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Art: in Italy In Italy, the roman baroque constitutes the loaf master of new style; also more than elsewhere is evident in Rome, capital of catholicity, the particular adherence of the artistic phenomenon to a social reality within which develops in full compliance of intent. In the fervour of works which Sixtus V and Paul V had begun, availing themselves of the collaboration of Maderno, Fontana, the door was defined the new urban plan of the city to guidelines in perspective toward the major monuments, scenographic structure of base for the baroque Rome. The next generation of artists, under the papacy of Pope Urban VIII, brought to maturation an implicit discourse. In architecture the overcoming of the classic methods of composition was realized through a criticism from the inside to the classical orders, which results in an enlargement and in a Revision: protagonists in the years around 1630, Gian Lorenzo Bernini, Francesco Borromini, Pietro da Cortona. Spaces and volumes, not more compounds according to a simple geometry and immediately evident in its logic, become the field of tensions that bend and bow structures and surfaces, it is complicated in the subordination of the parties. Copies, even in the diversity of results, the churches of SS. Luca and Martina (1634-50) and S. Mary of Peace (1656), Pietro da Cortona, S. Carlino alle Quattro Fontane (1634) of the Borromini and monumental scenographic solution of Bernini's Colonnade for the basilica of S. Peter (1656-67), the emblem of the renewed intent propaganda of the papacy. The plant centrica you prefer the elliptical, multilobed stellar, (S. Ivo alla Sapienza and S. Agnese in piazza Navona Borromini; S. Andrea al Quirinale of Bernini ), organised around the fulcrum dynamic of the cupola that collects and resolves the voltage of the membering and surfaces. In the private building, the Palazzo Barberini of Bernini establishes a type intended to spread. Architecture and decoration, painted and sculptured, have a value of "together" inseparable. The decorative painting in the work of Pietro da Cortona, Father Pozzo, G.B. Gaulli, you configure as the overcoming of the classicism of the Carracci (Gallery of Palazzo Farnese, 1594-96) that also has formed the starting point; the allegorical celebrations of Urban VIII in Palazzo Barberini (1633-39), S. Ignatius (1682-98) and of Jesus (1672-83) in churches homonymous, prescinding from any score architectural, create spaces illusory which expand the limits of the architectural structure by establishing a general intended to evolve throughout the European area, until the Eighteenth Century advanced (Tiepolo). At the side of the large loaf of decorative painting, the more meditated artistic experience of Caravaggio , expressed in realistic form and antiretorica, constitutes one of the dynamic alternatives within the italian baroque and Parliament, giving the boot to a current that will find epigone in France, Spain, in Flanders (Valentin, Ribera, Elsheimer), in Southern Italy (Caracciolo, priests) and Tuscany (O. Gentileschi). It is necessary to return again to the concept of baroque as a unity of the arts to penetrate the meaning of sculpture: also in this field ruler is Bernini with his school (Baratta, rays), which grows and develops around the undertakings of the "canopy" of S. Peter, the "Chair of the Saint" and of roman fountains, which propose a new interpretation picturesque nature. A current more classical leads to A. Algardi. In southern Italy, in Liguria, Veneto, Lombardy, Emilia, local artists develop, with renewed sensitivity, as many interpretations of the new style, resulting from a graft of some aspects of the roman baroque on matrices of local culture, while the Tuscany remains on the margins of the movement. In Lecce (Cathedral), Palermo (villas of Bagheria), Catania, an interpretation extremely plastic decorative and alters the surfaces but not structures. In Genoa on even the living tradition of the mannerist engage new urbanistic solutions (via Balbi) and architectural activity of B. White; more than half of the first century decorative cycles of De Ferrari, the naturalistic sculptures of berniniano Parodi prelude, due to the elegance of the compositional rhythms, to rococo. In Venice B. Longhena interprets in baroque terms in S. Maria della Salute The Palladian classicism, while in the ateliers of Strozzi, Fetti, Liss you process critically the great tradition of Venetian painting of the Sixteenth Century. In Bologna, on experiences decorative of quadraturisti, forms the dynasty of the set designers Bibiena and the Accademia degli Incamminati keeps alive a classical tradition, started by Carracci, in the work of G. Reni and Domenichino. In Milan G. B. Crespi, the Morazzone and Tanzio da Varallo interpret, in keeping with local traditions mindful of asceticism counter-reformist of the age of San Carlo, the sacred drama as invitation to meditation and asceticism. Torino finally, capital of the Savoy State, is being configured along all the seventeenth century as a baroque