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Art criticism theory baroque art
Art criticism theory baroque art
The baroque era art essay
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This book by John Rupert Martin is a good introductory book in the understanding of Baroque artists and their tremendous variety. Martin defines the Baroque characteristics, but only very broadly leaving a significant amount of room for the reader to make his own deductions. In general, Martin believes that the typical definitions of the Baroque are "too restrictive and hence likely to create more problems of classification and interpretation than it solves." Even the time of the Baroque is left open to the reader when Martin says the Baroque is roughly comprehended by the seventeenth century. It is important to note at the outset that this is only a convenient approximation; for epoch as a whole can certainly not be fitted into such a strait-jacket." This helps to define the Baroque much more generally as a gradual change which can much easily be noticed from the present than the past.
In general, Martin is not supportive of defining a governing rule of characteristics as only Baroque. However, in order for him to establish a basis to discuss the Baroque, certain major characteristics must be reluctantly defined. Martin organizes the book into different "essential characteristics" which describe art during the Baroque in order to help the reader. These characteristics include Naturalism, The Passions of the Soul, The Transcendental View of Reality and the Allegorical Tradition, Space, Time, Light, and Attitudes to Antiquity. Each chapter subsequently describes in further detail these characteristics.
The first characteristic, naturalism, is according to Martin a result of the "sophistications of Late Mannerism." Mannerism, as Martin describes, h...
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...nbsp;As Martin describes, this work is "at once a masterpiece of dramatic narrative and an exercise in archaeological correctness; attitudes, costumes and furnishings...studied from the Antique." Carracci's ability to paint works such as this enabled him to become one of the more popular artists of the time.
All in all, Martin breaks down the Baroque into eight key characteristics. Through the study of these characteristics, the viewer is able to further understand the purpose of the piece. Martin, however, points out that these characteristics are not bound in gold as the rules of the Baroque. Rather, these are a general guideline which should be used lightly in order to receive a better understanding of the time. In the end, as a reader, one does receive a well rounded flavor of the different emotions and senses of the Baroque.
The Baroque era was born out of the Roman Catholic Church’s Counter Reformation, during which the church made considerable efforts to strengthen the relationship between the secular world and the religious order. In an effort to engage the common people and create piety, the Catholic Church wanted art to appeal to human emotions. Gentileschi successfully accomplishes this in her painting, Judith Slaying Holofernes. By infusing the Apocryphal tale of Judith with dramatic techniques such as chiaroscuro and foreshortening, she created a deeply moving and realistic piece of art that engages the viewer physically and emotionally, which is quintessential to the Baroque style.
Daum, Gary. "Chapter 12 The Baroque Era (1600-1750)." Georgetown Prep. 1994. Georgetown University. 12 July 2005 .
Although both Fragonard’s and David’s work convey different ideals through their style of painting, they are still able to use light in a very similar form. The viewer’s attention is directed on a specific point in the painting through the use of light. Both artists cast a spotlight on the figure or action in the painting that they want the viewer to especially notice. It is what each artist decides to focus on that makes his work is different from the other. A young woman on a swing who enjoys the pleasures of life is clearly where Fragonard wants to direct the viewer’s attention. However, David focuses attention on a male figure, specifically Socrates. How does the use of light help the viewer understand the ideals of each form of art? While Fragonard chooses to focus on a female and David chooses to focus on a male, the viewer now understands how Rococo can be a feminine form of art and Neo-Classicism the opposite. In addition, other stylistic elements like color and form depict how each art form differs from the other. By using all this visual evidence, we will later see how the concept of deciding...
As the late Baroque period morphed into the new period known as the classical period, technological advances and new compositional techniques and ideas created new opportunities for the musicians of the period. The changes allowed for new performance techniques, forms, performance venues, and newly available compositional orchestrations to be improved and evolved into something new and improved for the new period.
Schulenberg, David. Music of the Baroque. New York: Oxford University Press, 2001. ML193.S38 2001 c.2
The superficial form of light was fascinated during this period due to the thoughts of godlike sun or the truth of the Holy Spirit. The Baroque naturalism maintains the religious themes in its content. The elements of perception in the Baroque art are how we perceive the natural human figures in motion through space, time, and light. We present and analyze the extent of human actions and passions in all its degrees of lightness, darkness, and intensity. The scientific revolution also had a tremendous impact on art during this time.
Getzinger, Donna. Johnann Sebastian Bach and the art of baroque music. 1st ed. Greensboro: Morgan Reynolds, 2004
...ic landscapes. The baroque marked the time in which painters considered using subjects other than scenes from the Bible and from classical traditions. The baroque period also was the period in which artists painted portraits, and everyday life scenes. Baroque artist broke away from trying to make the calm balance known to the renaissance artists. Artists from the baroque era were interested in no longer tried in the extreme. They wanted to paint subjects possessing strong emotions; they wanted to capture those emotions and feelings in their work. Instead of just extremes of feeling sometimes, these strong emotions were personal. More often artists tried to portray intense religious emotions. Baroque art attempted to explain how and why their subjects fit as strongly as they did by representing their emotional states as vividly and analytically as possible.
Over the past several years, some amateur musicians have developed specific ideas about 'correct' performance practice of Baroque music. In an essay concerning the issues of Baroque music performance, Michael Sartorius notes that:
1. What are the major characteristics of Mannerist art and architecture? Select an Italian Mannerist painting, sculpture, and architectural work that we discussed in class from chapter 22, and describe the Mannerist features of each.
Peter Paul Ruben’s art is a combination of the traditional Flemish realism with the classicizing tendencies of the Italian Renaissance style. Peter Paul Rubens had the cunning ability to infuse his own incredible vigor into a potent and extravagant style that came to define Baroque art movement of the 17th century. “Baroque art characterized by violent movement, strong emotion, and dramatic lighting and coloring.” The figures in his paintings create a permeating sense of kinetic lifelike movement, while maintaining the appearance of being grand in stature yet composed.
One of the characteristics of the Italian Baroque is the realistic depiction of human figures, vivid use of color and foreshadowing techniques, especially in the paintings. In addition, the figures of the paintings seem to emerge from the background, giving huge differences between light and dark. The Italian baroque structure has a sense of movement and that of energy when in static form. The sculptures make the observers to have multiple viewpoints. The Baroque architecture has characteristic domes, colonnades, giving an impression of volume and void.
For this task, the two art periods that I have decided to compare are the Baroque and the Neoclassical periods. The discipline within in the humanities that I have choose to focus on for this essay is the aspect of architecture in the respective periods.
The Baroque era was the age of magic. Flat surfaces became three-dimensional and paint on plaster became alive. It was the age of masterful illusion. Nothing exhibits this mastery better than Baroque ceiling paintings.
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.