Baroque
For other uses, see Baroque (disambiguation).
sic. The style began around 1600 in Rome, Italy, and
The Baroque (US /bəˈroʊk/ or UK /bəˈrɒk/) is often spread to most of Europe.[1]
The popularity and success of the Baroque style was
encouraged by the Catholic Church, which had decided at the time of the Council of Trent, in response
to the Protestant Reformation, that the arts should
communicate religious themes in direct and emotional
involvement.[2] The aristocracy also saw the dramatic
style of Baroque architecture and art as a means of impressing visitors and expressing triumph, power and control. Baroque palaces are built around an entrance of
courts, grand staircases and reception rooms of sequentially increasing opulence. However, “baroque” has resonance and application that extend beyond a simple reduction to either style or period.[3]
The Triumph of the Immaculate by
Paolo de Matteis
1 Etymology
The Church of Sant'Andrea al Quirinale, designed by Gian
Lorenzo Bernini
thought of as a period of artistic style that used exagger- Brooch of an African, Walters Art Museum
ated motion and clear, easily interpreted detail to produce
drama, tension, exuberance, and grandeur in sculpture, The French word baroque is derived from the Portuguese
painting, architecture, literature, dance, theater, and mu- word “barroco” or Spanish “barrueco” both of which re1
2
fer to a “rough or imperfect pearl”, though whether it entered those languages via Latin, Arabic, or some other
source is uncertain.[4] It is also yields the Italian “barocco”
and modern Spanish “barroco”, German “Barock”, Dutch
“Barok”, and so on. The 1911 Encyclopædia Britannica
11th edition thought the term was derived from the Spanish barrueco, a large, irregularly-shaped pearl, and that it
had for a time been confined to the craft of the jeweller.[5]
Others derive it from the mnemonic term “Baroco”, a
supposedly laboured form of syllogism in logical Scholastica.[6] The Latin root can be found in bis-roca.[7]
3
DEVELOPMENT
preciate the style, followed by the more academic work
of Anthony Blunt. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of
modern taste.
In art history it has become common to recognise
“Baroque” stylistic phases, characterized by energetic
movement and display, in earlier art, so that Sir John
Boardman describes the ancient sculpture Laocoön and
His Sons as “one of the finest examples of the Hellenistic
baroque”,[10] and a later phase of Imperial Roman sculpture is also often called “Baroque”. William Watson
In informal usage, the word baroque can simply mean that describes a late phase of Shang-dynasty Chinese ritual
something is “elaborate”, with many details, without ref- bronzes of the 11th century BC as “baroque”.[11]
erence to the Baroque styles of the 17th and 18th cen- The term “Baroque” may still be used, usually pejoraturies.
tively, describing works of art, craft, or design that are
The word “Baroque”, like most periodic or stylistic des- thought to have excessive ornamentation or complexity
ignations, was invented by later critics rather than practi- of line.
tioners of the arts in the 17th and early 18th centuries.
It is a French transliteration of the Portuguese phrase
“pérola barroca”, which means “irregular pearl", and nat- 3 Development
ural pearls that deviate from the usual, regular forms so
they do not have an axis of rotation are known as "baroque
pearls".[8]
The term “Baroque” was initially used in a derogatory
sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, which sharply contrasted the clear and sober rationality of the Renaissance.
Although it was long thought that the word as a critical
term was first applied to architecture, in fact it appears
earlier in reference to music, in an anonymous, satirical
review of the première in October 1733 of Jean-Philippe
Rameau's Hippolyte et Aricie, printed in the Mercure de
France in May 1734. The critic implied that the novelty in this opera was “du barocque”, complaining that the
music lacked coherent melody, was unsparing with disso- Aeneas Flees Burning Troy, Federico Barocci, 1598
nances, constantly changed key and meter, and speedily
The Baroque originated around 1600, several decades afran through every compositional device.[9]
ter the Council of Trent (1545–63), by which the Roman
Catholic Church answered many questions of internal reform, addressed the representational arts by demanding
that paintings and sculptures in church contexts should
2 Modern taste and usage
speak to the illiterate rather than to the well-informed.
