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The Baroque was a style in art that used exaggerated motion and abundant detail to produce drama, tension, exuberance, and grandeur from sculpture, painting, literature, and music. The baroque style started around 1600 in Rome, Italy and spread to most of Europe--but not to the Netherlands, where painters such as Rembrandt and Hals catered to the Dutch patrons of art who preferred a more realistic and less fantastic style.
The popularity and success of the "baroque" was encouraged by the Catholic Church when it decided that the drama of the baroque artists' style could communicate religious themes as a very direct and emotional involvement. The secular aristocracy also saw the dramatic style of baroque architecture and art generally as a means of impressing visitors and would-be competitors, such as with the ornate royal palace at Versailles. Because so many forms of art, music, architecture, and literature inspired each other in baroque expressions, the "baroque" is considered to be a cultural movement.
The Baroque originated around 1600, the Council of Trent (1545–63), by which the Roman Catholic Church answered many questions of internal reform, addressed the representational arts by demanding that paintings and sculptures in church contexts should speak to the illiterate rather than to the well-informed. This turn toward a populist conception of the function of ecclesiastical art is seen by many art historians as driving the innovations of Caravaggio and the CarracciThere are several people name Carracci Most famous are three Italian Baroque Painters Agostino Carracci Annibale Carracci, brother of Agostino Carracci Lodovico Carracci, cousin of Agostino Carracci. brothers, all of who were working (and competing for commissions) in Rome around 1600.
The appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th century15th century 16th century 17th century more centuries) As a means of recording the passage of time, the 16th century was that century which lasted from 1501 to 1600. Events Beginning of the " Little Ice Age" a cooling period that resulted in lower crop yi ManneristMannerism is the usual English term for an approach to all the arts, particularly painting but not exclusive to it, a reaction to the High Renaissance, emerging after the Sack of Rome in 1527 shook Renaissance confidence, humanism and rationality to their art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, and dramatic (see the Prometheus sculpture below). Baroque art drew on certain broad and heroic tendencies in Annibale Caracci and his circle, and found inspiration in other artists like CorreggioAntonio Allegri da Correggio ( Correggio, Italy 1488- 1534) was an Italian painter of the Renaissance. He is commonly considered as a pioneer in the use of light; he was the leader of the Renaissance art in Parma. His life was described in Giorgio Vasari' and Caravaggio and Federico BarocciFederico Barocci (or Baroccio ( 1528- 1612), Italian painter, was born at Urbino, where the genius of Raphael inspired him. In his early youth he travelled to Rome, where he painted in fresco and was warmly commended by Michelangelo. He then returned to U, nowadays sometimes termed 'proto-Baroque'.
Prometheus, by Nicolas-Sébastien Adam, 1737 ( Louvre): a hectic tour-de-force of violent contrasts of stress, multiple angles and viewpoints, and extreme emotion Germinal ideas of the Baroque can also be found in the work of Michelangelo. Some general parallels in music make the expression "Baroque music" useful: there are contrasting phrase lengths, harmony and counterpoint have ousted polyphony, and orchestral color makes a stronger appearance. See the entry Baroque music. Similar fascination with simple, strong, dramatic expression in poetry can be seen in John Donne's warning to "never send to know for whom the bell tolls; it tolls for thee."
Though Baroque was superceded in many centers by the Rococo style, beginning in France in the late 1720s, especially for interiors, paintings and the decorative arts, Baroque architecture remained a viable style until the advent of Neoclassicism in the later 18th century. See the Neapolitan palace of Caserta, a Baroque palace (though in a chaste exterior) that was not even begun until 1752. Critics have given up talking about a "Baroque period".
In paintings Baroque gestures are broader than Mannerist gestures: less ambiguous, less arcane and mysterious, more like the stage gestures of opera, a major Baroque artform. Baroque poses depend on contrapposto ("counterpoise"), the tension within the figures that move the planes of shoulders and hips in counterdirections. See Benini's David (below, left).
The dryer, less dramatic and coloristic, chastened later stages of 18th century Baroque architectural style are often seen as a separate Late Baroque manifestation. See the entry Claude Perrault. Academic characteristics in the neo- Palladian style, epitomized by William Kent, are a parallel development in Britain and the British colonies.
The Baroque was defined by Heinrich Wölfflin as the age where the oval replaced the circle as the center of composition, that centralization replaced balance, and that coloristic and "painterly" effects began to become more prominent. Art historians, often Protestant ones, have traditionally emphasized that the Baroque style evolved during a time in which the Roman Catholic Church had to react against the many revolutionary cultural movements that produced a new science and new forms of religion— Reformation. It has been said that the monumental Baroque is a style that could give the Papacy, like secular absolute monarchies, a formal, imposing way of expression that could restore its prestige, at the point of becoming somehow symbolic of the Counter-Reformation. Whether this is the case or not, it was successfully developed in Rome, where Baroque architecture widely renewed the central areas with perhaps the most important urbanistic revision.
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