Thematische Bibliographien / Architecture, baroque – italy

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Auswahl der wissenschaftlichen Literatur zum Thema „Architecture, baroque – italy“

Autor: Grafiati
Veröffentlicht am 28. Juli 2024
Zuletzt aktualisiert am 31. Juli 2025

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Zeitschriftenartikel zum Thema "Architecture, baroque – italy"

1

Syuezhui, Van. "The influence of European Baroque architecture on Chinese Baroque architecture." Культура и искусство, no. 6 (June 2025): 198–211. https://doi.org/10.7256/2454-0625.2025.6.74484.

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The relevance of the topic of this research is due to the fact that the Baroque style, being an important stage in the history of European architecture, had a profound influence on subsequent architectural styles. In encountering the Baroque style, Russia developed a unique architectural style, and after coming into contact with European Baroque, China developed a new stylistic system — Chinese Baroque. Researching this topic will help us better understand the exchange and integration of architectural culture between Europe, Russia, and China, as well as provide historical references for conte
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Montes, Francisco, and Natália Amarante. "Baroque History: The origin, growth and specimens in the district of Vila Real." ERAS | European Review of Artistic Studies 14, no. 4 (2023): 78–97. http://dx.doi.org/10.37334/eras.v14i4.306.

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This paper aims to talk about the history of the Baroque, since its appearance in Italy, a brief introduction to the theme, explaining what this architectural style is, what is its definition according to some authors and how is its presence today, specifically in the district of Vila Real. An attempt is made to give a definition of Baroque art according to various authors, and to demonstrate the different strands present. How Baroque art came about and what are the main characteristics that are present in the different art forms. Later on, some of the representations of Baroque art that exist
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Гарин, V. Garin, Чернышев, Aleksandr Chernyshev, Разиньков, and Egor Razinkov. "History of Baroque Furniture." Forestry Engineering Journal 4, no. 2 (2014): 145–54. http://dx.doi.org/10.12737/4519.

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The Baroque style is the result of the further evolution of the style of the Renaissance. It began to take its forms from the end of XVI century. Baroque developed in European countries during the first half of the XVII and XVIII century. Germany, Austria and England, which had only some features of this style in the middle of XVII century, occupy a special place. The architecture of Italy Baroque began to take shape in the second half of the XVI century, and the formation of its features was largely due to the work of Michelangelo. Baroque style left its mark not only on the architecture of b
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Wagner, Aleksandra, and Neil Spiller. "Magical Transubstantiations: A Voyage to Italy." Architectural Design 94, no. 2 (2024): 68–73. http://dx.doi.org/10.1002/ad.3036.

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AbstractVisiting Italy in 1978 as part of his own Grand Tour, Lebbeus Woods was able to see some of the treasures of the Renaissance and the Baroque. The ensuing mix of reality and imagination prompted the Editors of this 2, Aleksandra Wagner and Neil Spiller, to consider the visual travelogue –Cityscapes – in a similar manner, combining speculation and truth.
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Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (2019): 46. http://dx.doi.org/10.21625/resourceedings.v2i3.624.

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In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblema
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Noyes, Ruth Sargent, and Rūstis Kamuntavičius. "The Paracca Family of Architects and Druja Synagogue: Magnate Patrons and Jewish Clients of Eighteenth-century “Vilnius Baroque”." Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, no. 1 (2021): 25–59. http://dx.doi.org/10.3828/aj.2021.17.3.

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This article explores Jews’ role in mediating artistic exchange between Italy and the Polish-Lithuanian Commonwealth in the eighteenth century, through a case study examining the cultural and historical context surrounding the construction of the Druja synagogue (ca. 1765-1766) by the Paracca family of immigrant Italian architects and masons, for the burgeoning Jewish community affiliated with the region’s reigning noble families. The article explores the circumstances surrounding the Druja synagogue as a manifestation of the so-called “Vilnius Baroque” school of late Baroque-Rococo architectu
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Shvidkovsky, Dmitry. "The Architecture of the Enlightenment and the Birth of Modernity: from the High Baroque to Late Classicism." Scientific and analytical journal Burganov House. The space of culture 16, no. 3 (2020): 21–46. http://dx.doi.org/10.36340/2071-6818-2020-16-3-47-60.

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The article is devoted to the architecture of the Enlightenment in a broad sense. The author is convinced that this period is the time of the beginning of Modernity, the birth of the Early Modern Times architecture. He thinks that the cycle of the development of humanity, which architecture has been expressing most clearly of all other arts since the 17th century - the epoch of the English Revolution, has not ended yet. The ideas developed at that time continue to exist in our minds. They are still actual for contemporary architecture, developing it and solving the problems established at our
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Daria, Ostrikova, Bodnar Taras, and Yasinskyi Maksym. "INFLUENCE OF THE GREAT FIRE OF LONDON IN 1666 ON SPECIFICS OF CREATING BAROQUE STYLE OF CHURCHES IN ENGLAND." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 4, no. 1 (2022): 108–18. http://dx.doi.org/10.23939/sa2022.01.108.

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At the same time, when Baroque became the dominant style in Italy, in English architecture in the 17th century architects continued using the Classical forms. After that, in the architecture of England appeared a style called Palladian architecture and Jacobean architecture. Style of Baroque became prevalent just at the end of this century. After the Great Fire of London on 5 September 1666 most of the city's buildings were destroyed, all these constructions had to be restored or built new ones. The 17th and 18th centuries were a painful period, not only for the history of Britain but also aff
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Radice, Mark A. "Inventing the Opera House: Theater Architecture in Renaissance and Baroque Italy. By Eugene J. Johnson." Music and Letters 100, no. 1 (2019): 141–43. http://dx.doi.org/10.1093/ml/gcz008.