The Swiss-born art historian, Heinrich Wölfflin (1864– This turn toward a populist conception of the function of
1945), started the rehabilitation of the word Baroque ecclesiastical art is seen by many art historians as drivin his Renaissance und Barock (1888); Wölfflin identi- ing the innovations of Caravaggio and brothers Agostino
fied the Baroque as “movement imported into mass”, an and Annibale Carracci, all of whom were working (and
art antithetic to Renaissance art. He did not make the competing for commissions) in Rome around 1600.
distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long
despised, Baroque art and architecture became fashionable between the two World Wars, and has largely remained in critical favour. For example, the often extreme Sicilian Baroque architecture is today recognised
largely due to the work of Sir Sacheverall Sitwell, whose
Southern Baroque Art of 1924 was the first book to ap-
The appeal of Baroque style turned consciously from the
witty, intellectual qualities of 16th-century Mannerist art
to a visceral appeal aimed at the senses. It employed an
iconography that was direct, simple, obvious, and theatrical (illustration, right). Baroque art drew on certain broad
and heroic tendencies in Annibale Carracci and his circle, and found inspiration in other artists like Correggio
and Caravaggio and Federico Barocci (illustration, right),
nowadays sometimes termed 'proto-Baroque'. Germinal
3.1
Periods
ideas of the Baroque can also be found in the work of
Michelangelo. 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. Even more generalized parallels perceived by some
experts in philosophy, prose style and poetry, are harder
to pinpoint.
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, the
Baroque style continued to be used in architecture until the advent of Neoclassicism in the later 18th century.
See the Neapolitan palace of Caserta, a Baroque palace
(though in a chaste exterior) whose construction began in
1752.
3
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 secular absolute monarchies, a formal, imposing
way of expression that could restore its prestige, at the
point of becoming somehow symbolic of the CounterReformation.
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.
3.1 Periods
The Baroque era is sometimes divided into roughly three
phases for convenience:[12][13][14]
• Early Baroque, c. 1590 – c. 1625
• High Baroque, c. 1625 – c. 1660
• Late Baroque, c. 1660 – c. 1725
Late Baroque is also sometimes used synonymously with
the succeeding Rococo movement.
St. Nicholas Church in Lesser Town in Prague was founded in
1703 under lead of Baroque architect Christoph Dientzenhofer.
4 Painting
In paintings Baroque gestures are broader than Manner- Main article: Baroque painting
A defining statement of what Baroque signifies in
ist gestures: less ambiguous, less arcane and mysterious,
more like the stage gestures of opera, a major Baroque art
form. Baroque poses depend on contrapposto (“counterpoise”), the tension within the figures that move the planes
of shoulders and hips in counterdirections. See Bernini’s
David.
The dryer, less dramatic and coloristic, chastened later
stages of 18th century Baroque architectural style are
often seen as a separate Late Baroque manifestation,
for example in buildings by Claude Perrault. Academic
characteristics in the neo-Palladian style, epitomized by
William Kent, are a parallel development in Britain and
the British colonies: within interiors, Kent’s furniture designs are vividly influenced by the Baroque furniture of
Rome and Genoa, hierarchical tectonic sculptural elements, meant never to be moved from their positions,
Caravaggio, The Crowning with Thorns
completed the wall decoration. Baroque is a style of unity
imposed upon rich, heavy detail.
painting is provided by the series of paintings exeThe Baroque was defined by Heinrich Wölfflin as the age cuted by Peter Paul Rubens for Marie de Medici at the
where the oval replaced the circle as the center of com- Luxembourg Palace in Paris (now at the Louvre),[15]
position, that centralization replaced balance, and that in which a Catholic painter satisfied a Catholic pacoloristic and “painterly” effects began to become more tron: Baroque-era conceptions of monarchy, iconograprominent. Art historians, often Protestant ones, have phy, handling of paint, and compositions as well as the
traditionally emphasized that the Baroque style evolved depiction of space and movement.
4
5 SCULPTURE
Baroque style featured “exaggerated lighting, intense
emotions, release from restraint, and even a kind of artistic sensationalism”. Baroque art did not really depict the
life style of the people at that time; however, “closely tied
to the Counter-Reformation, this style melodramatically
reaffirmed the emotional depths of the Catholic faith and
glorified both church and monarchy” of their power and
influence.[16]
There were highly diverse strands of Italian baroque
painting, from Caravaggio to Cortona; both approaching emotive dynamism with different styles. The most
prominent Spanish painter of the Baroque was Diego
Velázquez.[17]
Another frequently cited work of Baroque art is Bernini's
Saint Theresa in Ecstasy for the Cornaro chapel in Saint
Maria della Vittoria, which brings together architecture,
sculpture, and theatre into one grand conceit.[18]
Stanislaus Kostka on his deathbed by Pierre Le Gros the Younger
of human forms—they spiraled 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, conStill-life, by Josefa de Óbidos, c. 1679, Santarém, Portugal, Mu- cealed lighting, or water fountains. Aleijadinho in Brazil
was also one of the great names of baroque sculpture, and
nicipal Library
his master work is the set of statues of the Santuário de
The later Baroque style gradually gave way to a more dec- Bom Jesus de Matosinhos in Congonhas. The soapstone
sculptures of old testament prophets around the terrace
orative Rococo.
are considered amongst his finest work.
