-Baroque And Rococo-

-Architecture-
 Introduction of
Baroque architecture
Rococo art, flourished in France and Germany in the early 18Th century was
in many respects a continuation of the baroque, particularly in the use of light
and shadow and the compositional movement. Rejected the traditional themes of
heroes and mythology. Focused on representing the carefree life characteristic of
the aristocratic patrons of the arts. Derived form the French word, rocaille, or
pebbles, referring to the stones and shells used to decorate the interior of caves.
As the seventeenth century ended and the eighteenth century began, France
emerged as the strongest wealthiest, nation in Europe. Paris its capital, became
the center of the art world.
 The term "Baroque"
 The word "Baroque," like most period or stylistic designations, was invented by later critics rather than
practitioners of the arts in the seventeenth and early eighteenth centuries. It is a French translation of the
Portuguese phrase "pérola barroca," which means "irregular pearl," or false jewel—notably, an ancient similar
word, "Barlocco" or "Brillocco," is used in Roman dialect for the same meaning—and natural pearls that deviate
from the usual, regular forms so they do not have an axis of rotation are known as "baroque pearls." The word
may have been influenced by the mnemonic term "Baroco" denoting, in logical Scholastica, a supposedly
labored form of syllogism.
Location and Map

Europe countries that apply boroque art.

 Introduction of

Baroque architecture
The seventeenth and early eighteenth centuries marked the Baroque period in Europe
and the Americas. The period was characterized by a fluidity of design accented by a
sense of drama. The architecture of the period departed from the traditionalist forms
seen in Renaissance designs and moved toward grander structures with flowing,
curving shapes. Baroque architects often incorporated landscape design with their
plans and were responsible for many of the great gardens, plazas and courtyards of
Italy.
 Beginning in the early seventeenth century in Italy, Baroque architecture 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. The term 'Baroque' was actually a reference to deformity, and Borromini's
church of St. Carlo was evidence of that: unhinged and perverse. New architectural
concerns for colour, light and shade, sculptural values and intensity characterize
the Baroque. Whereas the Renaissance drew on the wealth and power of the Italian
courts, and was a blend of secular and religious forces, the Baroque was directly linked
to the Counter-Reformation, a movement within the Catholic Church to reform itself
in response to the Protestant Reformation. The Council of Trent (1545-1563) marked
the beginning of the Counter Reformation.
 The Baroque played into the demand for an architecture that was—on the one hand
more accessible to the emotions and—on the other hand, a visible statement of the
wealth and power of the Church. The new style manifested itself in particular in the
context of new religious orders, like the Teatimes and the Jesuits, which aimed to
improve popular piety. By the middle of the seventeenth century, the Baroque style
had found its secular expression in the form of grand palaces, first in France—as in the
Château de Maisons (1642) near Paris by François Mansart—and then throughout
Europe.
The Altarpiece of Veit Stoss -
St. Marys Altar, Kraków,
Poland
 Baroque architecture is distinguished primarily by richly sculpted surfaces. Whereas Renaissance architects
preferred planar classicism (flat surfaces veneered in classical elements), Baroque architects freely moulded surfaces
to achieve three-dimensional sculpted classicism. And while the surface of a Renaissance building is typically neatly
divided into sections (in accordance with classical clarity and order), a Baroque surface is treated as
a continuous whole.6

 Indeed, a Renaissance facade often consists of many similar sections, such that one's eye is not drawn to any
particular part of the building. A Baroque facade, on the other hand, often features an attention-
grabbing concentration of rich elements (e.g. curved walls, columns, blind arches, statues, relief sculpture) around a
central entrance.F303

 Churches are the most splendid form of Baroque architecture in Italy, while chateaux (country mansions) are the
outstanding Baroque works of France.

