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pérola barroca • According to the Oxford English Dictionary, the word baroque is derived from the Portuguese word "barroco", Spanish "barroco", or French "baroque", all of which refer to a "rough or imperfect pearl", though whether it entered those languages via Latin, Arabic, or some other source is uncertain. • The word "Baroque", like most periodic or stylistic designations, was invented by later critics rather than practitioners 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 natural pearls that deviate from the usual, regular forms so they do not have an axis of rotation are known as "baroque pearls". • Others derive it from the mnemonic term "Baroco" denoting, a supposedly laboured form of syllogism.
The term "Baroque" was initially used with a derogatory meaning, 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. • It was first rehabilitated by the Swiss-born art historian, Heinrich Wölfflin (1864–1945) in his Renaissance und Barock (1888); Wölfflin identified the Baroque as "movement imported into mass," an art antithetic to Renaissance art. • Writers in French and English did not begin to treat Baroque as a respectable study until Wölfflin's influence had made German scholarship pre-eminent. Heinrich Wölfflin
But whereas the Renaissance drew on the wealth and power of the Italian courts, and was a blend of secular and religious forces, • the Baroque was, initially at least, directly linked to the Counter-Reformation, a movement within the Catholic Church to reform itself in response to the Protestant Reformation. • The Council of Trent (1545–1563) is usually given as the beginning of the Counter-Reformation or Catholic Reformation.
1517 1610 1560
Baroque Architecture • starting in the early 17th century in Italy, took the humanist Roman vocabulary of Renaissance architectureand used it in a new rhetorical, theatrical, sculptural fashion, expressing the triumph of absolutist church and state. • New architectural concerns for colour, light and shade, sculptural values and intensity characterize the Baroque. • The Baroque played into the demand for an architecture that was on the one hand more accessible to the emotions and, on the other hand, a visible statement of the wealth and power of the Church. • The new style manifested itself in particular in the context of new religious orders, like the Theatines and the Jesuits, which aimed to improve popular piety.
A common Christogram based on the first three letters of "Jesus" in Greek (Ίησους, Latinized IHSOVS); featured in the seal of the Society of Jesus (Jesuits).
In the Latin-speaking Christianity of medieval Western Europe, the most common Christogram is "IHS" or "IHC", derived from the first three letters of the Greek name of Jesus, iota-eta-sigma, or ΙΗΣ. • Here, the Greek letter eta was transliterated as the letter H in the Latin-speaking West (Greek eta and Latin-alphabet H had the same visual appearance and shared a common historical origin), while the Greek letter sigma was either transliterated as the Latin letter C (due to the visually similar form of the lunate sigma), or as Latin S (since these letters of the two alphabets wrote the same sound). • Because the Latin-alphabet letters I and J were not systematically distinguished until the 17th century, "JHS" and "JHC" are equivalent to "IHS" and "IHC". • "IHS" is sometimes interpreted as meaning Iesus Hominum Salvator ("Jesus, Savior of men" in Latin) or connected with In Hoc Signo. • Used in Latin since the seventh century, the first use of IHS in an English document dates from the fourteenth century. • Saint Bernardino of Siena popularized the use of the three letters on the background of a blazing sun to displace both popular pagan symbols and seals of political factions like the Guelphs and Ghibellines in public spaces.
Important features of Baroque architecture include: Santiago di Compostella • long, narrow naves are replaced by broader, occasionally circular forms • dramatic use of light, either strong light-and-shade contrasts, chiaroscuro effects, or uniform lighting by means of several windows • opulent use of ornaments (puttos made of wood (often gilded), plaster or stucco, marble or faux finishing) • large-scale ceiling frescoes • the external façade is often characterized by a dramatic central projection • the interior is often no more than a shell for painting and sculpture (especially in the late Baroque) • illusory effects like trompe l'oeil and the blending of painting and architecture • in the Bavarian, Czech, Polish, and Ukrainia Baroque, pear domes are ubiquitous • Marian and Holy Trinity columns are erected in Catholic countries, often in thanksgiving for ending a plague
long, narrow naves are replaced by broader, occasionally circular forms
dramatic use of light, either strong light-and-shade contrasts, chiaroscuro effects, or uniform lighting by means of several windows
opulent use of ornaments puttos made of wood (often gilded), plaster or stucco, marble or faux finishing
The putto (pl. putti) is a figure of • a human baby or toddler, almost always male, • often naked and having wings, • found especially in Italian Renaissance and Baroque art. • The figure derives from ancient art but was rediscovered in the early Quattrocento. • Strictly, putti are distinct from cherubim, but modern English usage has blurred the distinction, except that in the plural, • "the Cherubim" refers to the literal biblical angels, • while "cherubs" is used more often to refer to the childlike representations (putti) or in figurative senses.
