Historical Baroque era. This is a bizarre Baroque

Ticket 21.

Arkhetics and sculpture Baroque. Creativity Dzhan Lorenzo Bernini.

Basic baroque features.

Baroque - style in art, architecture, literature that originated in Italy.

Baroque style combines two concepts: lifestyle and style. The main features of Baroque are puff and flowery, grandeur and solemnity, luxury and splendor.

This style is characterized by the dynamics, the intensity of feelings, tension and contrast, the reality in it is combined with a fantasy. Baroque inspired sensually physical enjoyment of life.

Baroque style Basic features

The main features of Baroque, perhaps, are dynamic shapes and lines curves. It is characterized by contrasts of rhythms and scale, light and shadow, materials and textures. In this style, the passion for allegories, likenments, complex metaphors and other expressive artistic forms is viewed.

The baroque architecture loses its harmonious equilibrium, and the circle becomes oval, the square is a rectangle, the centric is replaced by the extended. Instead of balanced proportions, complex constructions and varieties of forms appear. At the same time, the axis and symmetry are dominated in the baroque architecture.

The Baroque man appears a multifaceted person with a rich and complex inner world and dramatic experiences. The art of Baroque is characterized by realism, with which a person is depicted. Conflict, tension and movement are abounded in Baroque. A vivid example is the sculpture of "Abduction of Proserpina" Bernini.

It is a highly ornamental style with a strong harmonious basis.

He was distinguished by expressiveness, abundance of decor, pomp and excess in everything. Painting, sculpture, architecture united in new spatial relationslike real and illusory.

Baroque style has the following specific traits:

Main topics - mythology and religion

Lexicon has enriched in spoken and foreign words

Use of complex metaphors and epithets

Visible speaker

Using contrasts

A variety of genres

Architectural structures are different from each other and have an individual style.

Many decorations and gold elements

The viewer must be amazed, surprised and enlightened by the work of art.

Everything should be huge and great

Almost complete absence of straight lines

Abundance of curves of lines, rounded and wave-like forms

Monumentality

Allegoria.

Opposition

Emotionality and sensuality

Search for a person in the world, questions of being

Complex syntax

Unusual and uniqueness

Nagrancy and theatricalness

Introduction

IN modern world In almost all spheres of artistic activities are used already formed styles. So the Baroque style is used in a variety of arts and decorative applied creativity. For example, to this day, the veiled baroque style patterns are used in jewelry, ornaments and patterns are used when painting tissues. High levels of the use of baroque decor in the interior decoration. The use of knowledge about the stylistic features of the baroque can allow schoolchildren to perform interesting tasks within the specified style. For example, the creation of ornaments, compositions from plant elimination, the use of these developments in the modeling, embroidery, sewing dolls, decoration of household goods, clothing, furniture can develop and increase schoolchildren's skills, and it is possible that even bring the novelty to such a certain and formed style as baroque.

Definition

Baroque (ITAL. BAROCCO, literally - fancy, strange), one of the dominant styles in the architecture and art of Europe and Latin America of the end of the 16th - mid-18th century. Baroque embodied new ideas about the unity, infinity and diversity of the world, about his dramatic complexity and eternal variability; His aesthetics was built on the collisions of man and peace, ideal and sensory, reason and irrationalism. The art of baroque is characterized by gradation, pomp and dynamics, pathetic elevation, intensity of feelings, addiction to spectacular entertainment, combining illusory and real, strong contrasts of scale and rhythms, materials and textures, light and shadow. Comprehensive character acquired in the Baroque synthesis of arts in the era: city ensembles, palaces and churches Thanks to the bizarre plastic of the facades, a restless game of lighting, complex curvilinear plans and abisses acquired painting and dynamism, as if fused into the surrounding space; The interiors of the buildings were decorated with a multicolor sculpture, smearing, carvings, mirrors and paintings illusively expanded the space, and the painting of the plafoons created the effect of expressed archs. IN fine art Baroque idealization of images is combined with unexpected compositional and optical effects, reality - with fantasy, religious affectation - with emphasized sensuality.