A rather different art developed out of northern realist
traditions in 17th century Dutch Golden Age painting, The architecture, sculpture and fountains of Bernini
which had very little religious art, and little history paint- (1598–1680) give highly charged characteristics of
ing, instead playing a crucial part in developing secu- Baroque style. Bernini was undoubtedly the most imlar genres such as still life, genre paintings of everyday portant sculptor of the Baroque period. He approached
scenes, and landscape painting. While the Baroque na- Michelangelo in his omnicompetence: Bernini sculpted,
ture of Rembrandt's art is clear, the label is less often worked as an architect, painted, wrote plays, and staged
used for Vermeer and many other Dutch artists. Flemish spectacles. In the late 20th century Bernini was most valBaroque painting shared a part in this trend, while also ued for his sculpture, both for his virtuosity in carving
marble and his ability to create figures that combine the
continuing to produce the traditional categories.
physical and the spiritual. He was also a fine sculptor of
In a similar way the French classical style of painting ex- bust portraits in high demand among the powerful.
emplified by Poussin is often classed as Baroque, and
does share many qualities of the Italian painting of the
same period, although the poise and restraint derived 5.1 Bernini’s Cornaro chapel
from following classical ideas typically give it a very different overall mood.
A good example of Bernini’s Baroque work is his St.
5
Sculpture
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.
Main article: Baroque sculpture
In Baroque sculpture, groups of figures assumed new im- Saint Theresa, the focal point of the chapel, is a soft white
portance and there was a dynamic movement and energy marble statue surrounded by a polychromatic marble ar-
5
described her bodily reaction to spiritual enlightenment in
a language of ecstasy used by many mystics, and Bernini’s
depiction is earnest.
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.
6 Architecture
Bernini's Ecstasy of St. Teresa
chitectural framing. This structure conceals a window
which lights the statue from above. Figure-groups of the
Cornaro family sculpted in shallow relief inhabit opera
boxes on 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 cran- The main altar of St. John’s Co-Cathedral, Malta
ing forward to see the mystical ecstasy of the saint.
St. Theresa is highly idealized and in an imaginary set- Main article: Baroque architecture
ting. She was a popular saint of the Catholic Reformation. She wrote of her mystical experiences for an audience of the nuns of her Carmelite Order; these writings
had become popular reading among lay people interested
in spirituality. In her writings, she described the love of
God as piercing her heart like a burning arrow. Bernini
materializes this by placing St. Theresa on a butt while
a Cupid figure holds a golden arrow 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.
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 sequence of increasingly rich interiors
that culminated in a presence chamber or throne room
or a state bedroom. The sequence of monumental stairs
followed by a state apartment was copied in smaller scale
This work is widely considered a masterpiece of the everywhere in aristocratic dwellings of any pretensions.
Baroque, although the mix of religious and erotic im- Baroque architecture was taken up with enthusiasm
agery (faithful to St Teresa’s own written account) may in central Germany (see, e.g., Ludwigsburg Palace
raise modern eyebrows. However, Bernini was a devout and Zwinger, Dresden), Austria and Russia (see, e.g.,
Catholic and was not attempting to satirize the experi- Peterhof). In England the culmination of Baroque archience of a chaste nun. Rather, he aimed to portray re- tecture was embodied in work by Sir Christopher Wren,
ligious experience as an intensely physical one. Theresa Sir John Vanbrugh and Nicholas Hawksmoor, from ca.
6
7
THEATRE
1660 to ca. 1725. Many examples of Baroque architecture and town planning are found in other European
towns, and in Latin America. Town planning of this period featured radiating avenues intersecting in squares,
which took cues from Baroque garden plans. In Sicily,
Baroque developed new shapes and themes as in Noto,
Ragusa and Acireale “Basilica di San Sebastiano”.
Another example of Baroque architecture is the
Cathedral of Morelia, Michoacán in Mexico. Built in
the 17th century by Vincenzo Barrochio, it is one of the
many Baroque cathedrals in Mexico. Baroque churches
built during the Spanish period are also seen in the
Philippines.
Francis Ching described Baroque architecture as “a style
of architecture originating in Italy in the early 17th century and variously prevalent in Europe and the New World
for a century and a half, characterized by free and sculptural use of the classical orders and ornament, dynamic
opposition and interpenetration of spaces, and the dramatic combined effects of architecture, sculpture, painting, and the decorative arts.”[19]
18th-century painting of the Royal Theatre of Turin
• Architecture
•
•
•
•
7
The term Theatrum Mundi – the world is a stage – was
also created. The social and political realm in the real
Trevi Fountain in Rome
world is manipulated in exactly the same way the actor
and the machines are presenting/limiting what is being
Wilanów Palace in Warsaw
presented on stage, hiding selectively all the machinery
Interior of the Cornaro Chapel, Santa Maria della that makes the actions happen.