 England should also be noted in a discussion of Baroque architecture, for two reasons. Firstly, this period
featured Christopher Wren, often considered the greatest of all English architects. Wren designed many of London's
buildings after the Great Fire, including his masterpiece, St Paul's Cathedral. Secondly, the Baroque age witnessed
the rise of Palladian style architecture in England, which became massively popular during the subsequent
Neoclassical period.
 ROCOCO
The early 18th century, saw a resurgence in aristocratc social, political and economic
power. (the great age of aristocracy) with reign of louis XV, the sparkling gaiety cultivated in
the new age, found perfectly harmonious in the rococo style. Rococo, it is a softer style that
expresses free, graceful movement, playful use of line and delicate colors. During the reign
of Louis XV in France, the rococo may be thought of as the feminine version of the baroque.
The Rococo style is lighter in scale, rooms are smaller, and there is a reliance of silver and
gold gilding not only on the walls but on the ceiling decoration. The rococo is a style of the
interior rather than an architectural one. Pastels colors are used, and there is an all over
patterning of lightly scaled undulating motifs. Altough space layout was symmetrical, the
applied decoration was asymmetrical.
 DEFINATION OF ROCOCO
An 18th century art style which placed emphasis on portraying the carefree life of the
aristocracy rather than on grand heroes or pious martyrs. Love and romance were considered
to be better subjects for art than historical or religious subjects. The style was characterized
by a free, graceful movement a playful use of line and delicate colors. Genre painting came
back into favor when the academy admitted watteau to its ranks in 1717 on the presentation
of this work the subject of which was so novel that the term fete galante was coined to
describe it.
 Distinguishing features of Baroque
architecture
Important features of baroque architecture include:
 long, narrow naves are replaced by broader, occasionally circular forms
 dramatic use of light, either strong light-and-shade
contrasts, chiaroscuro effects (e.g. church of Weltenburg Abbey), or uniform
lighting by means of several windows (e.g. church of Weingarten Abbey)
 opulent use of ornaments (puttos (cherubs) made of wood (often gilded),
plaster or stucco, marble or faux finishing)
 large-scale ceiling frescoes
 Santa Susanna: Carlo Maderno,.
 Sicilian Baroque: San Benedetto in Catania.
 the external facade is often characterized by a dramatic central projection
 the interior is often no more than a shell for painting and sculpture (especially
in the late baroque)
 illusory effects like trompe l'oeil and the blending of painting and architecture
 in the Bavarian, Czech lands, Poland, and Ukranian baroque, pear domes are
ubiquitous
 Marian and Holy Trinity columns are erected in Catholic countries, often in
thanksgiving for ending a plague
 Phase of the Baroque age
leading region Early
 Baroque (ca. 1600-25)Italy
 High Baroque (ca. 1625-75)
 Late Baroque (ca. 1675-1725)
 Rococo (ca. 1725-1800) France
 Early Baroque ca. 1600-1625
The foremost pioneer of Baroque architecture was Carlo Maderno, whose

masterpiece is the facade of Saint Peter's Basilica, Vatican City.6 (Constructed

under various architects throughout the sixteenth and seventeenth centuries,
Saint Peter's features a mixture of Renaissance and Baroque components, the
facade being one of the latter.)

Example of Broken Pediment and Layered Pilaster (Saint Peter's Basilica)

 Prior to Maderno, Saint Peter's had featured a central plan design, upon which various architects had
worked (especially Michelangelo). Maderno converted the building into a Latin cross basilica by extending
the nave, thus pushing the main entrance of the church forward. Saint Peter's can therefore be roughly
divided into two parts: the core(designed largely by Michelangelo) and the front extension (designed by
Maderno). The great dome of Saint Peter's is also chiefly Michelangelo's work, though Maderno did adjust
its proportions (by stretching it vertically).

 The facade of Saint Peter's contains a number of typical Baroque elements, including double
columns (close-set pairs of columns), layered columns, colossal columns(columns that span multiple
stories), and broken pediments (in which the bottom and/or top of a pediment features a gap, often with
ornamentation that "bursts through" the pediment). All of these elements were pioneered during the Late
Renaissance, in mannerist architecture.

 St Peter's also makes extensive use of coffered ceilings, a common feature of monumental Western
architecture. (A "coffer" is a sunken ceiling panel, typically square, rectangular, or octagonal in shape.)
 High Baroque
Period: 1740s–early 1760s
 Although the style had first appeared as Muscovite or Naryshkin Baroque back in the late seventeenth century, the High
Baroque only really flourished in Russia between the 1740s and early 1760s. The central figure of this period of High
Baroque was an Italian architect called Bartolomeo Francesco Rastrelli.

 Rastrelli was born in Florence in 1700 and accompanied his father to Russia in 1716 at the invitation of Peter the Great.
Between 1725 and 1730, he studied architecture in Italy, where he was influenced by the Baroque style. He returned to Russia
in 1730, remaining there right up until his death in 1771.
 The two foremost names in Baroque architecture are Bernini and Borromini, both of whom
worked primarily in Rome.
Two masterpieces of Gian Lorenzo Bernini are found at St Peter's. One is the four-
story baldachin that stands over the high altar.14 (A baldachin is an indoor canopy over a
respected object, such as an altar or throne.) The other is the curving colonnades that frame St
Peter's Square.
Bernini's most famous building is likely the small church of Sant'Andrea al
Quirinale ("Saint Andrew's on Quirinal Hill"). Quirinal hill is one of the "seven hills of
Rome".