Prerequisites and historical Baroque style formation

Formation historic style Baroque is primarily due to the crisis of the ideals of Italian revival in the middle of the XVI century. and the rapidly changing "picture of the world" at the turn of the XVI-XVII centuries. At the same time, the new art of the Baroque style has grown on the forms of classicism of the Renaissance. The previous century in Italy was in an artistic attitude so strong that his ideas, despite all the tragic collisions, could not disappear suddenly, they continued to have a significant impact on the minds of people. And the masterpieces of the art "High Renaissance" - the works of Leonardo da Vinci, Michelangelo, Rafael - seemed unattainable. This is the essence of all the contradictions of the Baroque era. It was the time of painful changes in worldview, unexpected turns of human thought, partly caused by the great geographical and natural science discoveries. The ideological basis of the new style was the weakening of the spiritual culture and the spiritual power of religion, the split of the Church (on Protestants and Catholics), the struggle of various creeds reflecting the interests of various classes: Catholicism expressed feudal trends, Protestantism - bourgeois. At the same time, the state acquires a big role, respectively, the struggle of religious and secular began. The ideological foundations of the style have developed as the result of the shocks, which were in the XVI century. Reformation and teaching Copernicus. The idea of \u200b\u200bthe world's understanding of the world, as well as a reasonable and constant unity, as well as the Renaissance idea of \u200b\u200ba person, as a reasonable creature, has changed. The person began to consult himself "something mean between all and nothing" according to Pascal's expression, "those who catch only the appearance of phenomena, but it is not able to understand their starts or their end." In 1445, I. Gutenberg marked the beginning of a typography, in 1492 X. Columbus opened America, Vasco da Gama in 1498. - Sea path to India. In 1519-1522 Magellan made the first round-the-world swimming, by 1533 the opening of the Earth's movement around the Sun began to conquer recognition. Research Galilee, Kepler and Newtonian "Heavenly Mechanics" destroyed the previous habitual ideas about a closed and stationary world, in the center of which land and man himself is. The fact that it used to seemed absolutely clear, unshakable and eternal, it became literally to crumble in front of her eyes. The belief that the Earth is a ball, and even revolves around the Sun contradicted with visual impressions. The man continued to see still: a flat fixed earth and the movement of the heavenly bodies above his head. He felt the hardness of material objects, but scientists began to prove it as if it was just visibility, and in fact - nothing else like a lot of pulsating power centers. It was from what to come to confusion. But, one way or another, these sciences have come to a contradiction with experience and visible peace. There was an irrevocable psychological dormant - the basis of the future Baroque style. At the end of the XVI - early XVII centuries. The discoveries in the field of natural and accurate sciences significantly stagged the image of a completed, stationary and harmonious universe, in the center of which - the "crown of creation" - the person himself. If most recently, in the era of the Renaissance, Picodella Picodella, Mirandol, argued in the "speech about the dignity of man", which is in the very center of the world a man of omnipotent and can "win everything and own, what wishes", then in the XVII century Vlez Pascal wrote his famous Words: a man is just a "thoughtful reed", his sat down is tragic, since, being on the verge of two abdomen "Infinity and non-existence," he is unable to reach either something or the other, and it turns out to be the average between all and nothing. It catches only the appearance of phenomena, because they are unable to know their beginning nor the end. " And these are the words of the Great Mathematics! What are the opposite judgments on the same subject! Even earlier, in the first third of the XVI century, the person began to acutely feel the contradiction between visibility and knowledge, ideal and reality, illusion and truth. It was during these years that the views were made, according to which, than the wrong-like, the work of art, the sharper it differs from the observed in life, the more interesting, more interesting from an artistic point of view. On the territory of Italy, foreigners are beginning to host - Spaniards and French. They dictate policies, etc. Exposed Italy did not lose the height of their cultural positions - it remains the cultural center of Europe. She is rich in spiritual forces. Power in culture manifested itself with adaptation to new conditions. The center of the Catholic world is Rome. Thanks to these circumstances, the church needs that their strength and consistency see everything. There was no money on the construction of Palazzo, it was not known to know to create the illusion of power and wealth. The style that can be elevated is popular, like this in the XVI century, Baroque occurs in Italy. The Baroque era rejects traditions and authorities as superstitions and prejudices. True, everything that "clearly and clearly" thinks or has a mathematical expression, declares the philosopher Descartes. Therefore, Baroque is a century of mind and enlightenment.

Characteristic features, Baroque style ideology

Distinctive features of Baroque are spatial scope, pomp, splendor and luxury. Note that the variability and game of images of this style can be compared with the marine sink, in honor of which this style was named. Exquisite magnificence and superiority returns to the decoration of houses after simplicity and minimalism in the decoration of the premises. The Baroque era gives rise to a huge amount of time for entertainment: instead of pilgrimage - Promenade (walks in the park); Instead of knightly tournaments - "Carousel" (horseback riding) and card games; Instead of Mysteries - Theater and Masquerad Ball. You can add another appearance of swings and "fiery fun" (fireworks). In the interiors, the place of icons took portraits and landscapes, and the music from the spiritual turned into a pleasant sound game. Baroque contrast, tension, dynamism of images, affectation, desire for greatness and pomp, to combining reality and illusion, to the merger of the arts (urban and palace-park ensembles, opera, cult music, oratorio); At the same time, the trend towards the autonomy of individual genres (Concerto Grosso, Sonata, Suite in Tool Music). In painting, the emotional, rhythmic and colorful unity of the whole, relaxed freedom of smear, in the sculpture - the pictorial fluidity of the form, the feeling of variability of the image was great importance. In the homeland of Baroque, in Italy, the most vivid and complete embodiment, this style found in full religious and sensual affectation of the works of architect and sculptor Lorenzo Bernini, the architect Francesco Borrison, painter Pietro and Corton; Later he evolved to the fantasticity of the Gvarini Gvarino, the painting of the painting Salvatore Rosa and Alessandro Manya, the dizzying ease of painting Giovanni Batista Tapolo. In Flanders in the painting of such artists, like Jan Siterhts, Peter Paul Rubens, Antonis Wang Dyk, Jacob Yordans, David Tenirs, and in Holland in the canvases of Rembrandt Wang Raina, Gerard Terborh, Yana Vermeer, Gerrita Wang Honthorst, Hendrik Averkpa, França Hals, Jacob Reyzdala, Peter de Hookh emotionality and the expression of Baroque merged with a powerful life-affirming principle. In Spain in the 17th century, some Baroque features appeared in the ascetic architecture of Juan Bautista de Errera, in the painting of Diego Velasquez, Huspé de Ribers and Francisco Surbaran, Sculpture of Juan Martines Montanes; They reached extraordinary complexity and decorative sophistication in the 18th century in the buildings José Benito Churgerger. A kind of interpretation Barochko received in Austria (architects Johann Bernhard Fisher von Erlah and Johann Lucas Background Hildebrand, painter Franz Anton Maulberch) and Germans (architects and sculptors Balthazar Neuman, Andreas Sing, Matteus Daniel Pöppelman, Brothers Azam, the family of architects of Dinsenchofers who also worked In the Czech Republic), as well as in Poland, Slovakia, Hungary, Lithuania, Russia and other European countries. In the first half of the 18th century, Baroque evolves to the graceful ease of Rococo style, coexists and intertwined with it, and from the 1770s it is universally displaced by classicism.