Vittoria church, Rome including the Cornaro porThe films Vatel and Farinelli give a good idea of the style
traits, but omitting the lower parts of the chapel.
of productions of the Baroque period. The American
musician William Christie and Les Arts Florissants have
Peterhof Palace in Saint Petersburg
performed extensive research on all the French Baroque
Opera, performing pieces from Charpentier and Lully,
among others that are extremely faithful to the original
Theatre
17th-century creations.
In theatre, the elaborate conceits, multiplicity of plot
turns and a variety of situations characteristic of 7.1 England
Mannerism, in Shakespeare’s tragedies for instance, were
superseded by opera, which drew together all the arts into The influence of the Renaissance was also very late in
a unified whole.
England, and Baroque theatre is only partly a useful conTheatre evolved in the Baroque era and became a cept here, for example in discussing Restoration comedy.
multimedia experience, starting with the actual architec- There was an 18-year break when the London theatres
tural space. In fact, much of the technology used in cur- were closed during the English Civil War and English
rent Broadway or commercial plays was invented and de- Commonwealth until the Restoration of Charles II in
veloped during this era. The stage could change from a 1660.
romantic garden to the interior of a palace in a matter of
seconds. The entire space became a framed selected area
7.2 Germany
that only allows the users to see a specific action, hiding
all the machinery and technology – mostly ropes and pul- German theatre in the 17th century lacked major conleys.
tributions. The best known playwright was Andreas
This technology affected the content of the narrated Cryphius, who used the Jesuit model of the Dutch Joost
or performed pieces, practicing at its best the Deus ex van den Vondel and Cornielle. There was also Johannes
Machina solution. Gods were finally able to come down Velten who combined the traditions of the English come– literally – from the heavens and rescue the hero in the dians and the commedia del'arte with the classic theater
of Corneille and Moliere. His touring company was permost extreme and dangerous, even absurd situations.
7
haps the most significant and important of the 17th cen- nuevo de hacer comedias en este tiempo (1609) the new
tury.
comedy. He established a new dramatic formula that
broke the three Aristotle unities of the Italian school of
poetry (action, time and place) and a forth unity of Aris7.3 Spain
totle which is about style, mixing of tragic and comic elements showing different types of verses and stanzas upon
what is represented.[24] Although Lope has a great knowledge of the plastic arts, he did not use it during the major part of his career nor in theater or scenography. The
Lope’s comedy granted a second role to the visual aspects
of the theatrical representation.[25]
Tirso de Molina along with Lope de Vega and Caledron
were of the most important play writers in Spain during
the golden era. Their works, known for its subtle intelligence and profound comprehension of a person’s humanity, could be considered a bridge between primitive
Lope’s comedy and a more elaborate Calderon’s comedy.
Although part of the critics argued their writings showing
that Tirso de Molina was known for two flawless works,
The convicted suspicions, The Trickster of Seville, a principal sources of the Don Juan myth.[26]
Lope de Vega
The Baroque had a Catholic and conservative character
in Spain, following an Italian literary models during the
Renaissance.[20] The Hispanic Baroque theater aimed for
a public content with an ideal reality that manifested fundamental three sentiments: Catholic religion, monarchist
and national pride and honor originating from the chivalric, knightly world.[21]
Upon his arrival to Madrid, Cosimo Lotti brought to the
Spanish court the most advanced theatrical techniques
of Europe. His techniques and mechanic knowledge
were applied in palace exhibitions called “Fiestas” and in
lavish exhibitions of rivers or artificial fountains called
“Naumaquias”. He was in charge of styling the Gardens of Buen Retiro, of Zarzuela and of Aranjuez and
the construction of the theatrical building of Coliseo del
Buen Retiro.[27] Lope’s formulas begins with a verse that
it unbefitting of the palace theater foundation and the
birth of new concepts that begun the careers of some
play writers like Pedro Calderon de la Barca. Marking the principal innovations of the New Lopesian Comedy, Calderon’s style marked many differences, with a
great deal of constructive care and attention to his internal structure. Calderon’s work is in formal perfection
and a very lyric and symbolic language. Liberty, vitality and openness of Lope gave a step to Calderon’s intellectual reflection and formal precision. In his comedy it
reflected his ideological and doctrine intentions in above
the passion and the action, the work of Auto Sacramentales achieved high ranks.[28] The genre of Comedia is
political, multi-artistic and in a sense hybrid. The poetic
text interweaved with Medias and resources originating
from architecture, music and painting freeing the deception that is in the Lopesian comedy was made up from the
lack of scenery and engaging the dialogue of action.[29]
Two periods are known in the Barocan Spanish theater. The separation between them was emphasized in
1630; the first period consists of a principle representant who is Lope de Vega, and also Tirso de Molina,
Gaspar de Aguilar, Guillén de Castro, Antonio Mira de
Amescua, Luis Vélez de Guevara, Juan Ruiz de Alarcón, Diego Jiménez de Enciso, Luis Belmonte Bermúdez,
Felipe Godínez, Luis Quiñones de Benavente or Juan
Pérez de Montalbán; and in the second period Calderón
de la Barca and the other play writers Antonio Hurtado de
Mendoza, Álvaro Cubillo de Aragón, Jerónimo de Cáncer
y Velasco, Francisco de Rojas Zorrilla, Juan de Matos
Fragoso, Antonio Coello y Ochoa, Agustín Moreto or
Francisco de Bances Candamo.[22] It is possible to speak 8 Literature and philosophy
about a loosely classification, because each author had his
own way and could occasionally adhere himself to the Further information: 17th century in literature, 17th
formula established by Lope. Perhaps, the “manner” of century philosophy and Early Modern literature
Lope was more liberal and structured than Calderon’s.[23]
Felix Lope de Vega y Carpio introduced through his Arte For German Baroque literature, see German literature of
8
9 MUSIC
the Baroque period.