cities; its historic and monumental focuses around the squares S. Carlo (1637) and the Castle, maximum manifestations of renewed town planning in the city. The links with France justify a search of the monumentality based on iteration of architectural motifs and a classicism that excludes, for a need for more content decoration, the results more daring of the Roman Baroque. In the decoration of the interior the allegorical frescoes of the Guidobono, Dufour (palazzo Madama), Seyter (Royal Palace) are framed by stuccoes and notches made by craftsmen from Lugano and local authorities. In a physiognomy town open international and which the Castellamonte have given a definitive character, the work of Guarini (Chapel of the Holy Shroud, 1668; Palazzo Carignano, the college of the Nobles, ca. 1680) fits with the correctness of a counterpoint, and Juvara, at the beginning of the Eighteenth Century (Basilica of Superga, 1716; Palazzo Madama, 1718; Palazzina di Stupinigi, 1729-30), with intelligent consistency. Art: in France The baroque assumes its final shape around large real factories of Versailles (Le Vau, Mansart), the Louvre (Perrault), Les Invalides (Bruant, Mansart) and on the schematics of large urban accommodation, from the Place Royale (1605-12) to Place Vendôme (Mansart, 1677-98), to the general plans of Blondl (1686) and Bullet (1690); Classical physiognomy, almost polemic against the solutions more heterodox of roman baroque, closely connected with the absolutist ideology of Louis XIV, which becomes a paradigm of taste through the official organs of the academies of painting (1648) and of architecture (1671). The French classicism is certainly not of Renaissance type, "to the measure of man", but emphatic and monumental. The iteration of the classic pattern of the column and of the pediment, adoption of the giant order reach an effect equally rhetorical and eloquent of the highest results of Italian Baroque. The gardens at Versailles, as at the Tuileries and the royal castles (Marly, Sceaux), ordered according to a geometric scenography and rational, constitute an essential aspect of the town planning and of baroque architecture. The decoration of the interior officers, entrusted to the zeal organizational Le Brun, pupil of Vouet, and his school, which avails itself of the collaboration of sculptors such as Coysevox Girardon and develops according to precise classiciste directives of mold carraccesco. On the same line as you enter the activity more intellectual and literary Poussin, while the tradition of realism Caravaggio tie back De La Tour and the brothers The Nain. In the private construction is defined according to precise schemes the typology of the hôtel particulier (a city palace) with J. Du Cerceau and Muet. Art: in England On the Palladian architecture in full splendour in I. Jones (Queen's House at Greenwich, 1616-35) engages the activity of C. Wren that interprets the data of the baroque classical French, proceeding toward a structural simplification and an eclectic choice and rational, the result of which you can define the baroque for its extreme visual evidence: the cathedral of S. Paul (1675-1710) in London is the most monumental achievement; this school, stretched to extract from the classic effects more unusual, located of followers in N. Hawksmoor (Castle Howard, 1699-1726) and in J. Vanbrugh (Blenheim, 1705-16). The interior decoration real Windsor active sees the Italian Verrio (1674-84) according to the schemes of the painting continental solemn. The English activity of Van Dyck was the starting point for the school of eighteenth-century ritrattisti. Art: in Holland The dominant personality of Rembrandt and Rubens are exemplary of the different cultural climate that distinguishes the Netherlands protestant and Borghese from Flanders realistic and catholic and of the various outcomes of the Baroque in the two countries . In Holland the problem of light, set by the caravaggeschi school of Utrecht (Terbrugghen, Van Honthorst), and the Flemish realism, referred F. Hals gives an effective interpretation in baroque style, you resolve, in forms meditate and dramatic in the Rembrandt and Vermeer. The painting by tripod decomposes into a multiplicity of specialized genres: landscape (Ruysdael), urban views, flowers and animals, still lifes that, in complexity of composition and through an illusionistic technique, are targeted toward a more accentuated decorativismo. In Flanders the work of Rubens, stretched to reprocess with deep historical sense the great Renaissance tradition, achieves results the most scenic and naturalistic features that make it one of the most perfect achievements of European baroque. The vital impetus of composition a large masses of Rubens calms down in elegant rhythms in portraiture solemn of the pupil Van Dyck and pierces, evolving in the sense popolaresco, in the work of Jordaens. At the Dutch architecture, contained within the canons of a rhetorical palladianesimo, opposes the architecture of Flanders based on generic schemes derived from the italian baroque, in the work of some of the architects of