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Baroque architecture - Wikipedia, the free encyclopedia The sacred architecture of the baroque was mainly influenced by Italy, especially Rome and the paradigm of the basilica with crossed dome and nave. The centre of baroque secular architecture was France, where the open three wing layout of the palace was established as the canonical solution as early as the 16th century. Baroque architecture, starting in the early 17th century in Italy, took the humanist Roman vocabulary of Renaissance architecture and used it in a new rhetorical, theatrical, sculptural fashion, expressing the triumph of absolutist church and state. en.wikipedia.org /wiki/Baroque_architecture   (1771 words)

Articles - Baroque music Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 to 1750 (see Dates of classical music eras for a discussion of the problems inherent in defining the beginning and end points). Baroque music was more often written for virtuoso singers and instrumentalists, and is characteristically harder to perform than Renaissance music, although idiomatic instrumental writing was one of the most important innovations of the period. The original meaning of "baroque" is "irregularly shaped pearl", a strikingly fitting characterization of the architecture and design of this period; later, the name came to be applied also to its music. www.jazzbit.com /articles/Baroque_music   (2838 words)

Angela Ndalianis The baroque and neo-baroque reveal "'the system of the series' - a system composed of discontinuous elements sharply outlined, strongly rhythmical and… [that] eventually becomes 'the system of the labyrinth', which, by means of mobile synthesis, stretches itself out in a realm of glittering movement and color". The term 'baroque', therefore, will not only be considered as a phenomenon of the seventeenth century (an era traditionally associated with the baroque), but, more broadly, as a transhistorical state that has had wider historical repercussions. The dynamism and spatial complexity of baroque spectacle applies equally to the dynamism and expansive nature of the baroque narrative. www.humanities.mcmaster.ca /~mactavis/mla_games/ndalianis.html   (566 words)

Screening the Past - Reviews These moments of the baroque and neo-baroque frame modernity and are viewed as the origin and end of modernity in this book - to the extent that the baroque is seen as a transformative exacerbation of Renaissance aesthetic and cultural developments and the neo-baroque is cast as a similar transformation of the modern. Ndalianis identifies the key parallel between the baroque and neo-baroque as the fact that both periods are transitional, evidencing major cultural, economic and techno-scientific changes. The baroque was a time of the emerging crisis of monarchic, Catholic Europe due to the increasing significance of mercantilism and venture capitalism, the beginnings of mass-mediated popular cultural forms (via printing press technology) and the emergence of modern scientific discoveries undermining religious metaphysical orthodoxies. www.latrobe.edu.au /screeningthepast/stp17/newreviews/rev_17/PCbr17a.html   (1858 words)

Neo-baroque - Wikipedia, the free encyclopedia Neo-baroque is a term used to describe artistic creations which display important aspects of Baroque style, but are not from the Baroque period proper. Some examples of composers living after the Baroque period who use or have used Baroque idioms or forms (such as counterpoint or fugues) in their works: This can concern music, architecture, painting, and the decorative arts, but is most frequently used to refer to music or architecture. en.wikipedia.org /wiki/Neo-Baroque   (146 words)

The Baroque and Neo-Baroque The baroque was believed to lack the reason and discipline that came to be associated with neoclassicism and the era of the Enlightenment. For Stafford, the audiovisuality of the baroque was transformed and given an "instructive" purpose in the eighteenth century to usher in a new era of reason that came to be associated with the Enlightenment. The baroque is subsumed into every aspect of Curtiz's films: in his lack of concern with norms; in his focus on transgressive themes and characters; in his use of extravagant styles, lighting, and mise-en-scene, and in his preference for virtuoso actors such as Bette Davis, Errol Flynn, Humphrey Bogart, and Boris Karloff. web.mit.edu /transition/subs/neo_intro.html   (11346 words)

R E A L T I M E Hence the new age element in many contemporary baroque films.” A crucial distinction is set up through the idea that rather than forging signifiers that point to a meta-zone, neo-baroque form is highly reflexive in carrying out its primary role of enabling an immanent wonder: mysticism is generated within the technical virtuosity on display. Asserting that the technical-aesthetic innovations of both eras give “voice to the association of art with pleasure, divertissement, and entertainment”, she also argues that the contemporary neo-baroque is more challenging and complex than the largely religious connotations of 17th century baroque forms due to the heterogeneity and ambiguity of metaphysical allusion in a secular age. Ndalianis highlights well the connection between 17th century baroque artists being commissioned by powerful (mainly religious) figures of the day and contemporary baroque practitioners requiring the financial backing of today’s high priests in the form of large corporations, taking care to state that such reliance cannot be without an ideological component. www.realtimearts.net /rt68/ford.html   (638 words)