Baroque distribution

In the 17th century, Rome was the capital of the world in the field of art, attracted artists of the whole of Europe, so Baroque art soon spread beyond the "eternal city". The deepest roots outside Italy Baroque style was allowed in Catholic countries. In each country, Baroque art was fueled by local traditions. In some countries, it became more extravagant, such as, for example, in Spain and Latin America, where the style of architectural decoration, named ChurrieceSko developed; In others, he was fed to more conservative tastes. Baroque style gets spread in Spain, Germany, Belgium (Flanders), the Netherlands, Russia, France. In the Catholic Flanders, the Baroque art bloomed in the work of Rubens, on Protestant Holland, it did not have such a noticeable influence. True, the mature works of Rembrandt, extremely living and dynamic, are clearly marked by the influence of baroque art. In France, it brighter expressed himself in the service of the monarchy, not the church. Louis Xiv understood the importance of art as a means of glorifying royal power. His adviser in this area was Charles Lebrene, who led by artists and decorators who worked in the Palace of Louis in Versailles. Versailles with his grand combination of lush architecture, sculptures, painting, decorative and landscaped art showed one of the most impressive examples of fusion of the arts.

For the Baroque architecture (L. Bernini, F. Borrombini in Italy, B.F. Rastrelli in Russia) are characterized by spatial scope, mucifice, fluidity of complex, usually curvilinear forms. The Baroque architecture is to the solemn "big style", to the underlined monumentality, is based on the submission of complexity, diversity, the volatility of the world, reflects the greatness of the Pope and the Catholic Church, as well as the power and luxury of monarchs and a large aristocracy. At this time, they erected catholic temples , urban and country palace-park ensembles - Square in front of St. Peter's Cathedral in Rome, Country villas in Italy. The main features of the buildings are a complex curvilinear plan and outlines of the lines, the fancy of the plastic facades, the use of complex diverse and scenic forms based on an oval, ellipse and semicircle, semi-curvous windows, torn frontones, paired columns and pilasters, massive front stairs, spatial scope of complexes, fusion of art (architecture, sculptures, painting), interior decorative, the use of mirrors in the design of the premises. The order is applied as a decorative plastic shape on a par with sculpture. Properties of buildings are extreme painting (personality), contrast, tension, dynamism of images and fluidity of complex usually curvilinear forms, desire for deliberate pomp, to combining reality and illusion. Often there are deployed large-scale colonnades, abundance of sculptures on the facades and in the interiors, volitions, a large number of low-slip, ample facades with a platoon in the middle, rustered columns and pilasters. The dome acquire complex forms, often they are multi-tiered, like the Cathedral of St. Peter in Rome. Characteristic details of Baroque - Tewamon (Atlant), Caryatida, Maskaron. In the Italian architecture, the most prominent representative of the Baroque art was Carlo Madern (1556-1629), which broke with mannerism and created his own style. His main creation is the facade of the Roman Church of Santa Susanna (1603). The main figure in the development of the baroque sculpture was Lorenzo Bernini, whose first masterpieces performed in the new style belong to approximately 1620. Kwintessenia Baroque, an impressive merge of painting, sculptures and architecture is considered to be Capella Kranaro in the Church of Santa Maria della Victoria (1645-1652) . The most prominent Italian contemporaries of Bernini during this period of Mature Baroque were architect Borrombini and the artist, and the architect Pietro and Corton. Andrea del Pozzzo (1642-1709); Plafon painted in the Church of Sant Inyazio in Rome (St. Ignatia Loyola's apotosis) is the culmination of the trend of Baroque to pompous magnificence. Spanish Baroque, or local Churriecezko (in honor of the architect Churgeriera), also spread in Latin America. The most popular monument to his cathedral in Santiago de Compostela is also one of the most revered by the believers of Spain's temples. In Latin America, Baroque was mixed with local architectural traditions, it is the most sophisticated version, and called it ultrabarakko. In France, Baroque style is more modest than in other countries. Previously it was believed that here I did not receive the style at all, and Baroque monuments were considered classicism monuments. Sometimes they use the term "baroque classicism" in relation to the French and English variants of Baroque. Now the Versailles Palace together with a regular park, the Luxembourg Palace, the building of the French Academy in Paris, and others, are counted for French baroque. They really have some features of classicism. In Belgium, an outstanding monument Baroque is the Grand Place ensemble in Brussels. Baroque features have a house of Rubens in Antwerp, built on the artist's own project. In Russia, Baroque appears in the XVII century ("Naryshkin Baroque", "Golitsyn Baroque"). In the XVIII century, the Board of Peter I receives development in St. Petersburg and suburbs in the works of D. Trozini - the so-called "Petrovskoy Baroque" (more restrained), and reaches a heyday of Elizabeth Petrovna, S.I. Chevakinsky and B. Rastrelli. In Germany, a new palace in San Sousi is an outstanding monument in Germany (authors - I.G. Bering, H.L. Mantter) and the Summer Palace there (G.V. Knobelsdorf). The largest and most famous baroque ensembles in the world: Versailles (France), Peterhof (Russia), Aranjuez (Spain), Zwinger (Germany), Schönbrunn (Austria).