the Company of Jesus (Aguillon, project for the Church of the Jesuits in Antwerp, rewritten by Huyssens; Hesius, Jesuit church at Louvain). Art: in Austria and Germany The baroque you configure within a complex weave of experiences and influences, reaching results conclusive and originals, in the last years of the seventeenth and early eighteenth century, from the processing of inputs french and italian; to the influence of French architects (De Cotte, Boffrand) in the construction of the Court in Germany adds, in Bavaria, Franconia, Austria, one of the Italian architects (solar, Barelli, Lurago, Carlone, Fountain). Borrominiana guariniana and the inspiration of Fischer von Erlach (Trinity of Salzburg, 1694-1702), of Dientzenhofer (Trinity of Kappel, 1685-89), L. von Hildebrandt (Belvedere in Vienna, 1721-24), B. Neumann (Würzburg Residenz, 1719-29), Pöppelmann (Zwinger Dresden, 1709-36), not only for the decoration, but especially for the attention dedicated to the renewal of structures: complex plants, times double and intersecting, dilation perspective of spaces, organicity of decoration, stucco and Fresco, in the interior. Art: in Spain In overcoming of late mannerism which came defined around the factory of the Escorial, is fundamental to the innovative work of J. de Ribera that interprets in dramatic sense and expressionistic painting of the Caravaggeschi Neapolitans and Romans, known during the stay in Italy; on the same loaf the work of Zurbarán tends to extract from the premises of the luminismo evidence plastic formal and a fixity nearly metaphysical, while in that of Murillo realism fades forms pathetic and sentimental. The work of Velázquez finally, that with that of Rembrandt is perhaps the greatest achievement of the baroque realism, manages to reconcile, for the perfect balance between formal evidence and immediacy of representation, the need of true with the decoration of the court , in his portraits, groups, historical scenes. The episode is most important in architecture, between the seventeenth and eighteenth century, is constituted by the activity of the architects and decorators de Churriguera active in Salamanca and Madrid, that, in loaf naturalistic and picturesque Baroque, shall draw up a type of decoration is encompassing and moved that invades the architectural surface sostituendovisi: one of the highest results of this style is the Transparent (1721-32) of Toledo Cathedral of No. Tomé. Art: in the Spanish colonies of America The baroque churrigueresco finds an echo immediate and brilliant footage in the Spanish colonies of America, where it acts as a stimulus on the lively trends local decorative. If in architecture Baroque and Art of import, is kept adherent to the European schemes, local crafts in which partially survives the indigenous tradition is freely expresses in forms of decorativismo accentuated in rich interior (Cathedral of Puebla, Mexico). Minor Arts Inserted in the organic conception of the decoration that is proper to the mature baroque, the minor arts, in a raffinarsi of technical processes and in a general raising of the level of craftsmanship, become an integral part of the decoration. The artist is a creator of valid reasons also for the handicrafts, from ceramics to glass, from mobile to silverware: testify liberissimi the notches in the Bellunese Brustolon, the stalls of the bergamasco Fantoni. In France the furniture supplier A.-C. Boulle, the goldsmith Ballin, Caffieri, bronze factory and carvers, work to Gobelins in perfect synchrony with architects and interior decorators, which Berain Lepautre and. The organization of large workshops at the service of the courts, in Paris as in Turin or Rome, establishes a new relationship: from one side the baroque becomes a common language and spreads at an artisan level in styles at regional and local level; on the other hand the activity of the architects and decorators contributes to raising the general level of production. The historical cycles and celebration of the fresco decoration found an echo in the resumption of production of tapestries (manufactories of Gobelins; Brussels; Monaco; Mortlake; Florence; Rome): authors in fact of cartons are almost all large Baroque painters, by Rubens at Le Brun, while are replicated with great luck some Renaissance cycles (Raphael). The ceramics manufactories of Faenza; Savona; Florence; Nevers; Saint-Cloud; Nuremberg; Delft), the Murano glass and Bohemia, the silverware shall abide in the forms and in the decoration to the new taste more free, while diffuse collections of models for the silversmiths and modellers who contribute to the leveling of the taste. Music The term appears in musical historiography only around 1920: the German musicology has taken from the visual arts when the scholars of the history of art had accepted as stylistic definition of a period, free now of those negative connotations that had at the origin. The use of the term in the field of musicological provoked lively contrasts and is not yet universally accepted: in Great Britain, in France and in Italy encounters particular interference, mainly