Sant'Andrea al Quirinale, Bernini

 Francesco Borromini was the master of curved-wall architecture. Though he
designed many large buildings, Borromini's most famous and influential work
may be the small church of San Carlo alle Quattro Fontane ("Saint Charles at
the Four Fountains"). This building is also found on Quirinal Hill.
 Late Baroque ca. 1675-1725
 The Late Baroque marks the ascent of France as the heart of Western culture. Baroque art of France (and northern Europe
generally) tends to be restrained, such that it can be described as a classical-Baroque compromise. The most distinctive
element of French Baroque architecture is the double-sloped mansard roof (a French innovation).

Baroque French Building Baroque French Chateau Baroque French Church

The most famous Baroque structures of France are magnificent chateaux (grand country residences), greatest of which is
the Palace of Versailles. One of the largest residences on earth, Versailles was built mainly under Louis XIV, whose patronage
of the arts helped propel France to the crest of Western culture.1,7
The palace facade admirably illustrates the classical-Baroque compromise of northern Europe. The walls are characterized
largely by simple planar classicism, although they do contain such Baroque elements as sculpted busts, a triple stringcourse,
double pilasters, and colossal pilasters. Additionally, the mansard roof features a sinuous metal railing and rich moulding
around the dormer windows. Versailles became Europe's model of palace architecture, inspiring similarly grand residences
throughout the continent.
Versailles' most famous room is the Hall of Mirrors, whose mirrors have the same dimensions as the windows they stand
opposite
 The final expansion of Versailles was superintended by Jules Hardouin-Mansart, whose key design is the Dome des
Invalides, generally regarded as the most important French church of the century. Hardouin-Mansart profited from his uncle's
instruction and plans to instill the edifice with an imperial grandeur unprecedented in the countries north of Italy. The majestic
hemispherical dome balances the vigorous vertical thrust of the orders, which do not accurately convey the structure of the
interior. The younger architect not only revived the harmony and balance associated with the work of the elder Mansart but
also set the tone for Late Baroque French architecture, with its grand ponderousness and increasing concessions to
academicism.
 Facade of Versailles Russian Palace inspired by Versailles
Versailles' most famous room is the Hall of Mirrors, whose mirrors have the
same dimensions as the windows they stand opposite

Hall of Mirrors (Versailles) English Palace inspired by Versailles

 The Baroque Concept of Building Design:
Architectural Sculpture
Another, and decisive, consequence of the conception of a building as a single
mass to be articulated was that a construction was no longer seen as the sum of individual
parts - facade, ground-plan, internal walls, dome, apse, and so on - each one of which
might be considered separately. As a result the traditional rules which determined the
planning of these parts became less important or was completely disregarded.. For Baroque
architects the facade was merely that part of the building that faced outwards, one element
of a single entity. The division into storeys was generally retained, but almost always the
central part of the facade was organize with reference more to what was above and below it
than to what stood on either side: in other words, it was given a vertical emphasis and
thrust which was in strong contrast to the practice of horizontal division by storeys.
Furthermore, in the facade the elements - columns, pilasters, cornices, or pediments -
projecting from the wall surface, related in various ways to the center, which thus came to
dominate the sides. Although at first sight such a facade might seem to be divided
horizontally, more careful consideration reveals that it is organized vertically, in slices, as it
were. In the center is the more massive, more important section, and the sides, as the eye
recedes froth it, appear less weighty. The final effect is that of a building which has been
shaped according to sculptural concepts, rather than put together according to the
traditional view of architecture.
 French Baroque Architecture
personal variation apart, italian baroque could be said correspond
almost completely to the norms described. The same cannot be said of france ,
which nevertheless produced during the baroque period a succession of excellent
architect, even more numerous than in italy : salomon de brosse, francois mansart
(1598- 1666), jules hardouin mansart (1646-1708). But, in france personality was
less significant in its effect then the school to which architect could be said to
belong. The attempt of the french court to introduce italian baroque into france,
by summoning bernini in 1665 to paris and commissioning him to design the
reconstruction of the royal place – the louvre was doomed from the outset. As a
critic rightly observed, there was in question a radical difference of temperament.
To the French, Italian exuberance verged on the indecorous, if not wilfulness and
bad taste. Rather than as artists, French architect considered themselves
professional men, dedicated to the service and the glorification of their king. At
the court of the Roi soleil a baroque style was developed which was more
restrained than the italian groud-plans were less complex, and facades more
severe, with greater respect for the details and proportions of the traditional
architectural orders, and violet effects and flagrant caprices were eschewed.
EXAMPLE OF FRANCE ARCHITECTURE :
 French Decorative Art