Baroque in painting

At the origins of the tradition of Baroque art in painting, there are two great Italian artists - Caravaggio and Annibal Karracchi, who created the most significant work in the last decade of the 16th century - the first decade of the 17th century. For Italian painting of the late 16th century, unnatural and style uncertainty are characteristic. Caravaggio and Carragechi their art returned to her wholeness and expressiveness. In the Italian architecture, the most prominent representative of the Baroque art was Carlo Madern (1556-1629), which broke with mannerism and created his own style. His main creation is the facade of the Roman Church of Santa Susanna (1603). The main figure in the development of the baroque sculpture was Lorenzo Bernini, whose first masterpieces performed in the new style belong to approximately 1620. Kwintessenia Baroque, an impressive merge of painting, sculptures and architecture is considered to be Capella Kranaro in the Church of Santa Maria della Victoria (1645-1652) . Michelangelo Merisi (Caravaggio) (1571-1610) consider the most significant master among Italian artists who created at the end of the XVI century. New style in painting. His paintings written in religious stories resemble realistic scenes with a modern life author, creating contrast of the times of late antiquity and new time. Heroes are depicted in the twilight, from which the rays of the light, snatch expressive gestures of characters, contrasting their characterity. The followers and imitators of Caravaggio adopted the rustling of the senses and the characterity of the manner of Caravaggio, as well as his naturalism in the image of people and events. For art, Spain is characterized by decorativeness, capriciousness, sophistication of forms, dualism of the ideal and real, bodily and ascetic, jumble and stamping, elevated and funny. Among the representatives of Baroque in Spain: Domenico Teotokopuli (El Greco). He was deeply religious, so in his art presented numerous options for religious plots and festivals: "Holy Family", "Apostles Peter and Paul", "The Descent of the Holy Spirit", "Christ on the Maslenniki Mountain". El Greco was a magnificent portraitist - the depicted he interpreted as an irreal, fantastic, imaginary. Hence the deformation of the figures (elements of gothic), limit colorful contrasts with the predominance of dark colors, the game of lighting, a feeling of movement. Diego Velasquez (1599-1660) is a magnificent master of psychological portrait, painter of characters. Its paintings are distinguished by the multifigure complexity of compositions, multiple, limit detail, excellent color possession. The flushed period of the Flemish Baroque accounted for 1 field. XVII century. The legislator in the new style was Rubens. In the early period, the baroque stylist is perceived by Rubens through the prism of Painting Caravaggio - "Evolve Cross", "Removing from the Cross", "Abduction of the Daughters of Levkipp". The transition to the mature phase of artist's creativity was a large order of the cycle of paintings "Life Mary Medici". Pictures of theatrical, allegorical, manner of writing expressive. In the last period of Creativity, Rubens continues the theme of the Vakhanalia - "Vakh" - frankly bodily perception of life. In addition to Rubens, confession achieved another master of Flemish Baroque, Wang Dyk (1599-1641). With the work of Rubens, a new style came to Holland, where France Hals (1580 / 85-1666), Rembrandt (1606-1669) and Vermeer (1632-1675). In Spain, in the manner of Caravaggio, Diego Velasquez (1599-1660) was created, and in France - Nikola Poussin (1593-1665), who, not satisfied with the Baroque school, laid in his work the foundations of the new flow - classicism. In the Netherlands there were several schools of painting, uniting major masters and their followers: Franz Hals - in Kharlem, Rembrandt - in Amsterdam, Vermeer - in Delft. In the painting of this country, Baroque was peculiar, focusing not on the emotions of the audience, but on their calm, rational attitude to life. Rembrandt It was emphasized in the following words: "Sky, Earth, Sea, Animals, People, - All this is used for our exercise."