due to the difficulty to give a stylistic definition unitary a period that spans a century and a half (ca. 1600-1750), rich of musical events disparatissime. On the other hand a broad stream of musicology considers that the term possesses a suggestion indispensable as stylistic indication general for a period in which the renewal of the language of music has an undeniable parallelism with that of the figurative language (even if it is obviously not appropriate to attempt to ravvisarvi too detailed matches): on the plane strictly linguistic, is certainly a definition more appropriate than that of Riemann, which simply refers to a particular technical, albeit decisive, speaking of "age of the basso continuo". With the use of baroque appears much more evident the placement cultural-historical style. The advent of the basso continuo is still one of the most conspicuous of the transformation of the language of the Renaissance period that is making around 1600. Writing strictly polyphonic, wherein all entries were on the same plane of importance, it is simplifying and biases on extreme entries: affirms the monodia accompanied and the meeting of the parties in a vertical direction determines the development of harmony, that is free from the mode and defines the hue. The conception of the speech in the horizontal direction is therefore less, or (as in Bach) writing counterpointistic fits in with that harmonic. The adhesion of the music to the world of "suffering" is one of the purposes of Baroque poetry: the static renaissance balance gives place to a vibrant expressive dynamism, which may manifest itself in the gorgeous intensity of colorismo of Venetian school as in the linearity of the monophonic compositions. The search of the voltage, contrast, "Chiaroscuro", also stated in the instrumental music, which is born and develops in the Baroque age with the Concerto grosso solo and with the sonata and with compositions for organ and harpsichord. With the assumption by the instrumental music of dance forms also the fluid and sliding renaissance rhythm turns razionalizzandosi. The tools themselves visibly diminish in number and are perfected in function of the search for a new ideal sound. Parallel to instrumental music, that located in Venice one of the centers of major development, they are in the field of voice the genres of the oratory of the sung and the melodrama: in the latter the glitz Scenic, the taste for the ornamentation and virtuosity refer to as many attitudes emblematic of Baroque taste. Zurbarán, Francisco de- Art: in Italy In Italy, the roman baroque constitutes the loaf master of new style; also more than elsewhere is evident in Rome, capital of catholicity, the particular adherence of the artistic phenomenon to a social reality within which develops in full compliance of intent. In the fervour of works which Sixtus V and Paul V had begun, availing themselves of the collaboration of Maderno, Fontana, the door was defined the new urban plan of the city to guidelines in perspective toward the major monuments, scenographic structure of base for the baroque Rome. The next generation of artists, under the papacy of Pope Urban VIII, brought to maturation an implicit discourse. In architecture the overcoming of the classic methods of composition was realized through a criticism from the inside to the classical orders, which results in an enlargement and in a Revision: protagonists in the years around 1630, Gian Lorenzo Bernini, Francesco Borromini, Pietro da Cortona. Spaces and volumes, not more compounds according to a simple geometry and immediately evident in its logic, become the field of tensions that bend and bow structures and surfaces, it is complicated in the subordination of the parties. Copies, even in the diversity of results, the churches of SS. Luca and Martina (1634-50) and S. Mary of Peace (1656), Pietro da Cortona, S. Carlino alle Quattro Fontane (1634) of the Borromini and monumental scenographic solution of Bernini's Colonnade for the basilica of S. Peter (1656-67), the emblem of the renewed intent propaganda of the papacy. The plant centrica you prefer the elliptical, multilobed stellar, (S. Ivo alla Sapienza and S. Agnese in piazza Navona Borromini; S. Andrea al Quirinale of Bernini ), organised around the fulcrum dynamic of the cupola that collects and resolves the voltage of the membering and surfaces. In the private building, the Palazzo Barberini of Bernini establishes a type intended to spread. Architecture and decoration, painted and sculptured, have a value of "together" inseparable. The decorative painting in the work of Pietro da Cortona, Father Pozzo, G.B. Gaulli, you configure as the overcoming of the classicism of the Carracci (Gallery of Palazzo Farnese, 1594-96) that also has formed the starting point; the allegorical celebrations of Urban VIII in Palazzo Barberini (1633-39), S. Ignatius (1682-98) and of Jesus (1672-83) in churches homonymous, prescinding from any score architectural, create spaces illusory which expand the limits of the architectural structure by establishing a general intended to