It was not in architecture, however, that the great glory of French

Baroque was to be found, but in the art of landscape gardening. Until the era of
the Baroque, gardens had been of the 'Italian' type, small parks with plants and
flower-beds laid out in geometrical schemes. Andre Le Notre, the brilliant
landscape architect who created the new, perspective, form of garden, supplanted
these by the 'French' garden, of which the park at Versailles was to become both
prototype and masterpiece. In the center stood the palace; on one side was the
approach drive, the gates, the wide gravelled area for carriages; and on the other
were lawns and parterres, or flower-beds in geometrical shapes, fountains, canals
and broad expanses of water, and, beyond all this, the dark line of woods pierced
by long, wide, straight avenues which were linked by circular clearings.
 German Baroque Architecture
The greatest of the south German baroque architect was Balthasar Neumann
(1687-1753) who produced a miracle of palace architecture in the Wurzburg Residenz
this went hand in hand with the building of monasteries and churches for bishops and
abbots, no less than princes, pretended to wordly importance. Neumann found himself
confronted in the case of the ingeniously-designed wing of the banz monastery at
bruhl, by the necessity of inserting a well-staircase loin in building erected by schlaun
in 1725-1728. Here we see at its highest his unique ability for producing an effect of
unlimited space by optical illusion, the inclusion of picturesque vistas, and by tricks of
lighting. In the well-staircase and the banqueting halls of schloss bruchsal he produced
what is, in consistency, design, magnificence, and lighting, one of the greatest
masterpiece of german architecture.

Wurzburg Residenz Schloss Bruchsal

EXAMPLE OF GERMAN ARCHITURE :
EXAMPLE OF GERMAN ARCHITECTURE:
 ITALIAN Baroque Architecture
Italy, the cradle of baroque and a key destination of those on the Grand Tour,
produced in addition to a proportion number of good professional architects a quartet
who rate as excellent bernini, borromini,pietro da cortona, and guarino garini. The work
of each was unmistakably baroque, but each of them had, as it were, a different accent.
Bernini and to a lesser extent, pietro da cortona, represented the courtly baroque,
masjestic and exuberant but never outrageously so, which was succesful principally in
the italian peninsula. The style possessed, at their most typical, all the features of
baroque described above, and conveyed an air of grandeur and dignity that rendered it a
classic of its kind.
EXAMPLE OF ITALIAN ARCHITECTURE:

Trevi Fountain, Rome

Church of the Cross, Lecce

References :
 http://www.newworldencyclopedia.org/entry/Baroque_Architecture

 https://www.google.com/search?rlz=1C1GGRV_enKZ751KZ751&biw=1707&bih=766&
tbm=isch&q=saint+peter%27s+basilica+section&sa=X&ved=0ahUKEwj4n5Sm0JXW
AhXJvo8KHRl4BmQQhyYIMQ#imgrc=-pM3WMQEaGRgqM

 https://www.google.com/search?rlz=1C1GGRV_enKZ751KZ751&tbm=isch&q=saint+
peter%27s+basilica&spell=1&sa=X&ved=0ahUKEwiNkPGB7ZXWAhWJtY8KHfWW
AjIQvwUIOCgA&biw=1707&bih=766&dpr=0.8

 https://www.google.com/search?q=high+baroque&rlz=1C1GGRV_enKZ751KZ751&so
urce=lnms&tbm=isch&sa=X&ved=0ahUKEwjoxYmj3pXWAhVFL48KHTXEDMQQ_
AUICigB&biw=1707&bih=766#imgrc=Ig69uJgNT4lJMM

 http://list25.com/25-amazing-examples-of-baroque-architecture/
CONCLUSION
 Renaissance architecture gave the visual impression of being simple but Boroque
architecture was deliberately complex.

 Instead of clarity there was conflict.

 Instead of uniformity of the elements and overall effect, there was studied variety

 Instead of regularity, there was contact.

 The classical architectural orders in painting and of course in architecture.