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The Baroque Period The Baroque movement, developed in the early part of the 17th century in Europe, is defined by its bombastic, colorful, and theatrical style. Paintings were sometimes very large, with enormous gilt frames staging the drama of the often biblical or mythical stories painted within. The use of light and shadow created intense works of art that conveyed strong emotions like power, passion, violence, or love. Sculptures from this era highlight the movement of the human form, with muscular, full-figured bodies bending and twisting, caught in a moment. The architecture of the movement is marked by its rich detail, like ornate, swirling cartouches, arches, and oval or pear-shaped optical illusions. These architectural elements can readily be found in Baroque churches and palaces. Notable painters of the movement include Peter Paul Rubens, Caravaggio, Federico Barocci, and Anthony van Dyck. Notable sculptors include Gian Lorenzo Bernini, Alessandro Algardi, Jean Baptiste Tuby and Alonso Cano. Notable architects include Christoph Dientzenhofer, Claude Perrault, and Pietro da Cortona. Below is a bibliography of excellent books on the Baroque period, found at The Ringling Art Library. The Library is open Monday-Friday, 1PM-5PM and is free to the public. Image courtesy of The Ringling Museum. The Triumph of Divine Love by Flemish artist Peter Paul Rubens, c. 1625. BIBILOGRAPHY Bayard, Marc. Feinte Baroque: Iconographic et esthétique de la variété au XCIIe siècle. Somogy èditions d’art: 2010. Careri, Giovanni. Baroques. Princeton University Press: 2003. Earls, Irene. Baroque art: A topical dictionary. Greenwood Press: 1996. Gal, Ofer. Baroque science. The University of Chicago Press: 2013. Gillgren, Peter. Performativity and performance in Baroque Rome. Ashgate: 2012. Hills, Helen. Rethinking the Baroque. Ashgate: 2011. Kotalík, Jiérí. Architecture of the Baroque. DaDa: 2001. Martin, John Rupert. Baroque. Harper & Row: 1977. Mosco, Marilena. Cornice dei Medici: La fantasia barocca al servizio del potere. Mauro Pagliai: 2007. Norman, Larry. The theatrical Baroque. University of Chicago: 2001. Scarisbrick, Diana. Baroque: The age of exuberance. Orbis Books: 1973. Snodin, Michael. Baroque, 1620-1800: Style in the age of magnificence. Harry N. Abrams, Inc.: 2009. Toman, Rolf. Baroque and Rococo. Feieraband: 2003. Toman, Rolf. Baroque: Theatrum mundi: The world as a work of art. H.F. Ullman: 2012. WEB CONTENT http://www.britannica.com/EBchecked/topic/53809/Baroque-art-and-architecture http://www.artic.edu/aic/collections/exhibitions/Renaissance/index https://www.metmuseum.org/toah/hi/hi_eur1718bar.htm http://www.oxfordartonline.com/public/page/themes/baroqueartandarchitecture http://www.artcyclopedia.com/feature-italian-women-artists.html https://www.samuseum.org/exhibitions/current-exhibition/621-glories-of-the-baroque- 17th-century-european-art http://www.getty.edu/art/exhibitions/bernini/ http://www.mcah.columbia.edu/ha/html/baroque.html For further information about our collections, contact us at [email protected]. .