evolve throughout the European area, until the Eighteenth Century advanced (Tiepolo). At the side of the large loaf of decorative painting, the more meditated artistic experience of Caravaggio , expressed in realistic form and antiretorica, constitutes one of the dynamic alternatives within the italian baroque and Parliament, giving the boot to a current that will find epigone in France, Spain, in Flanders (Valentin, Ribera, Elsheimer), in Southern Italy (Caracciolo, priests) and Tuscany (O. Gentileschi). It is necessary to return again to the concept of baroque as a unity of the arts to penetrate the meaning of sculpture: also in this field ruler is Bernini with his school (Baratta, rays), which grows and develops around the undertakings of the "canopy" of S. Peter, the "Chair of the Saint" and of roman fountains, which propose a new interpretation picturesque nature. A current more classical leads to A. Algardi. In southern Italy, in Liguria, Veneto, Lombardy, Emilia, local artists develop, with renewed sensitivity, as many interpretations of the new style, resulting from a graft of some aspects of the roman baroque on matrices of local culture, while the Tuscany remains on the margins of the movement. In Lecce (Cathedral), Palermo (villas of Bagheria), Catania, an interpretation extremely plastic decorative and alters the surfaces but not structures. In Genoa on even the living tradition of the mannerist engage new urbanistic solutions (via Balbi) and architectural activity of B. White; more than half of the first century decorative cycles of De Ferrari, the naturalistic sculptures of berniniano Parodi prelude, due to the elegance of the compositional rhythms, to rococo. In Venice B. Longhena interprets in baroque terms in S. Maria della Salute The Palladian classicism, while in the ateliers of Strozzi, Fetti, Liss you process critically the great tradition of Venetian painting of the Sixteenth Century. In Bologna, on experiences decorative of quadraturisti, forms the dynasty of the set designers Bibiena and the Accademia degli Incamminati keeps alive a classical tradition, started by Carracci, in the work of G. Reni and Domenichino. In Milan G. B. Crespi, the Morazzone and Tanzio da Varallo interpret, in keeping with local traditions mindful of asceticism counter-reformist of the age of San Carlo, the sacred drama as invitation to meditation and asceticism. Torino finally, capital of the Savoy State, is being configured along all the seventeenth century as a baroque cities; its historic and monumental focuses around the squares S. Carlo (1637) and the Castle, maximum manifestations of renewed town planning in the city. The links with France justify a search of the monumentality based on iteration of architectural motifs and a classicism that excludes, for a need for more content decoration, the results more daring of the Roman Baroque. In the decoration of the interior the allegorical frescoes of the Guidobono, Dufour (palazzo Madama), Seyter (Royal Palace) are framed by stuccoes and notches made by craftsmen from Lugano and local authorities. In a physiognomy town open international and which the Castellamonte have given a definitive character, the work of Guarini (Chapel of the Holy Shroud, 1668; Palazzo Carignano, the college of the Nobles, ca. 1680) fits with the correctness of a counterpoint, and Juvara, at the beginning of the Eighteenth Century (Basilica of Superga, 1716; Palazzo Madama, 1718; Palazzina di Stupinigi, 1729-30), with intelligent consistency. Art: in France The baroque assumes its final shape around large real factories of Versailles (Le Vau, Mansart), the Louvre (Perrault), Les Invalides (Bruant, Mansart) and on the schematics of large urban accommodation, from the Place Royale (1605-12) to Place Vendôme (Mansart, 1677-98), to the general plans of Blondl (1686) and Bullet (1690); Classical physiognomy, almost polemic against the solutions more heterodox of roman baroque, closely connected with the absolutist ideology of Louis XIV, which becomes a paradigm of taste through the official organs of the academies of painting (1648) and of architecture (1671). The French classicism is certainly not of Renaissance type, "to the measure of man", but emphatic and monumental. The iteration of the classic pattern of the column and of the pediment, adoption of the giant order reach an effect equally rhetorical and eloquent of the highest results of Italian Baroque. The gardens at Versailles, as at the Tuileries and the royal castles (Marly, Sceaux), ordered according to a geometric scenography and rational, constitute an essential aspect of the town planning and of baroque architecture. The decoration of the interior officers, entrusted to the zeal organizational Le Brun, pupil of Vouet, and his school, which avails itself of the collaboration of sculptors such as Coysevox Girardon and develops according to precise classiciste directives of mold carraccesco. On the same line as you enter the activity more intellectual and literary Poussin, while the tradition of realism Caravaggio tie back De La Tour and the brothers The Nain. In