Baroque chapter 10
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IDES 310 Chapter 10 – BAROQUE
1. Armoire
2. Aubusson
3. Baroque
4. Baroque armchair
5. Bouchon
6. Boulle work
7. Canapé
8. Château
9. Console
10. Ébéniste
11. Ensemble
12. Greek cross
13. Japanning
14. Marchands merciers
15. Marquetry
16. Obelisk
17. Ormolu
18. Parquetry
19. Piazza
20. Regency armchair
21. Salon
22. Savonnerie
Chap_10_.pptx
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ISBN: 978-1-5013-8560-5
Francesco Borromini, Palazzo Spada, Rome, Italy, 1632–1652. Forced perspective gallery.
Francesco Borromini, San Carlo alle Quattro Fontane, Rome, Italy, 1634. Plan.
Gian Lorenzo Bernini, Piazza San Pietro, Rome, Italy, 1667.
Gian Lorenzo Bernini, Apollo and Daphne, 1622–1625. Engraving 1884.
Bernini’s Baldacchino St. Peter’s, Rome
Giovanni Battista Tiepolo and
Johann Balthasar Neumann
Das Residence
Würzburg, Germany, 1720–1744.
Hyacinthe Rigaud, Portrait of Louis XIV, 1701.
André Le Nôtre, Louis Le Vau, and Jules Hardouin- Mansart, garden and palace, Versailles, France, 1662–1709. Engraving by Adam Perelle.
BAROQUE FURNITURE
baroque armchair
console
Boulle-work cabinet
regency armchair
André-Charles Boulle, Cabinet, Paris, France, 1700. Oak, Macassar ebony and Gabon ebony, fruitwood, burlwood, tortoiseshell, brass and ormulu.
Regency armchair, France, 1675–1700. Carved and gilded beech with wool and silk Aubusson upholstery.
BAROQUE REGENCY ROCOCO
Anthony Blunt felt that at Versailles, sometimes the parts are more impressive than the whole. He singled out the interiors and furnishings by Le Vau, Le Brun, and Mansart for praise. “But if the principles are not original, the application of them is so brilliant as to produce quite new results. The scale, the richness of the materials, the delicacy of the detail, the ingenious relation of the three rooms to each other, all make of this suite something far more impressive than any earlier work” (Blunt 1999)
VOCABULARY – Baroque furniture
armoire
Aubusson
baroque armchair
bouchon
Boulle work
canapé
console
ébéniste
ensemble
japanning
marchands merciers
marquetry
obelisk
ormolu
parquetry
regency armchair
Savonnerie
VOCABULARY – other Baroque
baroque
chateau
Greek cross
piazza
salon
CONCLUSION
Common baroque features included illusionistic
painting, ceilings painted to open to the
sky, and a focus on stairways, domes, and deep
façades. Mirrors and veneered furniture were
popular for their dazzling effects. From gardens
to candlesticks, baroque designs were complex,
plastic, and asymmetric. While clearly designed,
the underlying order of a baroque artwork is not
easily discernible. The baroque designed object
was visually active, a remarkable feat because the
activity was done by the viewer yet prompted by
an incredibly complex object.
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ch-17-PPTaccessible.pptx
Architecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 17
European Baroque
1590s – 1750
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1
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
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2
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
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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
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4
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
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5
17.1
Motifs and Architectural Details: Trevi Fountain, 1732-1737; Rome, Italy; Noccolo Salvi. European Baroque.
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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
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17.2a
S. Peter’s Basilica, 1506-1626; Rome, Italy; façade completed by Carlo Maderno. European Baroque.
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8
17.2b
S. Peter’s Basilica piazza, 1506-1626; Rome, Italy; façade completed by Carlo Maderno; piazza plan by Gianlorenzo Bernini. European Baroque.
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9
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.
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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.
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17-2d
S. Peter’s Basilica baldacchino, 1506-1626; Rome, Italy; interior & baldacchino by Gianlorenzo Bernini European Baroque.
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11
17-3
S. Carlo alle Quattro Fontaine and floor plan, 1634-1682; Rome, Italy, Francesco Borromini. European Baroque.
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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.
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17.4
Karlskirche (S. Charles’s Church), 1716-1739; Vienna, Austria; Johann Fischer von Erlach and son. European Baroque.
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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.
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17-5
Royal Palace, 1738-1764; Madrid, Spain; Filippo Juvara. European Baroque.
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14
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
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17.7
Nave, Rosenkranz Basilika, S. Maria Rotunda, 1631-1634; Vienna, Austria. European Baroque.
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16
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.
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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.
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17.9
Bedroom, Palazzo Sagredo, 1718; Venice, Itlay. Attributed to Abbondio Statio and Carpofaro Mazzetti. European Baroque.
Image © The Metropolitan Museum of Art/Art Resource, N Y.
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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
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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
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17.10
Armchair, 1706; now in Ca’Rezzonico, Venice, Italy; Andrea Brustolon. European Baroque.
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20
Copyright
This work is protected by United States copyright laws and is provided solely for the use of instructors in teaching their courses and assessing student learning. Dissemination or sale of any part of this work (including on the World Wide Web) will destroy the integrity of the work and is not permitted. The work and materials from it should never be made available to students except by instructors using the accompanying text in their classes. All recipients of this work are expected to abide by these restrictions and to honor the intended pedagogical purposes and the needs of other instructors who rely on these materials.
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