"Father Baroque"

The "father of Barochko" consider the Italian sculptor and architect Michelangelo Buonaroti - Capella Medici in Florence (1520-1534). The Great Michelangelo and the expression of its individual style in one moment destroyed all the usual ideas about the "rules" of the drawing and composition. The mighty figures written to them on the ceiling visually "destroyed" the visual space allotted for them; They did not match the scenario, nor the space of the architecture itself. Everything was anticlassically here. J. Vazari, the famous chronicler of Renaissance, amazed, like others, called this style "bizarre, out of a series of outgoing and new." Other works of Michelangelo: the architectural ensemble of the Capitol in Rome, the interior of the Capelich Capeli and the Lorenzo Library Lobby in Florence - demonstrated classic forms, but everyone in them was covered by extraordinary tension and excitement. Old architecture elements were used in a new way, first of all, not in accordance with their constructive function. So in the lobby of the library San Lorenzo Michelangelo did something completely inexplicable. The columns are dwined, but are harnessed in the deepening of the walls and do not support anything, so their capitals are some strange endings. Hanging volute-consoles do not fulfill any function at all. On the walls - imaginary, deaf windows. But most of all surprises the lobby staircase. According to the witty remark, Ya Burkhardt "It is only suitable for those who want to break her neck." On the parties, where it is necessary, the stairs have no railing. But they are in the middle, but too low so that you can rely on them. The extreme steps are rounded with completely useless curls at the corners. The staircase itself fills almost all the free space of the lobby, which is generally contrary common senseShe does not invite it, but only sunbathing the entrance. In the draft Cathedral of St. Peter (1546) Michelangelo, in contradiction, began construction of Bramte, subjugated all the architectural space to the central dome, making the construction dynamic. Pillar beams, dual columns, dome ribs depict a consistent, powerful movement sweep. In comparison with the sketches of Michelangelo, the artist Dzhacomo della Port in 1588-1590. strengthened this dynamics to sharpen the dome; He made him not hemispheric, as was taken in the art of revival, but an elongated, parabolic. Indeed, Michelangelo is a genuine "Baroque Father", because in his statues, buildings, drawings occur at the same time, a refund to the spiritual values \u200b\u200bof the Middle Ages and the consistent opening of new formation principles. This brilliant artist, having exhausted the possibilities of classic plastics, in the late period of his work created invisible previously expressive forms. Its titanic figures are shown not according to the rules of plastic anatomy that served the norm for the same Michelangelo of all ten years ago, but according to other, irrational forms, caused by the fantasy of the artist himself. One of the first signs of Baroque art: reducing money and mixing scale. The "Sikstinsky Plafon" Michelangelo is because it is the first product of the Baroque style that there has been a collision of drawn, but sculptural on the conbundance of figures, and an incredible architectural frame, written in the ceiling, not at all agreed with the real space of architecture.

3) Baroque style originated in France.

4) Baroque did not spread almost anywhere in Europe.

5) Michelangelo - "Baroque Father".

6) Baroque style was formed in the 14th century.

4. The painting of which architectural object is shown in the picture?

5. Try to portray your favorite flower or a baroque plant.

6. Alone, find several baroque ornaments and make your pattern (as a house. Tasks)

Answers on questions

1. Baroque (ITAL. BAROCCO, literally - fancy, strange), one of the dominant styles in the architecture and art of Europe and Latin America of the end 16 - mid-18th century. Baroque is characteristic of grandeur, pomp and dynamics, pathetic element, intensity of feelings, addiction To spectacular entertainment, combining illusory and real, strong contrasts of scale and rhythms, materials and textures, light and shadow.

2. The first historical event of the preceding the appearance of Baroque was the era of the enjoyment. New discoveries changed worldview in the art of the Renaissance. Inexpensiveness of works by the artists of Renaissance spawned a crisis in art, due to which Baroque and formed as a style.

3. In Italy.

4. The art of baroque is characteristic of gradation, pomp and dynamics, pathetic element, intensity of feelings, addiction to spectacular entertainment, combining illusory and real, strong contrasts of scale and rhythms, materials and textures, light and shadow. Baroque peculiarity of the contrast, tension, dynamism of images, affectation, desire for greatness and pomp, to combining reality and illusion

5. For Italian painting of the late 16th century are characteristic of the unnaturalness and style uncertainty. Caravaggio and Carragechi their art returned to her integrity and expressiveness. The art of Spain is characterized by decorativeness, capriciousness, sophistication of forms, dualism of the ideal and real, bodily and ascetic, jumped and stubborn, elevated and funny.

6. Caravaggio, Carragechci, El Greco, Michelangelo, Velasquez, Vermeer, Wang Dyk, etc.

7. Enjoyed specially popular in Catholic countries, as well as in Latin America and in almost all of Europe. France, Germany, Netherlands, Spain, Russia, etc.

8. Revival.

9. Rococo.

10. Michelangelo.

Answers to tasks

1. 1 - Caravaggio. Position in the coffin.

3 - Jan Vermeer. Girl in turban.

4 - Antonis Wang Duck. Samson and Dalila.

2. Upness, Baroque, Rococo, Classicism.

4. Painting of the Sicastin Capella.

5. Examples of patterns for the task.

Basic signs of Barochko

The main signs of Baroque considered increased and underlined monumentality, the representativeness, which to some extent was self-adhesive qualities and were achieved often with artificial means. In an effort to create the impression of monumentality, representativeness, paintings, the dynamics of forms, cause the feeling of unusualness and surprise in the perception of architecture, the architects proceed primarily from the exterior plastic appearance (having in mind and exterior and interior).