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Renaissance and Baroque Art
Brooks Education (901)544.6215 Explore. Engage. Experience. Renaissance and Baroque Art Memphis Brooks Museum of Art Permanent Collection Tours German, Saint Michael, ca. 1450-1480, limewood, polychromed and gilded , Memphis Brooks Museum of Art Purchase with funds provided by Mr. and Mrs. Ben B. Carrick, Dr. and Mrs. Marcus W. Orr, Fr. And Mrs. William F. Outlan, Mr. and Mrs. Downing Pryor, Mr. and Mrs. Richard O. Wilson, Brooks League in memory of Margaret A. Tate 84.3 1 Brooks Education (901)544.6215 Explore. Engage. Experience. Dear Teachers, On this tour we will examine and explore the world of Renaissance and Baroque art. The French word renaissance is translated as “rebirth” and is described by many as one of the most significant intellectual movements of our history. Whereas the Baroque period is described by many as a time of intense drama, tension, exuberance, and grandeur in art. By comparing and contrasting the works made in this period students gain a greater sense of the history of European art and the great minds behind it. Many notable artists, musicians, scientists, and writers emerged from this period that are still relished and discussed today. Artists and great thinkers such as Leonardo Da Vinci, Michaelangelo Meisi da Caravaggio, Gian Lorenzo Bernini, Michelangelo di Lodovico Buonarroti Simoni, Dante Alighieri, Johann Sebastian Bach, and Galileo Galilei were working in their respective fields creating beautiful and innovative works. Many of these permanent collection works were created in the traditional fashion of egg tempera and oil painting which the students will get an opportunity to try in our studio.
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The Crusade of Andrew II, King of Hungary, 1217-1218
IACOBVS REVIST A DE ESTUDIOS JACOBEOS Y MEDIEVALES C@/llOj. ~1)OI I 1 ' I'0 ' cerrcrzo I~n esrrrotos r~i corrnrro n I santiago I ' s a t'1 Cl fJ r1 n 13-14 SAHACiVN (LEON) - 2002 CENTRO DE ESTVDIOS DEL CAMINO DE SANTIACiO The Crusade of Andrew II, King of Hungary, 1217-1218 Laszlo VESZPREMY Instituto Historico Militar de Hungria Resumen: Las relaciones entre los cruzados y el Reino de Hungria en el siglo XIII son tratadas en la presente investigacion desde la perspectiva de los hungaros, Igualmente se analiza la politica del rey cruzado magiar Andres Il en et contexto de los Balcanes y del Imperio de Oriente. Este parece haber pretendido al propio trono bizantino, debido a su matrimonio con la hija del Emperador latino de Constantinopla. Ello fue uno de los moviles de la Quinta Cruzada que dirigio rey Andres con el beneplacito del Papado. El trabajo ofre- ce una vision de conjunto de esta Cruzada y del itinerario del rey Andres, quien volvio desengafiado a su Reino. Summary: The main subject matter of this research is an appro- ach to Hungary, during the reign of Andrew Il, and its participation in the Fifth Crusade. To achieve such a goal a well supported study of king Andrew's ambitions in the Balkan region as in the Bizantine Empire is depicted. His marriage with a daughter of the Latin Emperor of Constantinople seems to indicate the origin of his pre- tensions. It also explains the support of the Roman Catholic Church to this Crusade, as well as it offers a detailed description of king Andrew's itinerary in Holy Land.
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What Was 'The Enlightenment'? We Hear About It All the Time. It Was A
What Was ‘The Enlightenment’? We hear about it all the time. It was a pivotal point in European history, paving the way for centuries of history afterward, but what was ‘The Enlightenment’? Why is it called ‘The Enlightenment’? Why did the period end? The Enlightenment Period is also referred to as the Age of Reason and the “long 18th century”. It stretched from 1685 to 1815. The period is characterized by thinkers and philosophers throughout Europe and the United States that believed that humanity could be changed and improved through science and reason. Thinkers looked back to the Classical period, and forward to the future, to try and create a trajectory for Europe and America during the 18th century. It was a volatile time marked by art, scientific discoveries, reformation, essays, and poetry. It begun with the American War for Independence and ended with a bang when the French Revolution shook the world, causing many to question whether ideas of egalitarianism and pure reason were at all safe or beneficial for society. Opposing schools of thought, new doctrines and scientific theories, and a belief in the good of humankind would eventually give way the Romantic Period in the 19th century. What is Enlightenment? Philosopher Immanuel Kant asked the self-same question in his essay of the same name. In the end, he came to the conclusion: “Dare to know! Have courage to use your own reason!” This was an immensely radical statement for this time period. Previously, ideas like philosophy, reason, and science – these belonged to the higher social classes, to kings and princes and clergymen.
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Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays.