9
Music
Main article: Baroque music
The term Baroque is also used to designate the style of
Antonio Vivaldi, 1723
music composed during a period that overlaps with that
of Baroque art, but usually encompasses a slightly later
period.
George Frideric Handel, 1733
It is a still-debated question as 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.
The application of the term “Baroque” to music is a relatively recent development, although it has recently been
pointed out that the first use of the word “baroque” in
criticism of any of the arts related to music, in an anonymous, satirical review of the première in October 1733
of Rameau’s Hippolyte et Aricie, printed in the Mercure
de France in May 1734. The critic implied that the novelty in this opera was “du barocque,” complaining that the
music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and
speedily ran through every compositional device.[30]
However this was an isolated reference, and consistent use
was only begun in 1919, by Curt Sachs,[31] and it was not
until 1940 that it was first used in English (in an article
published by Manfred Bukofzer).[30]
Johann Sebastian Bach, 1748
Many musical forms were born in that era, like the
concerto and sinfonia. Forms such as the sonata, cantata
and oratorio flourished. Also, opera was born out of the
experimentation of the Florentine Camerata, the creators
of monody, who attempted to recreate the theatrical arts
of the Ancient Greeks. An important technique used in
baroque music was the use of ground bass, a repeated
9
bass line. Dido’s Lament by Henry Purcell is a famous
example of this technique.
• George Frideric Handel (1685–1759), Water Music
(1717), Messiah (1741)
9.1
• Domenico Scarlatti (1685–1757), Sonatas for harpsichord
Composers and examples
• Giovanni Gabrieli (c. 1554/1557–1612) Sonata
pian' e forte (1597), In Ecclesiis (from Symphoniae
sacrae book 2, 1615)
• Claudio Monteverdi (1567–1643), L'Orfeo, favola
in musica (1610)
• Heinrich Schütz (1585–1672), Musikalische Exequien (1629, 1647, 1650)
• Francesco Cavalli (1602–1676), L'Egisto (1643),
Ercole amante (1662), Scipione affricano (1664)
• Jean-Baptiste Lully (1632–1687), Armide (1686)
• Marc-Antoine Charpentier (1643–1704), Te Deum
(1688–1698)
• Heinrich Ignaz Franz Biber (1644–1704), Mystery
Sonatas (1681)
• John Blow (1649–1708), Venus and Adonis (1680–
1687)
• Johann Pachelbel (1653–1706), Canon in D (1680)
• Arcangelo Corelli (1653–1713), 12 concerti grossi,
Op. 6 (1714)
• Johann Sebastian Bach (1685–1750), Toccata and
Fugue in D minor (1703–1707), Brandenburg Concertos (1721), St Matthew Passion (1727)
• Nicola Porpora (1686–1768), Semiramide riconosciuta (1729)
• Giovanni Battista Pergolesi (1710–1736), Stabat
Mater (1736)
10 See also
• List of Baroque architecture
• Baroque in Brazil
• Czech Baroque architecture
• Dutch Baroque architecture
• English Baroque
• French Baroque architecture
• Italian Baroque
• Sicilian Baroque
• Marin Marais (1656–1728), Sonnerie de SteGeneviève du Mont-de-Paris (1723)
• New Spanish Baroque
• Henry Purcell (1659–1695), Dido and Aeneas
(1688)
• Andean Baroque
• Alessandro Scarlatti (1660–1725), L'honestà negli
amori (1680), Il Pompeo (1683), Mitridate Eupatore
(1707)
• François Couperin (1668–1733), Les barricades
mystérieuses (1717)
• Neoclassicism (music)
• Polish Baroque
• Baroque architecture in Portugal
• Naryshkin Baroque
• Petrine Baroque
• Tomaso Albinoni (1671–1751), Didone abbandonata (1724)
• Siberian Baroque
• Antonio Vivaldi (1678–1741), The Four Seasons
(1723)
• Ukrainian Baroque
• Jan Dismas Zelenka (1679–1745), Il Serpente di
Bronzo (1730), Missa Sanctissimae Trinitatis (1736)
• Georg Philipp Telemann (1681–1767), Der Tag des
Gerichts (1762)
• Johann David Heinichen (1683–1729)
• Jean-Philippe Rameau (1683–1764), Dardanus
(1739)
• Spanish Baroque architecture
11 Notes
[1] Fargis, Paul (1998). The New York Public Library Desk
Reference (third ed.). New York: Macmillan General
Reference. p. 262. ISBN 0-02-862169-7.
