Baroque Style

1. BaroqueStyle

2. Baroque Theatre Sebastiano Serlio’s linear perspective and Italianate staging evolved further: Wings were painted in diminishing perspective. Borders were hung overhead to complete the frame. Shutters at the rear of the stage served as a backdrop when closed, but could open to reveal a final scene. Bibiena Family Jacques Callot, French. Engraving and etching of The Combat at the Barrier (1627)

3. Raked Stages reinforced false perspective. Proscenium Arch became a permanent structure. Israël Silvestre the Younger, French. Engraving and etching of Pleasures of the Enchanted Island By Molière and Lully(1664)

4. Giacomo Torelli introduced the pole and chariot system to all of Europe. Paris was the undisputed center of cultural life in France after 1600…. Opera became solidified as an artform. Intermezzo: short musical piece played between acts of a play Atys, a lyric tragedy by Philippe Quinault and Jean-Baptiste Lully (1676)

5. Characteristics of the Baroque Theatre: Theatricality: artists use of dramatic gesture and movement in composition. Break out of the confines of the block in sculpture and architecture. Technical virtuosity, a characteristic shared with the Mannerist style of the previous century. Emotional response in the viewer, in both religious art and in the depiction of everyday life. Costume by Jean Berain (1640-1711) Court Masque design by Inigo Jones (1573-1652)

6. Italian Chronology Classical Baroque and Baroque Style The Baroque in Italy: 1550-1630: The Catholic Church launches the Counter-Reformation. Explosion of projects under Papal patronage in Rome. Vignola designs Gesù. The completion of the façade of St. Peter's. Gian Lorenzo Bernini completes his David. 1630-1675: Bernini's Saint Teresa, St. Peter's piazza, Borromini's San Carlo alle Quattro Fontane.

7. French Chronology Classical Baroque and Baroque Style The Baroque in France: 1610: Marie de´Medici rules as regent for her son Louis XIII. Cardinal de Richelieu sets about to increase the power of the Crown at the expense of the French nobility. 1648: the insurrection of both nobility and the populace which attempted to reduced the king's powers ended in failure, and resulted in the establishment of absolutism under Louis XIV 1661-1715: Louis embarks on a series of building projects to glorify his personal power, notably Versailles. Establishment of the Royal Academies of the Arts and Sciences. The Classical Baroque period. Barroco - a large, irregularly shaped pearl.

8. English Chronology Classical Baroque and Baroque Style The Baroque in England: 1603: the succession of James I, and extended royal patronage of the arts. Shakespeare wrote some of his best plays - Macbeth, Othello, King Lear, and The Tempest. Inigo Jones introduced Renaissance classicism to England. Jones designed the Whitehall Banqueting Hall and the court masques that were staged there. 1649: the execution of Charles I, civil was and the Commonwealth under Cromwell. The public theatres were closed. 1660: Charles II returns to England, to reign until 1685. His patronage of the arts was an imitation of the brilliant court of Louis XIV. Wren rebuilds Saint Paul's Cathedral. The theatres are reopened to the sparkling wit of the Restoration playwrights.

9. By the early 17th century • Opposing Christian Protestant and Catholic positions • Religious warfare and persecution • Second half of the 17th century - Classical Baroque • French Baroque style: French Academy system. • Dominated by France under Louis XIV and his absolutism: • "L'État, c'est moi" (I am the State) • The 17th century also saw further developments in science. The adoption of the scientific method to explore natural phenomena led to many discoveries about the natural world. • Isaac Newton (1642-1727) revolutionized thinking about the physical structure of the Universe and man's place in it.

10. Italian Architecture The patronage of the Papal court spurred by the Counter-Reformation, accelerated church building and decoration in Italy. In contrast to the Renaissance ideal of the central plan church, Counter-Reformation thinking called for long, wide naves to accommodate a swelling congregation and the elaborate processional entry of the clergy at the celebration of the Mass. To answer to the new imperatives, architects developed a domed central plan with an extended nave and west narthex.

11. Church of Il Gesù, Rome (1568-84) By Giacomo da Vignola and Giacomo della Porta Colossal Order: columns or pilasters extending through two stories - vertically tying them together Curvilinear volutes: scroll forms (aid the transition between the wide lower stories and the narrow upper level)

12. Church of Il Gesù, Rome (1568-84) By Giacomo da Vignola and Giacomo della Porta Enlarged Nave for a swelling congregation Barrel Vault - Hemispheric Pendentive Dome Counter-Reformation: Accelerated Evangelization and Decoration Look to the classical and dramatic movement

13. Saint Peter's Basilica, Rome (1607-1615) By Carlo Maderna (completed façade and nave extension) Pilasters: flat rectangular columns attached to a wall (colossal columns on the outside corners)

14. Saint Peter's Basilica, Rome (1607-1615) Piazza by Gian Lorenzo Bernini (1656) Creating the illusion of an expanding vista through reverse perspective. This effect of the contraction and expansion of space is the basis of all Baroque design.

