El barroco en España

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Another notable example is the St. Nicholas Church (Malá Strana) in Prague (1704–1755), built by Christoph Dientzenhofer and his son Kilian Ignaz Dientzenhofer. Decoration covers all of walls of interior of the church. The altar is placed in the nave beneath the central dome, and surrounded by chapels, light comes down from the dome above and from the surrounding chapels. The altar is entirely surrounded by arches, columns, curved balustrades and pilasters of coloured stone, which are richly decorated with statuary, creating a deliberate confusion between the real architecture and the decoration. The architecture is transformed into a theatre of light, colour and movement. [26] During the Baroque period, the art and style of the theatre evolved rapidly, alongside the development of opera and of ballet. The design of newer and larger theatres, the invention the use of more elaborate machinery, the wider use of the proscenium arch, which framed the stage and hid the machinery from the audience, encouraged more scenic effects and spectacle. [142]

Ananda Cohen Suarez (May 2016). "Painting Beyond the Frame: Religious Murals of Colonial Peru". MAVCOR of the Yale University. El eon Barroco se opone al eon Clásico, de la misma manera que el eon del Imperio, es decir la unidad, se opone al eon de Babel, es decir la dispersión. D’Ors reivindica la utilización del término Barroco como opuesto a Clásico en lugar del término “Romanticismo”, al que considera una variedad de lo Barroco. The first building in Rome to have a Baroque facade was the Church of the Gesù in 1584; it was plain by later Baroque standards, but marked a break with the traditional Renaissance facades that preceded it. The interior of this church remained very austere until the high Baroque, when it was lavishly ornamented.Massimo Colella, Separatezza e conversazione. Sondaggi intertestuali attorno a Ciro di Pers, in «Xenia. Trimestrale di Letteratura e Cultura» (Genova), IV, 1, 2019, pp. 11-37. With more inhabitants and better economic resources, the north, particularly the areas of Porto and Braga, [76] [77] [78] witnessed an architectural renewal, visible in the large list of churches, convents and palaces built by the aristocracy.

En sus tesis sobre el Barroco, D’Ors parece inspirarse en las ciencias naturales y en la medicina. Por una parte, vuelve a insistir en la tesis, ya expuesta al defender la existencia de los eones, según la cual la distinción puramente cronológica en la historia de la Cultura puede equipararse al periodo más primitivo de la anatomía humana, cuando se dividía al cuerpo en cabeza, tronco y extremidades. Un conocimiento mayor de la naturaleza del cuerpo humano dio lugar a la clasificación de las partes del mismo en sistemas y aparatos (digestivo, circulatorio, etc.). De la misma manera, los estudios sobre la Cultura deben priorizar las constantes, los eones, sobre las divisiones puramente cronológicas[18]. Main article: Baroque architecture Quadratura or trompe-l'œil ceiling of the Church of the Gesù, Rome, by Giovanni Battista Gaulli, 1673-1678 [21] Denizeau, Gérard (2018). Zapping Prin Istoria Artelor (in Romanian). rao. p.117. ISBN 978-606-006-149-6. It is a practical building, allowing it to be built throughout the empire with minor adjustments, and prepared to be decorated later or when economic resources are available. The Rococo is the final stage of the Baroque, and in many ways took the Baroque's fundamental qualities of illusion and drama to their logical extremes. Beginning in France as a reaction against the heavy Baroque grandeur of Louis XIV's court at the Palace of Versailles, the rococo movement became associated particularly with the powerful Madame de Pompadour (1721–1764), the mistress of the new king Louis XV (1710–1774). Because of this, the style was also known as 'Pompadour'. Although it's highly associated with the reign of Louis XV, it didn't appear in this period. Multiple works from the last years of Louis XIV's reign are examples of early Rococo. The name of the movement derives from the French 'rocaille', or pebble, and refers to stones and shells that decorate the interiors of caves, as similar shell forms became a common feature in Rococo design. It began as a design and decorative arts style, and was characterized by elegant flowing shapes. Architecture followed and then painting and sculpture. The French painter with whom the term Rococo is most often associated is Jean-Antoine Watteau, whose pastoral scenes, or fêtes galantes, dominate the early part of the 18th century.The foremost Italian baroque tragedian was Federico Della Valle. His literary activity is summed up by the four plays that he wrote for the courtly theater: the tragicomedy Adelonda di Frigia (1595) and especially his three tragedies, Judith (1627), Esther (1627) and La reina di Scotia (1628). Della Valle had many imitators and followers who combined in their works Baroque taste and the didactic aims of the Jesuits ( Pallavicino, Graziani, etc.) Jones, Denna, ed. (2014). Architecture: the whole story. London: Thames and Hudson. ISBN 978-0-500-29148-1. Pero D’Ors no limita esta dualidad al campo del arte. Su visión holística de la Cultura le lleva a extender la oposición Clásico/Barroco a todos los aspectos de la Cultura, desde la religión, la filosofía, la política o la ciencia.