Baroque marked:

Complication of volumes and space, mutual intersection of various geometric forms,
- the predominance of complex curvilinear forms in determining plans and facades of structures,
- alternation of convex and concave lines and planes
- active application of sculptural and architectural and decorative motifs;
- uneven distribution of architectural funds;
- Creating a rich game of lighting, color contrasts
- Dynamic of architectural masses.

An irrationality comes to change the rationality of the Renaissance. The architect baroque explicitly prefer the decorative start of architecture. Baroque in architecture is characterized by a priority, a predominance of a plastic beginning above the beginning of tectonic. In an effort to create an unusual, higher-emotional architectural effect, they often neglected the logic of plans constructions, allowed inconsistencies between the external volumes and the internal structure of the structure. The design in the creative consciousness of architects in most cases would be moved to the background, being necessary, but still auxiliary means designed to "ensure", maintain one or another plastic form. The design is usually covered with decorative parts that often create an opinion on it. Facades are able to "obstruct" the bulk of the building. Orders are considered only as elements, decorating structures. In the architecture of this time, the spread is obviously deconstructive parts - broken: frontones, volitions, etc.

The illusion of the movement of space and shape, the so-called dynamic principle is the main feature radical Directions in Baroque. Simultaneously with him, Baroque gets great development classic directions. The classical direction proceeds from the Renaissance traditions, whose ideas are developing theoretically and practically. Despite the differences, both directions are united in the desire to create huge spaces that have a strong impact on human feelings and emotions. During the XVII and XVIII centuries. Both directions exist in parallel with some predominance of one or another in individual countries.

In the defining structures of the XVII - the first half of the XVIII century, a monumental sculpture and monumental painting, as well as various types of applied art acquire a particular development and diversity. In painting and sculpture, the tops take the onset of decorative, multidimensional compositions prevail with features of strongly pronounced dynamics, with complicated generalizing lines, rhythms. The image of a person is preferred by stress, exaltation, increased drama. The synthesis of arts in Baroque was different than before, in the Renaissance era, character. In the architecture of the Renaissance for works of painting and sculpture, certain places were allocated - part of the wall, a ceiling, etc. Working art, limited to the site allotted by him, harmonized with architecture, complementing and enriching it. In Baroque facilities, painting and sculpture "do not fit" in certain frameworks, they go beyond their limits, do not obey architecture and seek to "twist" it. There was no peaceful cooperation, and the dispute, struggle and opposition to each other certain types of arts.

italian. - Freaky) - direction in the art of the end of the XVI - Ser. XVIII centuries, associated with the noble-church culture of the spell of absolutolism, aspiring the reflection of the magnifies, pomp, parade.

Excellent definition

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Incomplete definition ↓

BAROQUE

(Ital. Barocco - fancy, strange, quaint) - one of the main artistic styles In the art of Europe and America, the end of the XVI-reviews of the XVIII centuries, which are inherent expressiveness, pomp, dynamics. The style originated in Italy, and then spread in a number of countries in Europe. Many types of art were influenced by this style, but he had the most powerful influence on architect-ru, painting and sculpture. The main artistic goal of Baroque was the desire to hit the imagination and feelings of the audience, cause them a feeling of non-conventional and surprise. This goal was achieved through contrasts, decorativeness, pomp and elegacity, increased emotionality, expression and grace of forms.

The art of Barochko was based on some features of the Renaissance - life-affirming nature, energy, and the synthesis of arts. Therefore, the baroque is characteristic of the high stag of the interpenetration of architecture, sculpture, painting. This syntheticism is a fundamental baroque feature, while inherent in constructivity, tensions, fusion of illusion and reality, elevated and domestic, ideal and material. The art of Baroque is also distinguished by pomp and exaltation of images.

The painting of this style prevailed decorative compositions of a religious, mythological or al-leggue, parade portraits in which artists safely used light contrasts and impressive compositions. At the same time, rhythmic and color unity were of great importance, the picturesque integrity of the composition, the free, temperamental creative manner of artists. The most famous representatives of this style in painting were M. Karavaggio, P. Rubens, D. Velasquez, Wang Dyk, I. Nikitin, A. Antropov.

The architecture of Baroque is characterized by a powerful spatial scope, the complexity of the forms merging with each other, the curvature of plans and chassions, and the surrounding space. Decorations acquired sophistication. The space of premises is illusively expanded thanks to a restless game of lighting. It was in the baroque era of the city and palace and park ensembles. L. Bernini, F. Borrombini, G. Guvarini, B. Rastrelli, D. Ukhtomsky, S. Chevakinsky, became prominent architectors. By the number of architectural masterpieces Baroque include the Church of St. Carla Borryei in Vienna, the Palace Zwinger in Dresden, the Winter Palace and the Smolny Monastery in St. Petersburg, the Anmbabli of the Tsarist village.