[2] Helen Gardner, Fred S. Kleiner, and Christin J. Mamiya,
Gardner’s Art Through the Ages (Belmont, CA: Thomson/Wadsworth, 2005), p. 516.
10
13 FURTHER READING
[3] Helen Hills (ed), Rethinking the Baroque (Farnham (Surrey) and Burlington (Vermont): Ashgate Publishing,
2011):.
[4] OED Online. Accessed 6 June 2008.
[5] “Baroque”. Encyclopædia Britannica 1911. Retrieved 20
April 2011.
[6] Panofsky, Erwin (1995). “Three Essays on Style”. The
MIT Press: 19. |contribution= ignored (help)
[7] “Baroque”. Vocabolario Etimologico della Lingua Italiana
di Ottorino Pianigiani. Retrieved 26 July 2012.
[8] Diogo Mayo (1967-09-15). “Scale Regia”.
gia.blogspot.ca. Retrieved 2013-04-20.
Scalare-
[9] Claude V. Palisca, “Baroque”. The New Grove Dictionary
of Music and Musicians, second edition, edited by Stanley
Sadie and John Tyrrell (London: Macmillan Publishers,
2001).
[24] Lope de Vega, 2010, Comedias: El Remedio en la Desdicha. El Mejor Alcalde El Rey, pp. 446–447
[25] Amadei-Pulice, 1990, María Alicia (1990). Calderón y el
barroco: exaltación y engaño de los sentidos. John Benjamins Publishing Company, p. 6
[26] Wilson, Edward M.; Moir, Duncan (1992). Historia de la
literatura española: Siglo De Oro: Teatro (1492–1700).
Editorial Ariel, pp. 155–158
[27] Amadei-Pulice, 1990, María Alicia (1990). Calderón y el
barroco: exaltación y engaño de los sentidos. John Benjamins Publishing Company, pp. 26–27
[28] Molina Jiménez, María Belén (2008). El teatro musical
de Calderón de la Barca: Análisis textual. EDITUM, p.
56
[29] Amadei-Pulice, 1990, María Alicia (1990). Calderón y el
barroco: exaltación y engaño de los sentidos. John Benjamins Publishing Company, pp. 6–9
[10] Boardman, John ed., The Oxford History of Classical Art,
1993, OUP, ISBN 0-19-814386-9
[30] Palisca 2001.
[11] Watson W. (1974), Style in the Arts of China, p. 34, 1974,
Penguin, ISBN 0-14-021863-7
[31] Sachs, Curt (1919). Barockmusik [Baroque Music].
Jahrbuch der Musikbibliothek Peters (in German) 26.
Leipzig: Edition Peters. pp. 7–15.
[12] The Columbia Encyclopedia, 6th ed. 2011
[13] “Encyclopædia Britannica: Western painting”. Britannica.com. Retrieved 2013-04-20.
[14] Shearer West (ed.) The Bulfinch Guide to Art History:
A Comprehensive Survey and Dictionary of Western Art
and Architecture. Bullfinch 1996. ISBN 0-8212-2137-X
[15] Peter Paul Rubens The Life of Marie de' Medici.
[16] Hunt, Martin, Rosenwein, and Smith (2010). The Making
of the West (third ed.). Boston: Bedford/ St. Martin’s. pp.
469
[17] González de Zarate, J. M. (1985). Las claves emblemáticas en la lectura del retrato barroco. Goya: Revista de
Arte, (187-188), 53-62.
[18] “Cornaro Chapel” at Bogelwood.com.
[19] Francis DK Ching, A Visual Dictionary of Architecture, p.