15. Church of San Carlo alle Quattro Fontane, Rome (1638-45) By Francesco Borromini Baroque architects pushed the boundaries of Renaissance classicism using oval domes instead of circular. Undulating concave and convex curves. Chiaroscuro effect of architecture with deeply recessed niches. Cartouche

16. French Architecture Post Italianate extravagances of Fontainebleau led to an acceptance of the rules of classicism pervaded French art, literature and education. These rules, applied to architecture, were based on mathematical formulae and the works of Vitruvius and Palladio, and resulted in grand building projects aimed at promoting the imperial regime of the king, Louis XIV. This pompous style is known as the Classical Baroque in France . Royal Academy of Architecture: codifying the principles of design in line with other arts. Louis XIV set out to form these academies for the youth to provide them rudiments of greatness: Painting and sculpture (reformed in 1664), Dance (1661), Inscriptions and Belles Letters (1663), Sciences (1666), Music (1669)

17. Palace of Versailles (1665) By Louis Le Vau Cour de Marbre: Marble Court (Central block) Careful balance of horizontal and vertical lines Garden Side redesigned by Le Vau’s successor Jules Hardouin-Mansart (1678) Rusticated Stone Arched windows and Ionic Columns Balustrade (roof line): Railing

18. Palace of Versailles (1680) Hall of Mirrors By Charles Le Brun True double French windows (used here for the first time) Vaulted Ceiling Classical Baroque: Pompous Style Gardens by André Le Notre (1668-85) Unified, Visual Whole: First time architecture, interior design and landscaping conformed to the same set of compositional and aesthetic principles.

19. Palace of Versailles - Salle de Gardes de la Reine (1671-81) By Charles Le Brun Enfilade [en-fuh-lahd]: rooms connected by doors next to the window wall. uninterrupted view. (Louis’ control over his nobility.)

20. Ormolu [awr-muh-loo] : gilded brass or bronze used for furniture mounts and other purposes; also called gilt-bronze French Classical Baroque – Walnut Table André-Charles Boulle (1642-1732) was responsible for much of the furniture that graced Versailles. Emphasis was placed on precious surfaces; ivory and ebony, white and black, were considered "noble" materials. Walnut from the south of France and ebony from Ceylon were the woods of choice.

21. Louis XIV Upholstery played a big role in seating. At the court of Versailles there was a need for seats of various heights to satisfy the demands of etiquette. The Bergère: a French upholstered armchair with curved back and relatively wide seat. space beneath the arm upholstered as well.

22. ^ Cabinet on a Stand > Armoire (Wardrobe) By André-Charles Boulle Boulle Marquetry: a form of marquetry which worked with brass

23. EnglishArchitecture Elizabeth I died in 1603. During this period of turmoil under two successive Catholic monarchs ended in the Civil War in 1649, and Puritan rule under Cromwell. Architecture in England during the first half of the 17th century continued in the late Renaissance style. Its chief characteristics are a simplified classicism of a more human scale than in the French Classical Baroque, a continued use of large windows, and the habit of combining warm brick walls with white stone door and window trim. Charles II (1660) brought the exaggerated French fashions, manners, and styles of his exile to conservative England. However, the English had always prized moderation and comfort above all things, and architecture and design continued to exhibit an unmistakable English flavor. This later period in England is called the Restoration Baroque style.

24. Banqueting House, Whitehall Palace, London (1630-35) By Inigo Jones Puritan rule under Cromwell - Still Late Renaissance: simplified classicism of a more human scale – based on the work of Palladio Restoration Baroque: moderation and comfort above all things Free from Italian embellishment (classical elements: engaged columns/pilasters, window framing… alternating rounded and triangular pediments. ) Jones built a new Banqueting House at Whitehall Palace for James I, to replace a previous one destroyed by fire. When the Banqueting House in London was completed, it bore no resemblance to anything ever built in England before.

25. Banqueting House, Whitehall Palace, London (1630-35) By Inigo Jones Court Masque: entertainment of music, drama and dance to glorify the virtues and deeds of the monarchy. Proportions of a double cube: statement of the neoclassical ideal (55’ wide, 55’ tall, 110’ in length)

26. English Influences Carving and turning were the principle means of ornamentation. Chair “wings” for privacy. Scrolled carving, composed of S and C scrolls Caning: stems which are woven or interlaced to make wickerwork.

27. Baroque Dress The Birth of the Consumer Society Costume went through several stylistic shifts in the 17th century. The most interesting change is seen in the first half of the century, with the discarding of the rigid, mannerist styles of the Elizabethan period. After 1620 the natural body shape reappeared. A gradual return to a more formal style occurred in the second half of the century, under the highly structured regime of Louis XIV. The demand for consumer goods increased with the expanding middle class in the Baroque period. Much of this demand sprung from a desire of that sector to participate in the fashion process, a phenomenon that had been heretofore limited to the affluent elite - the courts, nobility and professionals. It was soon recognized that stimulating the demand for consumer goods also stimulated the economy.