Another major innovator of the Italian High Baroque was Francesco Borromini, whose major work was the Church of San Carlo alle Quattro Fontane or Saint Charles of the Four Fountains (1634–1646). The sense of movement is given not by the decoration, but by the walls themselves, which undulate and by concave and convex elements, including an oval tower and balcony inserted into a concave traverse. The interior was equally revolutionary; the main space of the church was oval, beneath an oval dome. [34] Painted ceilings, crowded with angels and saints and trompe-l'œil architectural effects, were an important feature of the Italian High Baroque. Major works included The Entry of Saint Ignatius into Paradise by Andrea Pozzo (1685–1695) in the Church of Saint Ignatius in Rome, and The Triumph of the Name of Jesus by Giovanni Battista Gaulli in the Church of the Gesù in Rome (1669–1683), which featured figures spilling out of the picture frame and dramatic oblique lighting and light-dark contrasts. [35]Woonhuis, Herengracht 120, 1015 BT te Amsterdam". monumentenregister.cultureelerfgoed.nl . Retrieved 22 September 2023. The dominant figure in baroque sculpture was Gian Lorenzo Bernini. Under the patronage of Pope Urban VIII, he made a remarkable series of monumental statues of saints and figures whose faces and gestures vividly expressed their emotions, as well as portrait busts of exceptional realism, and highly decorative works for the Vatican such as the imposing Chair of St. Peter beneath the dome in St. Peter's Basilica. In addition, he designed fountains with monumental groups of sculpture to decorate the major squares of Rome. [123] Florea, Vasile (2016). Arta Românească de la Origini până în Prezent (in Romanian). Litera. p.243. ISBN 978-606-33-1053-9. Grand Staircase of the Pilgrimage Church of Bom Jesus do Monte, Braga, Portugal, by Carlos Luís Ferreira Amarante and others, c.1784 [73] Two periods are known in the Baroque Spanish theatre, with the division occurring in 1630. The first period is represented chiefly by Lope de Vega, but also by Tirso de Molina, Gaspar 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. The second period is represented by Pedro Calderón de la Barca and fellow dramatists Antonio Hurtado de Mendoza, Álvaro Cubillo de Aragón, Jerónimo de Cáncer, Francisco de Rojas Zorrilla, Juan de Matos Fragoso, Antonio Coello y Ochoa, Agustín Moreto, and Francisco Bances Candamo. [145] These classifications are loose because each author had his own way and could occasionally adhere himself to the formula established by Lope. It may even be that Lope's "manner" was more liberal and structured than Calderón's. [146]

One important domain of Baroque painting was Quadratura, or paintings in trompe-l'œil, which literally "fooled the eye". These were usually painted on the stucco of ceilings or upper walls and balustrades, and gave the impression to those on the ground looking up were that they were seeing the heavens populated with crowds of angels, saints and other heavenly figures, set against painted skies and imaginary architecture. [49]Para D’Ors el Barroco es un “estilo de cultura”. La distinción entre un “estilo de cultura” como el Barroco de un simple “estilo histórico”, como el Gótico se base en los siguientes criterios: 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) Hills, Helen (ed.). 2011. Rethinking the Baroque. Farnham, Surrey; Burlington, VT: Ashgate. ISBN 978-0-7546-6685-1.