the private construction is defined according to precise schemes the typology of the hôtel particulier (a city palace) with J. Du Cerceau and Muet. Art: in England On the Palladian architecture in full splendour in I. Jones (Queen's House at Greenwich, 1616-35) engages the activity of C. Wren that interprets the data of the baroque classical French, proceeding toward a structural simplification and an eclectic choice and rational, the result of which you can define the baroque for its extreme visual evidence: the cathedral of S. Paul (1675-1710) in London is the most monumental achievement; this school, stretched to extract from the classic effects more unusual, located of followers in N. Hawksmoor (Castle Howard, 1699-1726) and in J. Vanbrugh (Blenheim, 1705-16). The interior decoration real Windsor active sees the Italian Verrio (1674-84) according to the schemes of the painting continental solemn. The English activity of Van Dyck was the starting point for the school of eighteenth-century ritrattisti. Art: in Holland The dominant personality of Rembrandt and Rubens are exemplary of the different cultural climate that distinguishes the Netherlands protestant and Borghese from Flanders realistic and catholic and of the various outcomes of the Baroque in the two countries . In Holland the problem of light, set by the caravaggeschi school of Utrecht (Terbrugghen, Van Honthorst), and the Flemish realism, referred F. Hals gives an effective interpretation in baroque style, you resolve, in forms meditate and dramatic in the Rembrandt and Vermeer. The painting by tripod decomposes into a multiplicity of specialized genres: landscape (Ruysdael), urban views, flowers and animals, still lifes that, in complexity of composition and through an illusionistic technique, are targeted toward a more accentuated decorativismo. In Flanders the work of Rubens, stretched to reprocess with deep historical sense the great Renaissance tradition, achieves results the most scenic and naturalistic features that make it one of the most perfect achievements of European baroque. The vital impetus of composition a large masses of Rubens calms down in elegant rhythms in portraiture solemn of the pupil Van Dyck and pierces, evolving in the sense popolaresco, in the work of Jordaens. At the Dutch architecture, contained within the canons of a rhetorical palladianesimo, opposes the architecture of Flanders based on generic schemes derived from the italian baroque, in the work of some of the architects of the Company of Jesus (Aguillon, project for the Church of the Jesuits in Antwerp, rewritten by Huyssens; Hesius, Jesuit church at Louvain). Art: in Austria and Germany The baroque you configure within a complex weave of experiences and influences, reaching results conclusive and originals, in the last years of the seventeenth and early eighteenth century, from the processing of inputs french and italian; to the influence of French architects (De Cotte, Boffrand) in the construction of the Court in Germany adds, in Bavaria, Franconia, Austria, one of the Italian architects (solar, Barelli, Lurago, Carlone, Fountain). Borrominiana guariniana and the inspiration of Fischer von Erlach (Trinity of Salzburg, 1694-1702), of Dientzenhofer (Trinity of Kappel, 1685-89), L. von Hildebrandt (Belvedere in Vienna, 1721-24), B. Neumann (Würzburg Residenz, 1719-29), Pöppelmann (Zwinger Dresden, 1709-36), not only for the decoration, but especially for the attention dedicated to the renewal of structures: complex plants, times double and intersecting, dilation perspective of spaces, organicity of decoration, stucco and Fresco, in the interior. Art: in Spain In overcoming of late mannerism which came defined around the factory of the Escorial, is fundamental to the innovative work of J. de Ribera that interprets in dramatic sense and expressionistic painting of the Caravaggeschi Neapolitans and Romans, known during the stay in Italy; on the same loaf the work of Zurbarán tends to extract from the premises of the luminismo evidence plastic formal and a fixity nearly metaphysical, while in that of Murillo realism fades forms pathetic and sentimental. The work of Velázquez finally, that with that of Rembrandt is perhaps the greatest achievement of the baroque realism, manages to reconcile, for the perfect balance between formal evidence and immediacy of representation, the need of true with the decoration of the court , in his portraits, groups, historical scenes. The episode is most important in architecture, between the seventeenth and eighteenth century, is constituted by the activity of the architects and decorators de Churriguera active in Salamanca and Madrid, that, in loaf naturalistic and picturesque Baroque, shall draw up a type of decoration is encompassing and moved that invades the architectural surface sostituendovisi: one of the highest results of this style is the Transparent (1721-32) of Toledo Cathedral of No. Tomé. Art: in the Spanish colonies of America The baroque churrigueresco finds an echo immediate and brilliant footage in the Spanish colonies of America, where it acts as