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Giovanni LAZZONI by Cristiano Giometti - Biographical Dictionary of Italians - Volume 64 (2005)
Giovanni LAZZONI by Cristiano Giometti - Biographical Dictionary of Italians - Volume 64 (2005) The founder of a family of Carrara sculptors whose activity took place mainly in Tuscany, Rome and the Duchy of Modena from the second half of the seventeenth century, Lazzoni was born in Carrara in 1618 by Andrea (Campori). His debut at the service of the Este can be traced back with certainty to 17 November. 1645 ( Ducale palazzo ... ), when he began to receive a commission for his participation in the decorative enterprise of the Ducal palace in Sassuolo. The polyphonic choir of the workers and plastics gathered for the occasion was cleverly coordinated by Luca Colombi, who assigned to Lazzoni the execution of the four stucco statues placed in the niches of the ground floor atrium of the palace depicting the Seasons . In these same years we can also trace the two allegories of Nobility and Glory placed at the sides of the Este coat of arms placed above the illusionistic perspective frescoed by Angelo Michele Colonna and Agostino Mitelli on the entrance staircase of the same building (Riccomini). The last payment to Lazzoni for this series of interventions is recorded on the date of 3 April. 1647 ( Ducal Palace ... ); and it is very probable that, in a short span of time, he had moved to Rome, almost certainly recalled by the enticing possibilities of work offered by the numerous papal factories promoted in view of the Jubilee year. Starting from the spring of 1647, in fact, the plastic decoration of the pillars of the nave of St.
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Baroque Architecture Through a Century of Art Historiography and Politics
From ‘bad’ to ‘good’: Baroque architecture through a century of art historiography and politics Review of: Evonne Levy, Baroque and the Political Language of Formalism (1845-1945): Burckhardt, Wölfflin, Gurlitt, Brinckmann, Sedlmayr, 400 pp., 42 ills, Basel: Schwabe, 2015. € 68, ISBN 978-3-7965-3396-9 Marco M. Mascolo Among the theoretical patterns that shaped art history between the nineteenth and twentieth century, formalism has undoubtedly a central place, with the turning point of Heinrich Wölfflin’s publication of the Kunstgeschichtliche Grundbegriffe (Principles of Art History) in 1915, which offered practical tools to interpret works of art on the basis of the historical forms of sight.1 One of the crucial contributions of early twentieth-century German formalist scholars was the creation of the conditions to reconcile modernity with the Baroque. Directing her attention to the architectural historiography of the Baroque from 1845 to 1945, Evonne Levy points out that ‘political circumstances pressed those who studied the history of art to compare that epoch [i.e. the seventeenth century] to their own’.2 The temporal frame defines a century that had, at its beginning, Jacob Burckhardt’s entry ‘Jesuitenstil’ for the ninth edition of the Conversations-Lexikon3 (chapter one) and, at its end, the downfall of Hitler’s Third Reich, with the consequent scrutiny on methods compromised with the National Socialist regime, as in the case of art-historical works of Albert Erick Brinckmann (chapter four) and the Austrian Hans Sedlmayr (chapter five).4 In the middle, the book follows the ideas of two of the most important baroquists of the first half of the twentieth century: Heinrich Wölfflin (chapter two) and Cornelius Gurlitt (chapter three).