Neo-Baroque Aesthetics and Contemporary Entertainment - The MIT Press The artists of the seventeenth-century baroque period used spectacle to delight and astonish; contemporary entertainment media, according to Angela Ndalianis, are imbued with a neo-baroque aesthetic that is similarly spectacular. The neo-baroque aesthetics that Ndalianis analyzes are not, she argues, a case of art history repeating or imitating itself; these forms have emerged as a result of recent technological and economic transformations. The neo-baroque forms combine sight and sound and text in ways that parallel such seventeenth-century baroque forms as magic lanterns, automata, painting, sculpture, and theater but use new technology to express the concerns of the late twentieth and early twenty-first century. mitpress.mit.edu /catalog/item/?ttype=2&tid=10721   (475 words)

Art 101—Week 3 The term Baroque is probably Portuguese for a "large, irregular shaped pearl", perhaps referring to its dramatic exaggerations and excesses of affect—its sense of movement, energy, and intense spirituality. Baroque art of the 17th century encompasses vast regional distinctions. The transition from High Renaissance art to Baroque and Rococo art was a reflection of the social, political and economic changes in much of Europe. vcs.ccc.cccd.edu /art101/week3.htm   (750 words)

Kevin L. Croxen Croxen, Kevin L. Slavic neo-Latin literature and the vernaculars during the first stage of the Slavic baroque. The first chapter reviews the difficulties in the use of the word "Baroque" as a critical and period term particularly when attempting to assign it to 17th-century Latin literature. The focus is on the neo-Latin belles-lettres composed by Polish, Czech, and Croatian authors from roughly 1580 to 1708. aatseel.org /dissertations/literature/croxenk.html   (353 words)

The Neo-Classical Revival in Turn of the Century Britain In contrast, the efforts by Belcher and Joass to adapt their Baroque inclinations to the demands of the steel frame resulted in the contrived neo-Mannerism of Mappin House on Oxford Street (1906-08: see Figure 12), or the Royal Insurance building on Piccadilly (1907-08). The literary dimension of the Baroque revival was further reinforced between 1898 and 1901 in a series of folio volumes entitled Only the curved pediments and the Baroque sculptural figures over the main door disturb the powerful rectilinearity of the composition. www.cartage.org.lb /en/themes/Arts/Architec/TheAgeofRevivals/NeoClassicalRevival/NeoClassicalRevival.htm   (3951 words)

Perl Music Baroque music is structured like a weaving on a loom, and it's no accident that punch cards were invented to run looms before they were used to run computers. But before and during the Baroque period, there was tremendous technological progress in both the production and publication of music. When I was young, I was taught that music has progressed through four major periods: Baroque, Classical, Romantic, and Modern. www.goss.com /perl/perlMusic.html   (834 words)

bourgeau.htm The Baroque or Late Italian Renaissance Revival in Quebec architecture, which emerged around 1820, was largely due to the work of Bishop Ignace Bourget of Montreal (1840-1885) and his advisor Father Félix Martin, both with whom Bourgeau had contact. Bourgeau's first work in the Baroque style was the Church of Sainte-Rose, Ile-Jésu (1852-1855) the interior of which resembles that of the Anglican Church of St. Martin-in-the-Fields in London, England. Sources: Alan Gowans, "The Baroque Revival in Quebec," Journal of the Society of Architectural Historians 14:3 (October 1955) 8-14. collections.ic.gc.ca /relig/bourgeau.htm   (942 words)

enjuto Neo Baroque poets reread the Spanish Golden Age and Latin American literary tradition -privileging juxtapositions, paradoxes, intertextuality, and the opposition to an authoritative system. In his essay "La búsqueda del presente," Paz places himself in the tradition of Lope and Quevedo, yet maintains that Mexicans are and are not literally Europeans, "Somos y no somos europeos."(384) This quest for the lost origins in both the European and the Indigenous cultural backgrounds links Paz’s work to a Neo-Baroque poetics. The Baroque fascination with antique ruins does not only reflect an admiration for their great monuments; it is also aimed to grasp the "eternal," what survives the destruction of pagan culture. www.lehman.cuny.edu /faculty/guinazu/ciberletras/v11/enjuto.html   (4085 words)