133
[20] González Mas , Ezequiel (1980). Historia de la literatura
española: (Siglo XVII). Barroco, Volumen 3. La Editorial, UPR, pp. 1–2
[21] González Mas , Ezequiel (1980). Historia de la literatura
española: (Siglo XVII). Barroco, Volumen 3. La Editorial, UPR, p. 8.
[22] González Mas , Ezequiel (1980). Historia de la literatura
española: (Siglo XVII). Barroco, Volumen 3. La Editorial, UPR, p. 13
[23] González Mas , Ezequiel (1980). Historia de la literatura
española: (Siglo XVII). Barroco, Volumen 3. La Editorial, UPR, p. 91
12 References
• Andersen, Liselotte. 1969. “Baroque and Rococo
Art”, New York: H. N. Abrams.
• Buci-Glucksmann, Christine. 1994. Baroque Reason: The Aesthetics of Modernity. Sage.
• Gardner, Helen, Fred S. Kleiner, and Christin J.
Mamiya. 2005. Gardner’s Art Through the Ages,
12th edition. Belmont, CA: Thomson/Wadsworth.
ISBN 978-0-15-505090-7 (hardcover)
• Palisca, Claude V. (1991) [1961]. Baroque Music. Prentice Hall History of Music (3rd ed.). Englewood Cliffs, N.J.: Prentice Hall. ISBN 0-13058496-7. OCLC 318382784.
• Wakefield, Steve. 2004. Carpentier’s Baroque Fiction: Returning Medusa’s Gaze. Colección Támesis.
Serie A, Monografías 208. Rochester, NY: Tamesis. ISBN 1-85566-107-1.
13 Further reading
• Bazin, Germain, 1964. Baroque and Rococo.
Praeger World of Art Series. New York: Praeger.
(Originally published in French, as Classique,
baroque et rococo. Paris: Larousse. English edition
reprinted as Baroque and Rococo Art, New York:
Praeger, 1974)
11
• Hills, Helen (ed.). 2011. Rethinking the Baroque.
Farnham, Surrey; Burlington, VT: Ashgate. ISBN
978-0-7546-6685-1.
• Hortolà, Policarp, 2013, The Aesthetics of Haemotaphonomy. Sant Vicent del Raspeig: ECU. ISBN
978-84-9948-991-9.
• Kitson, Michael. 1966. The Age of Baroque. Landmarks of the World’s Art. London: Hamlyn; New
York: McGraw-Hill.
• Lambert, Gregg, 2004. Return of the Baroque in
Modern Culture. Continuum. ISBN 978-0-82646648-8.
• Martin, John Rupert. 1977. Baroque. Icon Editions. New York: Harper and Rowe. ISBN 0-06435332-X (cloth); ISBN 0-06-430077-3 (pbk.)
• Wölfflin, Heinrich. 1964. Renaissance and Baroque
(Reprinted 1984; originally published in German,
1888) The classic study. ISBN 0-8014-9046-4
• Vuillemin, Jean-Claude, 2013. Episteme baroque: le
mot et la chose. Hermann. ISBN 978-2-7056-84488.
14
External links
• The baroque and rococo culture
• Webmuseum Paris
• barocke in Val di Noto – Sizilien
• Baroque in the “History of Art”
• The Baroque style and Luis XIV influence
• Melvyn Bragg’s BBC Radio 4 program In Our Time:
The Baroque
• “Baroque Style Guide”. British Galleries. Victoria
and Albert Museum. Archived from the original on
19 August 2007. Retrieved 16 July 2007.
12
15
15
15.1
TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
Text and image sources, contributors, and licenses
Text
• Baroque Source: https://en.wikipedia.org/wiki/Baroque?oldid=720994613 Contributors: MichaelTinkler, Mav, Ap, Andre Engels,
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15.2
15.2
Images
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Images
• File:1710-15_de_Matteis_Triumph_of_the_Immaculate_anagoria.JPG Source: https://upload.wikimedia.org/wikipedia/commons/
2/27/1710-15_de_Matteis_Triumph_of_the_Immaculate_anagoria.JPG License: Public domain Contributors: Own work, anagoria Original artist: Paolo de Matteis
• File:Aeneas’{}_Flight_from_Troy_by_Federico_Barocci.jpg Source:
https://upload.wikimedia.org/wikipedia/commons/f/f7/
Aeneas%27_Flight_from_Troy_by_Federico_Barocci.jpg License: Public domain Contributors: Web Gallery of Art, Uploaded to
en.wikipedia 03:45 28 Jul 2004 by en:User:Wetman. Original artist: Federico Barocci
• File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: CC-BY-SA-3.0 Contributors: ? Original artist: ?