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Giovanni Battista Braccelli's Etched Devotions Before the Vatican
Giovanni Battista Braccelli’s Etched Devotions before the Vatican Bronze Saint Peter Erin Giffin, Ludwig-Maximilians-Universität München, Germany IN THE MID-SEVENTEENTH CENTURY, the artist Giovanni Battista Braccelli (ca. 1584–1650) created an etching of the bronze Saint Peter cult statue at the Vat- ican surrounded by devotees and votives (fig. 1).1 This previously unpublished print, titled The Bronze Saint Peter with Votives, offers a detailed representation of the devotional object in its early modern location (figs. 2–3): against the northeast pier of the crossing of Saint Peter’s Basilica, where Pope Paul V Borghese (r. 1605– 21) had installed it on May 29, 1620 (still in situ today). The print details a group of early modern visitors gathered around the sculpture—well-dressed men, women, and children to the left of the composition, and an assortment of humbler lay and religious personages to the right. At the center, two pilgrims with walking sticks in hand and broad-brimmed hats slung over their shoulders approach the foot of the sculpted Saint Peter with great reverence. The first of the two bows down to touch the top of his head to the underside of the sculpted foot in an act of extreme humility, bracing himself against the sculpture’s base as the crowd looks on with approval. Emanating up from the devotees, a series of ex-voto offerings blanket the flanking pilasters of Saint Peter’s. One can make out the barest references of standard votive imagery and objects on the sketchily rendered plaques—kneel- ing figures and canopied beds before floating apparitions—accompanied by Contact Erin Giffin at Ludwig-Maximilians-Universität München (erin.giffin@kunstgeschichte .uni-muenchen.de).
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Art and Architecture in Italy 1600 to 1750
RUDOLF WITTKOWER ART AND ARCHITECTURE IN ITALY 1600 TO 1750 PUBLISHED BY PENGUIN BOOKS CONTENTS LIST OF FIGURES XI LIST OF PLATES X1U FOREWORD XXI Part One The Period of Transition and the Early Baroque circa 1600-circa 162$ 1. ROME: SIXTUS V TO PAUL V (1585-1621) I The Council of Trent and the Arts - The Church and the Reformers - The 'Style Sixtus V and its Transformation - Paul V and Cardinal Scipione Borghese as Patrons - Caravaggios and Annibale Carracci s Supporters - The new Churches and the new Iconography - The Evolution of the 'Genres' 2. CARAVAGGIO 21 3. THE CARRACCI 31 4. CARAVAGGIO'S FOLLOWERS AND THE CARRACCI SCHOOL IN ROME 42 The Caravaggisti - The Bolognese in Rome and Early Baroque Classicism 5. PAINTING OUTSIDE ROME 55 Bologna and Neighbouring Cities 56 Florence and Siena 59 Milan 61 Genoa 64 Venice 65 Conclusion 67 6. ARCHITECTURE AND SCULPTURE 69 Architecture 69 Rome: Carlo Maderno (1556-1629) - Architecture outside Rome Sculpture 83 Rome - Sculpture outside Rome vii CONTENTS Part Two The Age of the High Baroque circa 1625-circa 167 s 7. INTRODUCTION 89 Seicento Devotion and Religious Imagery - Rhetoric and Baroque Procedure - Patronage 8. GIANLORENZO BERNINI 96 Introduction 96 Sculpture 97 Stylistic Development - Sculpture with One and Many Views - Colour and Light - The Transcending of Traditional Modes - New Iconographical Types - The Role of the 'Concetto' - Working Procedure Painting 112 Architecture 114 Ecclesiastical Buildings - Secular Buildings - The Piazza of St Peter's 9. FRANCESCO BORROMINI (1599-1667) I3O S. Carlo alle Quattro Fontane - S. Ivo della Sapienza - S. Giovanni in Laterano, S.
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Neoclassical Architecture 1 Neoclassical Architecture
Neoclassical architecture 1 Neoclassical architecture Neoclassical architecture was an architectural style produced by the neoclassical movement that began in the mid-18th century, both as a reaction against the Rococo style of anti-tectonic naturalistic ornament, and an outgrowth of some classicizing features of Late Baroque. In its purest form it is a style principally derived from the architecture of Classical Greece and the architecture of Italian Andrea Palladio. The Cathedral of Vilnius (1783), by Laurynas Gucevičius Origins Siegfried Giedion, whose first book (1922) had the suggestive title Late Baroque and Romantic Classicism, asserted later[1] "The Louis XVI style formed in shape and structure the end of late baroque tendencies, with classicism serving as its framework." In the sense that neoclassicism in architecture is evocative and picturesque, a recreation of a distant, lost world, it is, as Giedion suggests, framed within the Romantic sensibility. Intellectually Neoclassicism was symptomatic of a desire to return to the perceived "purity" of the arts of Rome, the more vague perception ("ideal") of Ancient Greek arts and, to a lesser extent, sixteenth-century Renaissance Classicism, the source for academic Late Baroque. Many neoclassical architects were influenced by the drawings and projects of Étienne-Louis Boullée and Claude Nicolas Ledoux. The many graphite drawings of Boullée and his students depict architecture that emulates the eternality of the universe. There are links between Boullée's ideas and Edmund Burke's conception of the sublime. Pulteney Bridge, Bath, England, by Robert Adam Ledoux addressed the concept of architectural character, maintaining that a building should immediately communicate its function to the viewer.
