1583, who introduced Mannerism in the Americas. It highlighted the work of Luis de Riaño, disciple of the Italian Angelino Medoro, author of the murals of the Church of San Pedro of Andahuaylillas. It also highlighted the Indian (Quechua) painters Diego Quispe Tito and Basilio Santa Cruz Pumacallao, as well as Marcos Zapata, author of the fifty large canvases that cover the high arches of the Cathedral of Cusco. In Ecuador, the Quito School was formed, mainly represented by the mestizo Miguel de Santiago and the criollo Nicolás Javier de Goríbar. Through the commercial and cultural relationships of Italians with countries of the Balkan Peninsula, including Moldavia and Wallachia, Baroque influences arrive to Eastern Europe.
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