My attention was drawn to the Poussin painting The main point about the style and the message that goes along with it is that the Baroque period shows the glory of the Renaissance given full expression and set free from the classical sense of order, while the Classical Baroque and then the neo-classical periods go back to the stronger sense of order. The powerful French monarchy and its Royal Academy caused Classical Baroque works to adhere closely to the classical standards of style that came from ancient Greece and were revived at the Renaissance. Baroque art had become very expressive and a little wild, but Classical Baroque returned to the ordered, balanced look. planet.tvi.cc.nm.us /jersherm/mypaper121.htm   (1601 words)

Tulse Luper Database: Peter Greenaway, the New Media Object and the Art of Exhaustion by Benjamin Noys If Greenaway's art draws on the Baroque then his use of this form of art in a modern or “postmodern” context could be considered as an example of the neo-Baroque. Here the art of exhaustion, which is, according to Borges, the definition of the Baroque, is pursued to the border of parody and beyond through the new media object. Amy Lawrence has quoted Deleuze's claim that “the essence of the Baroque entails neither falling into nor emerging from illusion but rather realizing something in illusion itself” as indicative of Greenaway's Baroque art (164). www.imageandnarrative.be /tulseluper/noys.htm   (3696 words)

Amsterdam Heritage - Revival Styles Neo-Gothic and neo- Renaissance architecture, as well as combinations of the two, are applied on a large scale even to houses and shops. Neo-Grec is one manifestation of the neo-classical style and, characteristically, a transitional phase between late 18th century classicism and the 19th century revival styles. Typical of neo- Grec are: classical design including pillars, architraves, frontons, etc. and whitewashed interiors. www.bmz.amsterdam.nl /adam/uk/neostijl.html   (733 words)

LMP-place content Another attraction in Iława is the four baroque sculptures in the center of the town brought from Kamieniec in 1976: Jupiter, Juno, Medusa and Hercules - allegories of the four season of the year. Kamieniec has a baroque place form the beginning of the 18th c., burnt in 1945, where Npoleon and Maria Walewska stayed in 1870. There are buildings of a former orangery near by and in the park near the castle there exceeding the age of 300. www.euroatlas.pl /place/place_info.asp?lang=e&placeID=11664&categoryID=16   (209 words)

Polish Music Journal 4.1.01 - Granat-Janki: The Music of Aleksander Tansman Tansman's music could be described as being more "neo-Baroque" than "neo-classical." Baroque traditions are also expressed in Tansman's works by his use of polyphony. Another manifestation of Tansman's interest in Baroque music is his use of the form of the suite in such compositions as the Suite dans le style ancien for piano of 1929, or the Suite baroque for chamber orchestra of 1958. Therefore, it is possible to trace in his works patterns borrowed from the Baroque, classicism, and romanticism, from Polish folklore and popular music, from Jewish and oriental music, from jazz, as well as various other musical styles of the 20th-century. www.usc.edu /dept/polish_music/PMJ/issue/4.1.01/granatjanki.html   (4151 words)

VAH-477G (jghatch) By the 1920s, the Baroque surfaced in Holland and conspired in instigating the break up of De Stijl, while suffering some frightfully bad press amongst the Polish Constructivists, who nonetheless found the idea of the Baroque a useful critical tool for understanding their own work. However, other Constructivists would not be so damning of the Baroque, finding its approaches to the description of time and space pertinent. This course will outline the development of this interest in the Baroque up to the present day and examine the possible reasons for it. publish.uwo.ca /~jhatch/477goutline.htm   (647 words)

Modern World Civilizations Paper Worksheet The art academies were set up, and they imposed more structure on the paintings, etc. This helped to produce classical baroque, which was a forerunner of Neoclassicism. It appears in the Baroque era (1638-9), but it is an example of Classical Baroque, that is, an early appearance of the Classical style. The Baroque period shows the glory of the Renaissance given full expression and set free from the classical sense of order. planet.tvi.cc.nm.us /jersherm/myworksheet121.htm   (1272 words)

History & styles: The other neo-styles of the 19th century (ca. 1850-1900) Nicolaas in Amsterdam (NH) Architect A.C. Bleys actually used the 'protestant' neo-Renaissance style for some of his churches, although mixed with Baroque elements, reason why his style is often referred to as neo-Baroque. Another style that was of some importance to catholic architecture was neo-Romanogothicism, based on the late-Romanesque architecture of the Rhineland. www.archimon.nl /history/otherneostyles.html   (522 words)