In the music of Baroque is characterized by the strengthening of dramatic sound, an expression of deep spiritual experiences of a person, the statement of new musical means. The formation of a baroque in music has occurred with the help of "Camerats" - combining poets and musicians, striving to revive the antique tragedy and embody her features in Opera in Florence. As a result, Sonata, Suite, as well as the genres of vocal - Opera, Oraztia, Cantata were obtained in music. From the most famous composers to the Baroque style, A. Vivaldi, I. S. Baha, Greek, is counted. Terr-min "Baroque" was widespread thanks to the Swiss historian Jacob Burkhard, who in the XIX century. Used him in a dismissive sense as "sophisticated."

Masters of the Baroque era sought to synthesis different species Arts (architecture, sculptures, painting), to the creation of an ensemble, which often included elements of wildlife, transformed by the fantasy of the artist: water, vegetation, wild stones, thoughtful effects of natural and artificial lighting, which caused the heying of garden-park architecture. In the baroque buildings, the structure of the architectural order was preserved, but instead of clear ordering, calm and dimension, characteristic of the classics, the forms have become fluid, movable, acquired complex, curvilinear outlines. The straight lines of the eaves "burst"; The walls were crushed by columns collected in bundles and abundant sculptural jewelry. Buildings and squares actively interacted with the surrounding space (D. L. Bernini. Ensemble of St. Peter's Cathedral Square in Rome, 1657-63; Church of Sant Andrea Al Quirinale in Rome, 1653-58; F. Borrombini. Church of San Carlo Alla Koatro Fountain in Rome, 1634-67; G. Guvarino. Church of San Lorenzo in Turin, 1668-87).

For the sculpture, the baroque is characterized by special advanations, realness in the interpretation of forms, virtuoso, reaching illusiveness, demonstration of the textures of depicted objects, the use of various materials (bronze, gilding, multicolored marbles), contrasts of light and shadow, stormy emotions and movements, gesture and mimic patterns ( D. L. Bernini, Brothers K. D. and E. K. Azam).

Baroque painting is characterized by monumentality and spectacular decorativeness, the neighborhood of perfectly sublime (Brothers Carragechi, Reni, Griefly) and landedly ordinary (Caravaggio). The most fully baroque principles were manifested in magnificent front portraits (A. Van Deken, Rigo); In luxury still lifes, who were the abundant gifts of nature (F. Sneiders); In the allegorical compositions, where the figures of rulers and the venels were adjacent to the images of the ancient gods, personified the virtues of portrayed (P. P. Rubens). The bright flourishing was experiencing a floating (ceiling) painting (frescoes of the Sant Inyazio church in Rome A. Del Pozzo, 1685-99; Plafaf Palazzo Barberini in Rome P. Yes Corton, 1633-39; Palazzo Labi in Venice J. B. Tapolo, Ok. 1750). Baroque Plafones created the illusion of the disappearance of the roof, the "breakthrough" in heaven with whining clouds, which was carried out in the rapid colorful whirlpool of the crowd of mythological and biblical characters. Contribution with the Baroque stylist detects the work of the largest masters of 17 W .: D. Velasquez, Rembrandt, F. Khals, and others.

In Russia, Baroque elements appeared later than in Europe, in the second floor. 17th century - In the painting of Yaroslavl churches, in decoratively applied art, in buildings, etc. N. Naryshkinsky Baroque, the traditions of which developed in his work I. P. Zherryny (Menshikova Tower in Moscow, 1704-07). The active penetration of style in Russian culture occurs with the beginning of Petrovsky transformations in the first decades of the 18th century; In the 1760 E GG. Baroque is replaced by classicism. At the invitation of Peter I, many foreign masters arrive in Russia: Architects D. Trezini, A. Gaiter, G. I. Mattarnovi, N. Miketi, Sculptors N. Pinot, B. K. Rastrelli, Paints I. G. Tannaauer, L. Karavak, engravers A. Schonebek, P. Picar and others.

In accordance with the personal tastes of Peter, visitors and domestic artists focused mainly to a more discreet version of Baroque, which established in Holland; Russian art remained alien to the mystical exaltation of the works of Italian masters. In Russia, Baroque adjacent to the baroque (and often intertwined) not with classicism, as it was in Europe, but with an emerging rococo. The leading genre of painting was the portrait. The stylistics of Baroque penetrated the entire system of registration of holidays and celebrations of the beginning of the 18th century, which pretended to the kingdom of Peter I (illumination, fireworks, which were erected from temporary materials, triumphal arches, richly decorated with decorative painting and sculpture). The leading baroque sculptur in Russia was Italian B. K. Rastrelli. In its portraits and monuments, the solemn elevation of the image, the complexity of the spatial composition is combined with the jewelry subtlety in the performance of parts ("Empress Anna Ioannovna with Arapchonkom", 1741). A bright sample of baroque naturalism - created by the raster of the "wax person" of Peter I (1725).

In Russian painting of the Petrovskaya era (I. N. Nikitin, A. M. Matveyev) The influence of Baroque is felt in special rates, increased internal energy of portrait images.