28. Innovation inDress The European spice trade with the Far East , established in the 15th century, expanded in the 17th century to include the importation of cotton from India. Clothing was made by hired professional tailors. The technology for producing textiles did not change radically over the period. The Declaration of Love By Jean-Francois De Troy (1731)

29. The Men • Rubens, His Wife Helena Fourment and One of Their Children By Peter Paul Rubens (England, c. 1640) • 1620 to 1650, Men's costume retained the artificial Elizabethan silhouette - padded doublet and breeches and the starched ruff - for the first two decades of the century. • By 1620 a new, softer silhouette emerged, that featured a fuller cut of doublet and breeches and an elimination of padding. • A more relaxed, natural silhouette was evident; surface decoration was limited to trims, braids and rows of decorative buttons along seam lines. • The ruff was replaced by soft, spreading collars edged with lace.

30. The Men Henry II, Duc de Guise By Anthony van Dyck (England, 1634) The linen shirt was an integral part of the costume, with full, gathered sleeves. Collars spread out over the shoulder and were edged with fine lace, as were the deep, turned-back shirt cuffs. The doublet was unstructured, devoid of padding, and extended below the rather high waistline to the hip. It was left undone to show off the shirt. Breeches were cut full and extended to the knee, tapering slightly. Hats were soft felt with wide brims, and decorated with full, feathered plumes. The hair was worn long and allowed to curl naturally. Cavalier Style

31. The Men The Jolly Toper, By Frans Hals (Dutch, 1627) Fallen Ruff Cavalier Hat Gauntlet : gloves The gallant gesture of sweeping the hat from the head to perform a deep bow and tossing the cape over the shoulder was the mark of the sophisticated gentleman. Van Dyke Beard is a style of facial hair named after 17th century Flemish painter Anthony van Dyck.

32. The Men • First Duke of Hamilton by Daniel Mytens (England, 1629) • Features a doublet with a deep point in the front and a flared peplum: skirt. • Some details of the Cavalier look were carried over from the 16th century: • the vertical slashing in the doublet • the paned upper sleeve • the laces or points attaching the breeches to the doublet at the waist. • laces are now pure decoration, taking the form of a row of bows • Ensuite: suit of matching doublet and breeches

33. The Men • Louis XIV Receiving Swiss Ambassadors By H. van der Meulen (French, 1663) • 1650-1680, In the early years of Louis XIV's reign, the trend toward a negligent, layered, overly effeminate style gained ground. • The loose breeches of the 1630s were replaced by a wide-legged culotte, known as petticoat breeches. • Knitted hose reached to the knee and was held in place with a decorative garter. • Shoes had a high heel, and were tied over the instep with a wide bow. • Doublet is a short, bolero-style jacket with a sleeve slashed open to reveal the very full shirtsleeve. The king lost his hair due to illness in 1633 and wore a wig for the rest of his life (the court followed suit). These very long, elaborately curled contraptions were called full-bottomed wigs.

34. The Men Louis XIV and His Family, By Nicolas de Largillière (French, 1711) From1680, full shirts and lace collars disappeared under a coat cut to the knee, and breeches returned to a narrower cut and were closed with a tight band below the knee. Cravat: Necktie (the shirt collar is reduced to a narrow band tied around the neck). Baldric: a belt worn over the shoulder to support a sword. Justacorps: long, fitted, knee-length coat, replaced doublet… The sleeve widens to a deep, turned back cuff. (adapted from military dress)

35. The Women Queen Henrietta Maria By Anthony van Dyck (England, 1633) 1630 to 1700, Women's silhouette changed as radically as men's in the third decade of the century. Male and female costume paralleled each other in the relaxed lines and relative simplicity of embellishment. The wheel farthingale and ruff were replaced by layers of petticoats and the soft lace-edged collar copied from the male shirt. The high-waist jacket with its full sleeves, extended peplum, and the spreading collar and lace-edged cuffs are adapted from male fashion.

36. The Women Helene Fourment with Two of Her Children By Peter Paul Rubens (England, c. 1636) Hair is naturally loose and curled. The wide-brimmed, feathered hat is inline with Men’s fashion along with a simpler elegance based on the inherent qualities of the fabric has superseded the complex stiffness and encrustation of the 16th century.

37. The Women Duchesse, Règne De Louis XIV By Nicholas Bonnart (England, c. 1693) (Fashion Plates) From about 1660 to the end of the century, a return to a more structured silhouette paralleled the same shift in men's clothing. Once again the corseted torso was to distort and elongate the natural body shape. Bodices resumed their restricting shape, and the triangular inset (stomacher) was recalled from Elizabethan styles. The one-piece gown developed a train, and was looped back to show off a contrasting underskirt. The commode headress: wig dressed in towering curls, topped by a headdress of upright ruffles.

38. The Women “Manteau Gown”(French, 1679) The manteau gown was particularly stylish with a bodice and decorated panel that ran from the neckline of the dress to the waist. The gown would also include the robe, or overskirt, and petticoat, or jupe. The sleeves would end below the elbow. Fontage Hair: a device made of a series of ruffles held in place with wire supports place on top of women's hair.

39. Discussion

40. Discuss these 3 images in regard to the ELEMENTS OF DESIGN Donatello’s David (1430) Michelangelo’s David (1501-04) Bernini’s David (1623-24)