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Chapter 26 Rococo to Neoclassicism: the 18Th Century in Europe And
Chapter 26 Rococo to Neoclassicism: The 18th Century in Europe and America Social, political, economic, and technological change, as well as transformation in the arts. In 1700 Louis XIV still ruled as Sun King at Versailles. His palace inspired construction of many grandiose homes in the early 18th century. By 1800 revolutions had overthrown monarchy in France and achieved independence in America from Britain. Industrial Revolution transformed economies. Death of Louis XIV in 1715 – elite abandoned court of Versailles and resided in hotels (townhouses) of Paris, decorated in ligg,hthearted, softer Rococo style. Aristocrats reestablished predominance as art patrons. The Rococo style was replaced by the Neoclassical, which was perceived as more democratic Enlightenment brought about a rejection of royal and aristocratic authority Neoclassicism was inspired by the unearthing of the ruins at Pompeii. Even if works of art depict current events or contemporary portraits, there are frequently classical allusions. The late eighteenth century was the age of the Industrial Revolution: new technologies such as cast iron were introduced into architecture, and for the first time it became more economical to carve from bronze than marble. 3 Rocaille (pebble) – small stones and shells that decorated grotto interiors (natural or man-made caves). Shell forms – principal motifs in Rococo ornamentation. Women dominated cultural sphere and held influential positions in Europe. Rococo salons –center of Parisian society Wealthy, ambitious, clever society hostesses, referred to as femmes savants (learned women) competed to attract most famous and accomplished people to their salons. More intimate and decentralized culture based in private homes. Rococo interiors were total works of art with elab orat e furnishings – ceramics, silver, small ppgaintings and tapestries.
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Alessandro Algardi Christ Resurrected
Alessandro Algardi Christ Resurrected Alessandro Algardi (Bologna, 1598 - Rome, 1654) Christ Resurrected Terracotta, height 52 cm Provenance: Private collection, Italy; Heim Gallery, London; Arthur M. Sackler collection, New York his fine and moving terracotta was first simple planes’. Dr. Montagu expressed some recognized by Dr. Jennifer Montagu and criticism to the handling of the torso, a point Twas subsequently published for the first also taken up by Avery, which, in our opinion, time by Dr. Charles Avery in the 1981 Sackler has wrongly caused some concern about the au- collection exhibition catalogue, making use of tograph nature of the torso, a question which notes by Montagu for her (then) forthcoming needs to be addressed. These problems seem publication on Algardi. to arise principally from the condition of the sculpture, lacking both arms: Christ’s raised Dr. Montagu’s attribution to Algardi was made right arm is severed at the shoulder but a close on purely stylistic grounds, and, regarding the inspection of this area suggests that at least head, she commented on ‘…the flow of the hair, some of the clay was cut before firing, implying partly modelled freely in waving masses, partly that it was modelled seperately; the left missing incised with the modelling tool, and the sweet left arm is evidentally the result of an accidental expression in a face constructed in large and break. The head and torso are divided just below the shoulders and this curving division is relatively even, suggesting that the join was not acciden- tal. Probably Avery’s proposal that the head and shoulders were the first part to be modelled, ‘…as a study of facial features and expression, and, as the sculptor’s conception developed, the torso was afterwards modelled to fit on to it’, is in fact correct.
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Italian Humanism Was Developed During the Fourteenth and the Beginning of the Fifteenth Centuries As a Response to the Medieval Scholastic Education
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