Baroque flourishing in Russia fell on the reign of Elizabeth Petrovna (1741-61). The brightest embodiment of the style in the architecture was the solemn, full of life-affirming pathos building, created by B. F. Rastrelli (Winter Palace, 1732-33; Palaces M. I. Vorontsova, 1749-57, and S. G. Stroganova, 1752-54, in St. Petersburg). In the grand gardening of park ensembles in Peterhof (1747-52) and Tsarskoye village (1752-57), the synthesis of architecture, sculptures, painting, decorative and applied and landscape art was fully embodied. Bright - blue, white, gold - paints of palace facades; Water cascades and fountains in parks with their inappropriate noise and incessant movement of falling water, reflecting afternoon sun glare, and at night, the ghost fireworks fireworks, - everything created a festive sight. In the church architecture of Rastrelli, the traditions of European Baroque and Old Russian architecture were united (Smolny Monastery in St. Petersburg, 1748-54). Leading baroque architects of the middle of the 18th century. S. I. Chevakinsky, who worked in St. Petersburg (Nikolsky Naval Cathedral, 1753-62), and D. V. Ukhtomsky, built in Moscow (red gates, 1753-57).

In the floating painting, the most recognized masters were Italians D. Valeriani and A. Perezinotti, who successfully worked in the genre of theatrical and scenery art. In the work of Russian masters, a portrait of the lead genre. In the works of A. P. Anthropova Barochko embodied in the saturated and power of images portrayed, the contrast of internal energy and external immobility, frosting, in the artistic confidence of individual, carefully written parts, in bright, decorative colorfulness.

Russian Baroque Engraving (A. F. Teeth) combined rationalism, self-esteem in the image of marine battles, solemn processions, parade species of the new capital of Russia. Gravera Ser. 18 V. Often turned to the city landscape (the main types of St. Petersburg, made according to the originals of M. I. Makhaev), as well as to scientific, educational topics (artistic execution of architectural plans, geographical maps, projects of decorative design of the triumphal gates, fireworks and illuminations, teaching aids , Atlas and book illustrations). In these graphic works, the documentary care was combined in the image of the smallest details and an abundance of decorative elements - a carton with inscriptions, vignettes, rich and abundant ornament.

The stylistics of the baroque with its dynamic forms, contrasts and restless game of lighting again comes to life in the era of romanticism.

Excellent definition

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Incomplete definition ↓

As promised, I continue a series of posts dedicated to style BAROQUE .

This time it will be about characteristic features of baroque architecture thanks to which this style has become so recognizable that it is confused with any other architectural style almost impossible.

In the baroque architecture, everything was intended to impress the impression of magnificent wealth, theatrical entertainment, solemn parade, stop the look of a passerby, affected by the external appearance of the structure, or a visitor to a baroque building, stunned by the luxury of his interiors.

Embassy Staircase in the Winter Palace of St. Petersburg (1754 - 1762)
F. B. Rastrelli

Art critic I. E. Grabar Very accurately noticed the features of the perception of the works of baroque architecture:
"In pursuit of a picturesque game of light, the architect opens the viewer not immediately all forms, but he pretends gradually, repeating them two, three and five times. Eye is confused and lost in these intoxicating waves of forms and perceives such a complex system of risen, descending, extending and impending, then underlined, then lost lines that you do not know what of them is correct? Hence the impression of some kind of movement, continuous running lines and flow of forms. "

Highlight the characteristic features of the baroque architecture is not so difficult, as they are completely obvious.

So, in my opinion, The main features of the architecture of Baroque are:

1. Communication to large urban and garden ensembles, where architecture, sculpture and painting are merged together.

Vienna, Schönbrunn

2. Increasing the scale, massiveness, distortion of classical proportions, when the order elements cease to be commensurate.
3. The appearance of a solid and single facade, which becomes a kind of decoration of the building designed for the effect of perspective reduction. This is exactly what I do not like most in the cult baroque facilities, when the magnificent and solemn facade hides non-preventableness (if you don't say more - the wretchedness) of the building itself.
4. Creation of deliberately curved, almost illusory space due to the flow of curvilinear forms and volumes (Oval in plans and details, ellipse instead of a circle, rectangle instead of square, etc.).
5. Strengthening decorative beginnings, detail, illusory disappearance of walls in the mass of jewelry, sculptures, mirrors, windows ("fear of emptiness"); The use of saturated colors and gilding, the creation of optical visual effects due to the refraction and reflection of solar glare, lateral lighting, contrasting alternation of illuminated and shaded zones.

In different countries of Europe, the formation and flourishing baroque in architecture had their own characteristics.

In Italy, a new style declared itself at the end of the XVI - early XVII century. In Belgium, Austria and in the south of Germany - in the XVIII century, and in Russia - closer to the middle of the XVIII century. But how !!!

Holland, Scandinavia countries, Northern Germany remained indifferent to the magnificent baroque, which is most likely due to Protestant ethics (anyone who at least once visited Lutheran chicks, will understand what I mean).
In France, Barochko was present primarily in the inner decoration of architectural structures. In England, this style manifested itself in a mixed form, with the Small elements of Gothic, Rococo and Classicism. And in Spain and Portugal, which is explained by the peculiarities of the historical development of these countries, the baroque was wondering in the Gothic and Moorish styles.

Thank you for attention.
Sergey Vorobyov.