Cognates for the term in other Romance languages include: The Renaissance is harsh and unnatural, the intonation baroque, and the movement limited. It appears that term comes from the word 'baroco' used by logicians. He used the term to attack the movement for subverting the values of the Renaissance.
The first phase of the Counter-Reformation had imposed a severe, academic style on religious architecture, which had appealed to intellectuals but not the mass of churchgoers. The Council of Trent decided instead to appeal to a more popular audience, and declared that the arts should communicate religious themes with direct and emotional involvement.
The dome was one of the central symbolic features of baroque architecture illustrating the union between the heavens and the earth, The inside of the cupola was lavishly decorated with paintings of angels and saints, and with stucco statuettes of angels, giving the impression to baroque below of looking up at heaven.
Quadratura paintings of Atlantes below the cornices appear to be supporting the ceiling of the church. Unlike the painted ceilings of Michelangelo in the Sistine Chapel, which combined different scenes, each with its own perspective, to be looked at one at a time, the Baroque ceiling paintings were carefully created so the viewer on the floor of the church would see the entire ceiling in correct perspective, as if the figures were real.
The interiors of baroque churches became more and more ornate in the High Baroque, and focused around the altar, usually placed under the dome.
Peter —34both by Gian Lorenzo Berniniin St. Peter's Basilica in Rome. The Baldequin of St.
Peter is an example of the balance of opposites in Baroque art; the gigantic proportions of the piece, with the apparent lightness of the canopy; and the contrast between the solid twisted columns, bronze, gold and marble of the piece with the flowing draperies of the angels on the canopy.
It gives both a sense of motion and also a dramatic new way of reflecting light. The cartouche was another characteristic feature of baroque decoration. These were large plaques of carved of marble or stone, usually oval and with a rounded surface, which carried images or text in gilded letters, and were placed as interior decoration or above the doorways of buildings, delivering messages to those below.
They showed a wide variety of invention, and were found in all types of buildings, from cathedrals and palaces to small chapels. For the Palazzo Spada in Rome, Borromini used columns of diminishing size, a narrowing floor and a miniature statue in the garden beyond to create the illusion that a passageway was thirty meters long, when it was actually only seven meters long.
A statue at the end of the passage appears to be life-size, though it is only sixty centimeters high.
Borromini designed the illusion with the assistance of a mathematician. The interior of this church remained very austere until the high Baroque, when it was lavishly ornamented.
In Rome inPaul V became the first of series of popes who commissioned basilicas and church buildings designed to inspire emotion and awe through a proliferation of forms, and a richness of colors and dramatic effects. Peter's Basilica —and the new nave and loggia which connected the facade to Michelangelo's dome in the earlier church.
The new design created a dramatic contrast between the soaring dome and the disproportionately wide facade, and the contrast on the facade itself between the Doric columns and the great mass of the portico.
The sculptor and architect Gian Lorenzo Bernini designed a new quadruple colonnade around St. Peter's Square to The three galleries of columns in a giant ellipse balance the oversize dome and give the Church and square a unity and the feeling of a giant theater.
The sense of movement is given not by the decoration, but by the walls themselves, which undulate and by concave and convex elements, including an oval tower and balcony inserted into a concave traverse. The interior was equally revolutionary; the main space of the church was oval, beneath an oval dome.
It appeared in Venice in the church of Santa Maria della Salute — by Baldassare Longhenaa highly original octagonal form crowned with an enormous cupola.
Spanish Baroque architecture[ edit ].This free Photography and arts essay on Essay: Art during the Renaissance, Baroque and Rococo periods is perfect for Photography and arts students to use as an example. History has no natural divisions. A woman living in Florence in the 15th century did not think of herself as a woman of the Renaissance.
Historians divide history into large and small units in order to make characteristics and changes clear to themselves and to students. How to Appreciate Renaissance Sculpture (c) Renaissance art, especially sculpture, was based on a new surge of respect for Greek srmvision.comgh consisting largely of religious works, Renaissance sculptors were greatly inspired by a strong belief in Humanism and the nobility of Man.
Thus the human form, particularly the Male Nude, was a favoured subject. Western architecture - Gothic Revival, c. –c. The architectural movement most commonly associated with Romanticism is the Gothic Revival, a term first used in England in the midth century to describe buildings being erected in the style of the Middle Ages and later expanded to embrace the entire Neo-Gothic movement.
The date of its beginning is not easy to pinpoint, for, even. Western architecture - Baroque and Rococo: Baroque and late Baroque, or Rococo, are loosely defined terms, generally applied by common consent to European art of the period from the early 17th century to the midth century. Baroque was at first an undisguised term of abuse, probably derived from the Italian word barocco, which was a term used by philosophers during the Middle Ages to.
Renaissance, Baroque, and Rococo Architecture Essay Renaissance architecture is split into three periods: Early Renaissance (ca. ), High Renaissance .