European Baroque Powerpoint

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Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 17

European Baroque

1590s – 1750

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F. Baroque

International style dominating 17th-century Europe

High Renaissance grand scale, representational techniques, & architectural developments unites with drama & emotion of Late Renaissance

Originates Counter-Reformation Rome

Glorifies Catholic Church & Christian god

Two trends: classical & conservative or dynamic & plastic

Combines architecture, sculpture, painting to awe & inspire

Architecture, interiors, furniture more fully integrated

Baroque may be from Portuguese barocco or Spanish barueco

Describes irregularly shaped pearl

European Baroque

Dominates Europe & a few American colonies 17th-early 18th centuries

Ornate, sumptuous style

Close ties to religion, politics, economics

Exuberant Baroque—glorifies the church, inspires piety

Catholic countries—Italy, Spain, Portugal, Austria, Flanders, Germany

Conservative, classical—glorifies king

France

England & Holland—conservative, restrained style not tied to religion or politics

Concepts

Energy, tension mirror the age

Seeks to awe & inspire

Worship of God & His church or allegiance to nation, monarch, noble

Reflects expanding universe through time-space devices

Buildings extend into space around them

Require viewer to move through them

Vast interiors with illusionistic paintings that imply limitless space

Huge, monumental environments

Dwarf humans & celebrate glory of God, His church, important persons

Characteristics and motifs

Exuberance, monumental scale, movement, limitless space, center emphasis, complex forms, sumptuous materials

Classical language, symmetry, unity, harmony

Contrasts, layered elements, curves & counter-curves, advancing & receding planes

Movement, especially toward centers

Elements—more three-dimensional, forceful

Bold, sculptural embellishment

Architecture, sculpture, painting unite for drama, inspiration, overwhelm

Motifs—classical elements, colossal columns, C & S scrolls, shells, flowers, swags, sculpture niches, figures, cartouches

17.1

Motifs and Architectural Details: Trevi Fountain, 1732-1737; Rome, Italy; Noccolo Salvi. European Baroque.

Architecture

Begins Counter-reformation Rome—major building campaign

Buildings expand into space around them

Part of urban complexes, longitudinal axis continues inside & out to formal gardens behind

Important Italian architects: Gianlorenzo Bernini & Francisco Borromin

Spain—not as plastic or expansive; lavish surface decoration

Germany & Austria—in 18th century Baroque combines with indigenous forms; dramatic lighting & integration of architecture, painting, sculpture

Holland—simple, more classical style influenced by Palladio & Scamozzi

17.2a

S. Peter’s Basilica, 1506-1626; Rome, Italy; façade completed by Carlo Maderno. European Baroque.

17.2b

S. Peter’s Basilica piazza, 1506-1626; Rome, Italy; façade completed by Carlo Maderno; piazza plan by Gianlorenzo Bernini. European Baroque.

17.2c

S. Peter’s Basilica cutaway, 1506-1626; Rome, Italy; façade completed by Carlo Maderno; piazza, interior, and baldacchino by Gianlorenzo Bernini. European Baroque.

Long Description:

Saint Peter's Basilica has a massive dome, clerestory windows that allow light into the interior of the church, Baldacchino, classical figures, accent roofline, columns, and arches articulate and defines the interior spacing and composition, pediment and columns that define the main entrance and center axis continues in the interior.

17-2d

S. Peter’s Basilica baldacchino, 1506-1626; Rome, Italy; interior & baldacchino by Gianlorenzo Bernini European Baroque.

17-3

S. Carlo alle Quattro Fontaine and floor plan, 1634-1682; Rome, Italy, Francesco Borromini. European Baroque.

Long Description:

Saint Carlo facade is defined by concave and convex shapes and large columns. It has two floors. A large oval is supported by angels in the upper part of the facade. Above the entrance, there are three sculptures placed and a sleeping positioned sculpture on the right side of the entrance.

17.4

Karlskirche (S. Charles’s Church), 1716-1739; Vienna, Austria; Johann Fischer von Erlach and son. European Baroque.

Long Description:

Karlskirche has a massive dome, layers of architectural features that create advancing and reducing planes, columns imitate Trajan's column in Rome decorated with designs in relief and emphasizing dome, flanking tower with classical features, a temple portico, a round arch from Italian and French influence, and symmetrical emphasis.

17-5

Royal Palace, 1738-1764; Madrid, Spain; Filippo Juvara. European Baroque.

Interiors

Continue Baroque themes & like exteriors, monumental scale, contrasts, complexity

Integration & expansion with multiple vistas, diagonal focal points

Greater spatial unity, dramatic light

Architecture, sculpture, painting unite to overwhelm, impress

Opulent materials, rich colors, classical details, painted & gilded woodwork, illusionistic paintings, stuccowork, fine furniture

Settings for social and ecclesiastical ceremonies

Dwellings—opulent, rich, bold

Rank and precedence important

17.7

Nave, Rosenkranz Basilika, S. Maria Rotunda, 1631-1634; Vienna, Austria. European Baroque.

17.8

Nave, Church of S. Nicholas, completed 1735; Prague, Chezh Republic; stucco decoration by Bernardo Spinetti; frescoes by Peter Adam the Elder. European Baroque.

Long Description:

The church of Saint Nicholas has a long hall stretching from the main entrance to the chancel. The lower part of the tower is round, with an octagonal top stage. The cross sign is placed at the center of the hall, and rows of chairs are arranged facing the altar.

17.9

Bedroom, Palazzo Sagredo, 1718; Venice, Itlay. Attributed to Abbondio Statio and Carpofaro Mazzetti. European Baroque.

Long Description:

The bedroom of Palazzo Sagredo is decorated in carved wood and stucco. The ceiling has a circular-shaped structure and the corners of the ceiling have sculptures hanging. A brightly colored cloth is draped all around. This bedroom consists of an antechamber with a bed alcove and chair beside it

Furnishings and Decorative Arts

Enhance status

Often designed for specific rooms or individuals

Massive scale, dynamism

Opulence more important than comfort

Rectilinear with curvilinear ornament that is sometimes excessive

Influenced by sculpture & architecture

Bold sculpturesque carving, architectural details

Placed against walls so backs not upholstered & plain back legs for economy

Suites of seating furniture more common

17.10

Armchair, 1706; now in Ca’Rezzonico, Venice, Italy; Andrea Brustolon. European Baroque.

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European Baroque Powerpoint

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