• File:Estasi_di_Santa_Teresa.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/3e/Estasi_di_Santa_Teresa.jpg License:
CC BY-SA 2.0 Contributors: Flickr Original artist: [1]
• File:German_-_Brooch_of_an_African_-_Walters_57887_-_Back.jpg Source: https://upload.wikimedia.org/wikipedia/commons/
1/1c/German_-_Brooch_of_an_African_-_Walters_57887_-_Back.jpg License: Public domain Contributors: Walters Art Museum: <a href='http://thewalters.org/' data-x-rel='nofollow'><img alt='Nuvola filesystems folder home.svg' src='https://upload.
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width='20'
height='20'
srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Nuvola_filesystems_folder_home.
svg/30px-Nuvola_filesystems_folder_home.svg.png 1.5x,
https://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Nuvola_
filesystems_folder_home.svg/40px-Nuvola_filesystems_folder_home.svg.png
2x'
data-file-width='128'
data-file-height='128'
/></a> Home page <a href='http://art.thewalters.org/detail/31558' data-x-rel='nofollow'><img alt='Information icon.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png' width='20'
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1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-filewidth='620' data-file-height='620' /></a> Info about artwork Original artist: Anonymous (Germany)
• File:Haendel.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/3d/Haendel.jpg License: Public domain Contributors: Uploaded to nl.wikipedia 21 apr 2004 01:13 by nl:Gebruiker:Robbot. Original artist: Balthasar Denner
• File:Hauptaltar_der_St._John’s_Co-Cathedral.JPG Source: https://upload.wikimedia.org/wikipedia/commons/3/37/Hauptaltar_der_
St._John%E2%80%99s_Co-Cathedral.JPG License: CC BY-SA 3.0 Contributors: Own work Original artist: A,Ocram
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• File:Lope_felix_vega.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/5f/Lope_felix_vega.jpg License: GFDL Contributors: http://www.kalipedia.com/kalipediamedia/lenguayliteratura/media/200704/18/literaturacastellana/20070418klplyllic_77.Ies.SCO.
jpg Original artist: Lope de Vega
• File:Michelangelo_Merisi,_called_Caravaggio_-_The_Crowning_with_Thorns_-_Google_Art_Project.jpg
Source:
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Thorns_-_Google_Art_Project.jpg License: Public domain Contributors: yAGZLO5MaPVjfQ at Google Cultural Institute maximum
zoom level Original artist: Caravaggio
• File:Pierre_Le_Gros_(II)_-_The_Death_of_St_Stanislas_Kostka_-_WGA12562.jpg Source:
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wikipedia/commons/4/40/Pierre_Le_Gros_%28II%29_-_The_Death_of_St_Stanislas_Kostka_-_WGA12562.jpg License:
Public domain Contributors: Web Gallery of Art: <a href='http://www.wga.hu/art/l/le_gros/kostka.jpg' data-x-rel='nofollow'><img
alt='Inkscape.svg' src='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png' width='20'
height='20'
srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png
1.5x,
https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-file-width='60' data-fileheight='60' /></a> Image <a href='http://www.wga.hu/html/l/le_gros/kostka.html' data-x-rel='nofollow'><img alt='Information icon.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png' width='20'
height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/30px-Information_icon.svg.png
1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-filewidth='620' data-file-height='620' /></a> Info about artwork Original artist: Pierre Le Gros the Younger
• File:Pietro_Domenico_Oliviero_-_The_Royal_Theater_in_Turin.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/
1f/Pietro_Domenico_Oliviero_-_The_Royal_Theater_in_Turin.jpg License: Public domain Contributors: Italia, Turin, Palazzo Madama
- Museo civico d'arte antica Original artist: Giovanni Michele Graneri (Torino, 1708-1762)
• File:Prager_Burg_-_Nikolauskirche_Kuppel.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/08/Prager_Burg_-_
Nikolauskirche_Kuppel.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Wolfgang Sauber
• File:Question_book-new.svg Source: https://upload.wikimedia.org/wikipedia/en/9/99/Question_book-new.svg License: Cc-by-sa-3.0
Contributors:
Created from scratch in Adobe Illustrator. Based on Image:Question book.png created by User:Equazcion Original artist:
Tkgd2007
• File:Sant'Andrea.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/28/Sant%27Andrea.jpg License: CC BY 2.0 Contributors: Flickr Original artist: Anthony M. from Rome, Italy
• File:Vivaldi.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/bd/Vivaldi.jpg License: Public domain Contributors: (Old image: Taken from the en.wikipedia) Original artist: Unknown<a href='//www.wikidata.org/wiki/Q4233718'
title='wikidata:Q4233718'><img
alt='wikidata:Q4233718'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/
Wikidata-logo.svg/20px-Wikidata-logo.svg.png' width='20' height='11' srcset='https://upload.wikimedia.org/wikipedia/commons/
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Contributors: Rei-artur Original artist: Nicholas Moreau
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