a stimulus on the lively trends local decorative. If in architecture Baroque and Art of import, is kept adherent to the European schemes, local crafts in which partially survives the indigenous tradition is freely expresses in forms of decorativismo accentuated in rich interior (Cathedral of Puebla, Mexico). Minor Arts Inserted in the organic conception of the decoration that is proper to the mature baroque, the minor arts, in a raffinarsi of technical processes and in a general raising of the level of craftsmanship, become an integral part of the decoration. The artist is a creator of valid reasons also for the handicrafts, from ceramics to glass, from mobile to silverware: testify liberissimi the notches in the Bellunese Brustolon, the stalls of the bergamasco Fantoni. In France the furniture supplier A.-C. Boulle, the goldsmith Ballin, Caffieri, bronze factory and carvers, work to Gobelins in perfect synchrony with architects and interior decorators, which Berain Lepautre and. The organization of large workshops at the service of the courts, in Paris as in Turin or Rome, establishes a new relationship: from one side the baroque becomes a common language and spreads at an artisan level in styles at regional and local level; on the other hand the activity of the architects and decorators contributes to raising the general level of production. The historical cycles and celebration of the fresco decoration found an echo in the resumption of production of tapestries (manufactories of Gobelins; Brussels; Monaco; Mortlake; Florence; Rome): authors in fact of cartons are almost all large Baroque painters, by Rubens at Le Brun, while are replicated with great luck some Renaissance cycles (Raphael). The ceramics manufactories of Faenza; Savona; Florence; Nevers; Saint-Cloud; Nuremberg; Delft), the Murano glass and Bohemia, the silverware shall abide in the forms and in the decoration to the new taste more free, while diffuse collections of models for the silversmiths and modellers who contribute to the leveling of the taste. Music The term appears in musical historiography only around 1920: the German musicology has taken from the visual arts when the scholars of the history of art had accepted as stylistic definition of a period, free now of those negative connotations that had at the origin. The use of the term in the field of musicological provoked lively contrasts and is not yet universally accepted: in Great Britain, in France and in Italy encounters particular interference, mainly due to the difficulty to give a stylistic definition unitary a period that spans a century and a half (ca. 1600-1750), rich of musical events disparatissime. On the other hand a broad stream of musicology considers that the term possesses a suggestion indispensable as stylistic indication general for a period in which the renewal of the language of music has an undeniable parallelism with that of the figurative language (even if it is obviously not appropriate to attempt to ravvisarvi too detailed matches): on the plane strictly linguistic, is certainly a definition more appropriate than that of Riemann, which simply refers to a particular technical, albeit decisive, speaking of "age of the basso continuo". With the use of baroque appears much more evident the placement cultural-historical style. The advent of the basso continuo is still one of the most conspicuous of the transformation of the language of the Renaissance period that is making around 1600. Writing strictly polyphonic, wherein all entries were on the same plane of importance, it is simplifying and biases on extreme entries: affirms the monodia accompanied and the meeting of the parties in a vertical direction determines the development of harmony, that is free from the mode and defines the hue. The conception of the speech in the horizontal direction is therefore less, or (as in Bach) writing counterpointistic fits in with that harmonic. The adhesion of the music to the world of "suffering" is one of the purposes of Baroque poetry: the static renaissance balance gives place to a vibrant expressive dynamism, which may manifest itself in the gorgeous intensity of colorismo of Venetian school as in the linearity of the monophonic compositions. The search of the voltage, contrast, "Chiaroscuro", also stated in the instrumental music, which is born and develops in the Baroque age with the Concerto grosso solo and with the sonata and with compositions for organ and harpsichord. With the assumption by the instrumental music of dance forms also the fluid and sliding renaissance rhythm turns razionalizzandosi. The tools themselves visibly diminish in number and are perfected in function of the search for a new ideal sound. Parallel to instrumental music, that located in Venice one of the centers of major development, they are in the field of voice the genres of the oratory of the sung and the melodrama: in the latter the glitz Scenic, the taste for the ornamentation and virtuosity refer to as many attitudes emblematic of Baroque taste. Zurbarán, Francisco de-
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