illusory effects like trompe l'oeil and the blending of painting and architecture
in the Bavarian, Czech, Polish, and Ukrainia Baroque, pear domes are ubiquitous
Marian and Holy Trinity columns are erected in Catholic countries, often in thanksgiving for ending a plague
Piazza Navona Bernini
Most important and major painting during the period beginning around 1600 and continuing throughout the 17th century, and into the early 18th century is identified today as Baroque painting. • Baroque art is characterized by great drama, rich, deep color, and intense light and dark shadows. • As opposed to Renaissance art, which usually showed the moment before an event took place, Baroque artists chose the most dramatic point, the moment when the action was occurring: • Michelangelo, working in the High Renaissance, shows his David composed and still before he battles Goliath; Bernini's baroque David is caught in the act of hurling the stone at the giant. • Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance.
Baroque Painting • Michelangelo Merisi da Caravaggio • Peter Paul Rubens • Jan Breughel the Elder • Rembrandt van Rijn
Michelangelo Merisi da Caravaggio, (1571–1610) was an Italian artist active in Rome, Naples, Malta and Sicily between 1593 and 1610. His intensely emotional realism and dramatic use of lighting had a formative influence on the Baroque school of painting. • Caravaggio "put the oscuro (shadows) into chiaroscuro.“ • Chiaroscuro was practiced long before he came on the scene, • but it was Caravaggio who made the technique definitive, • darkening the shadows and • transfixing the subject in a blinding shaft of light. • With this came the acute observation of physical and psychological reality which formed the ground both for his immense popularity and for his frequent problems with his religious commissions. • He worked at great speed, from live models, scoring basic guides directly onto the canvas with the end of the brush handle. • The approach was anathema to the skilled artists of his day, who decried his refusal to work from drawings and to idealise his figures. • Yet the models were basic to his realism. • Some have been identified, including Mario Minniti and Francesco Boneri, both fellow artists, Mario appearing as various figures in the early secular works, the young Francesco as a succession of angels, Baptists and Davids in the later canvasses. • His female models include Fillide Melandroni, Anna Bianchini, and Maddalena Antognetti, all well-known prostitutes, who appear as female religious figures including the Virgin and various saints. • Caravaggio himself appears in several paintings, his final self-portrait being as the witness on the far right to the Martyrdom of Saint Ursula.
Caravaggio had a noteworthy ability to express in one scene of unsurpassed vividness the passing of a crucial moment.
The Supper at Emmaus depicts the recognition of Christ by his disciples: a moment before he is a fellow traveler, mourning the passing of the Messiah, as he never ceases to be to the inn-keeper's eyes, the second after, he is the Saviour.
In The Calling of St Matthew, the hand of the Saint points to himself as if he were saying "who, me?", while his eyes, fixed upon the figure of Christ, have already said, "Yes, I will follow you".
With The Resurrection of Lazarus, he goes a step further, giving us a glimpse of the actual physical process of resurrection. The body of Lazarus is still in the throes of rigor mortis, but his hand, facing and recognizing that of Christ, is alive
Ignatius of Loyola by Peter Paul Rubens
Peter Paul Rubens Fall Adoration of Magi
Rubens The Last Supper
Jan Breughel the Elder The Ark of Noah
光明超凡人特別組織一群「獵夜人」Night Watch，他們擁有預視能力和戰鬥技巧，負責監察黑暗世界的動靜。人類世界的夜晚，吸血鬼、巫婆、變形怪和法師伺機而動。 Rembrandt van Rijn
Christ In the Stormon the Sea of GalileeRembrandt van Rijn 1632
Baroque Sculpture Bernini
The chapel is an explosion of colored marble, metal, and detail. • Light filters though a window above Teresa, underscored by gilded rays. • The dome is frescoed with the illusionistic cherub-filled sky with the descending light of the Holy Ghost allegorized as a dove. • On the side walls, in boxes as if at the theatre, are life-size high-reliefdonor portraits of the male members of the Cornaro family, present and discussing the event.
Teresa of Avila1515-1582 • The Catholic church not only gained added strength from the creation of new orders, but it also witnessed a revival of existing orders. • The Carmelites in Spain, for example, found vigorous new leadership during the 16th century in Teresa of Avila and her famous disciple, Juan dela Cruz.
Teresa’s publications, such as Her Way of Perfection and Interior Castle, and her Autobiography, also becamereligious classics. • Her writings tell of her own life of struggle, persecutions, doubts, and the triumph of her faith. • In her 1562 Autobiography, she described one of her visions: Almost always Our Lord appeared to me as He rose from the dead, and it was the same when I saw Him in the Host. Only occasionally, to hearten me if I was in tribulation, He would show me his wounds, and then would appear sometimes on the Cross and sometimes as He was in the garden. …I found myself dying of the desire to see God. …This love came to me in mighty impulses which robbed me of all power of action.