[LEAuthors] Leonardo Electronic Almanac vol 12, no 09, September 2004 First, the author theorizes the relationship between the two poles of classic and baroque in terms of continuity, instead of split: the neo-baroque era in which we are living is neither the result of a refusal of the classic, nor the outcome of a degenerative process. Second, and this is a very logical step in the author's argumentation, Ndalianis' refusal to oppose classic and baroque in an absolute way helps her to re-establish the fundamental historicity of each form taken by both tendencies. Ndalianis, who accepts the use of baroque and classic as transhistorical categories and who accepts equally the current definitions of both concepts (following Wölfflin and others, she thus opposes both as open versus closed, or dynamic versus static, etc.), emphatically rejects any binary analysis of their opposition. mailman.mit.edu /pipermail/leaauthors/2004-September/000020.html   (9648 words)

Joseph Giliberti - Free Music Downloads - MP3 Downloads - Download.com Music Trained as a youth in the traditional orchestral repetoire of Classical and Romantic tunes and playing various shouldered viols, Joseph was shocked when he first discovered Baroque in his teen years, the same time he endeavoured through the quagmire of music theory. An aspiring musician, composer, and music theorist who seeks to combine classical integrity with modern tonality, Joseph Giliberti is blazing a path between the Baroque and the Progressive. This concerto, borrowing a theme from J.C. Bach, is the prototype for his Baroque-styled pieces. music.download.com /josephgiliberti/3600-9107_32-100797675.html   (524 words)

Towards a Perverse Neo-Baroque Cinematic Aesthetic: Raúl Ruiz's Poetics of Cinema If a Baroque method of construction inevitably results in multiple points of view, it is necessarily perverse, in that rather than resulting in a unified theory, it instead engages ludically with diverse theoretical formulations, which thereby lose their rigidity to become the mobile elements of shifting assemblage. The crucial difference between the Baroque, as Ruiz understands and employs it and the ethos of cinematic Surrealism, is the replacement of the motto “everything is fundamentally simple” with its opposite “everything is fundamentally complex”. This has led several critics, notably, Christine Buci-Glucksman to make direct links between Ruiz's aesthetics and the Baroque, rather than more contemporary aesthetic movements such as Surrealism (Buci-Glucksmann, 9-41). www.sensesofcinema.com /contents/books/04/30/raul_ruiz_poetics_of_cinema.html   (3086 words)

AOR 10 World Artists Show 2002 Goya wasnt baroque either, but certainly he was neobaroque in the same sense I can be called that. But Delacroix was undoubtedly one of the first neobaroque, despite his romanticism, and in order to say that, I had to conjure his primary aversion: monsieur Ingres as well as a few of my own. Esmann: I thought we were talking about the neobaroque and since Peter thinks its nothing but a repetition of the baroque, why not make a list of some baroque and neobaroque phantasmagorias. artistsownregistry.com /janesmanninterviews.htm   (5284 words)

Guest Artists' Statement And it is this "public presence" that makes Baroque painting something like post modernism and carries neo-baroque painting into the contemporary world. The Baroque period is a focus of personal interest. This intense creative energy generated in the fall semester fueled the work of the "Enhanced Studio" and was certainly a context for members who joined the group in January. www.art-in-canada.com /we2005/show.htm   (264 words)

The Baroque Finally, we will examine the recurrence of the Baroque as a theme in contemporary theory, in particular as manifested in the work of Deleuze and Lacan, and attempt to answer the question of whether the postmodern qualifies in some way as a neo-Baroque. The thesis this course intends to explore is that the art-historical concept "the Baroque" refers to a stylistic enterprise that is coterminous with a particular historical constellation of ideas, values, and technologies. The art, literature, thought, and music we identify as baroque correspond to a historical fascination or even obsession with mediation, and with the possible materialities of mediation, i.e., media. www.acsu.buffalo.edu /~egginton/Baroque/lowindex.html   (383 words)

Barry Lewis - Architectural Historian The neo-classical tradition, created by the Renaissance, ran the gamut of expression from the theatrical intensity of the Baroque (the Roman tradition of the grotesque, the Cuvilliés Theater in Munich, the Capucine cemetery in Rome) to the austere, minimalist proto-Modern work of Germany's Karl Friedrich von Schinkel and England's John Soane. Neo Dutch Colonial House, Kew Gardens, NY circa 1915. www.barrylewis.org /course_nysid.html   (868 words)

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