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Каптиков, Анри Юрьевич. "Ф.-Б. Растрелли и архитектура барокко в Северной Италии". Академический вестник УралНИИпроект РААСН, № 3(38) (1 жовтня 2018): 39–44. https://doi.org/10.25628/uniip.2018.38.20114.

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В статье рассматриваются контакты ведущего представителя елизаветинского барокко в России Ф.-Б. Растрелли с итальянской архитектурой, особенно Северной Италии, архитектором Ф. Юварой и его кругом. Путем сравнительного анализа храмов и дворцов выявляются черты сходства и вместе с тем принципиальные отличия художественных приемов. © Каптиков А. Ю., 2018 Работа выполнена в рамках фундаментальных НИР The article is devoted to contacts of elizabeting baroque in Russia leader F.-B. Rasrelli with Italian architecture, particularly of Nothern Italy, architect F. Yvara and his circle. By the way of com
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Bücher zum Thema "Architecture, baroque – italy"

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photographer, Chemollo Alessandra, ed. Baldassare Longhena and Venetian Baroque Architecture. Yale University Press, 2012.

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University of Malta (1980- ). International Institute for Baroque Studies, ed. Francesco Buonamici: Painter, architect and military engineer in seventeenth century Malta and Italy. University of Malta, International Institute for Baroque Studies, 2006.

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Cerri, Maria Grazia. Palazzo Carignano: Tre secoli di idee, progetti e realizzazioni. U. Allemandi, 1990.

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Hopkins, Andrew. Santa Maria della salute: Architecture and ceremony in Baroque Venice. Cambridge University Press, 2000.

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A, Millon Henry, Scott Susan C, and Hager Hellmut, eds. An Architectural progress in the Renaissance and Baroque: Sojourns in and out of Italy : essays in architectural history presented to Hellmut Hager on his sixty-sixth birthday. Dept. of Art History, Pennsylvania State University, 1992.

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V, Wiedenhoeft Ronald, and Metropolitan Museum of Art (New York, N.Y.), eds. Liechtenstein palaces in Vienna from the age of the Baroque. Metropolitan Museum of Art, 1985.

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Joseph, Connors, and Montagu Jennifer, eds. Art and architecture in Italy, 1600-1750. 6th ed. Yale University Press, 1999.

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Carla, Di Francesco, and Samaritani Antonio, eds. Palazzo arcivescovile: Il cardinale Tommaso Ruffo a Ferrara, 1717-1738. Gabriele Corbo, 1994.

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Bufalini, Giovanna A. Il Casino dell'Aurora Pallavicini: Percorsi, immagini, riflessioni. 2nd ed. s.n., 1995.

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Laura, Gigli, and Marchetti Gabriella, eds. Sant'Agnese in Agone a piazza Navona: Bellezza proporzione armonia nelle Fabbriche Pamphili. Gangemi, 2003.

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Buchteile zum Thema "Architecture, baroque – italy"

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Balchin, Paul N. "Private Patronage and Baroque Architecture." In The Development of Cities in Northern and Central Italy. Routledge, 2022. http://dx.doi.org/10.4324/9781003271901-21.

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Balchin, Paul N. "Public Patronage: The Emergence of Baroque Architecture and Town Planning." In The Development of Cities in Northern and Central Italy. Routledge, 2022. http://dx.doi.org/10.4324/9781003271901-19.

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Hills, Helen. "Miraculous Affects and Analogical Materialities. Rethinking the Relation between Architecture and Affect in Baroque Italy." In Emotion, Ritual and Power in Europe, 1200–1920. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-44185-6_10.

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Snyder, Jon R. "Mare magnum:the arts in the early modern age." In Early Modern Italy. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780198700418.003.0009.

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Abstract Italian art, architecture, literature, and music were never more influential abroad than during the years 1550-1796. The first truly international aesthetic, which is conventionally called the ‘baroque’, was born in Italy as Renaissance culture metamorphosed by the mid sixteenth century. This new aesthetic-especially in art, architecture, and music-spread quickly across a large swath of the planet, from Rome to St Petersburg, from Madrid to Lima, from Manila to Mexico City, from Goa to Salvador (Bahia).
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Rossi, Gabriele, and Valentina Castagnolo. "Ephemeral Architecture and Painted Architecture." In Conservation, Restoration, and Analysis of Architectural and Archaeological Heritage. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7555-9.ch007.

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The object of this study is a group of architectural perspectives painted on the domes and walls of noble palaces in Apulia, in particular that the baronial palace in Botrugno, the Broquier palace in Trani, and the Manes palace in Bisceglie. The perspectives belong to the “Quadratura” genre that developed in Italy and Europe in the Baroque period, but the architectural solutions represented are specific of the Apulian regional context, of Neapolitan derivation, rather than linked to the noble models of the Emilian and Roman master experiences. These architectural perspectives can be considered
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Snyder, Jon R. "“A Sea without Floor or Shore”." In The Oxford Handbook of Italian Literature. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780197613955.013.29.

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Abstract Discordant, dissonant, bizarre, alien, barbaric: from the outset, critics in Italy and Europe flung derogatory terms like these at the literary Baroque. Driving the furor was the emergence of practices of textual representation that swerved away from established literary-critical norms such as verisimilitude, decorum, unity, harmony, etc., as well as from the system of genres inherited from antiquity and reinterpreted in the Renaissance. In the seventeenth century, a period of profound epistemological instability, many of the writers that we now call “Baroque” sought to break with anc
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Hills, Helen. "Introduction :Convents And Conventual Life In Early Modern Italy." In In Visible City. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195117745.003.0001.

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Abstract Nowhere is the social significance of female aristocratic convents more evident than in baroque Naples. Shaped and defined by religious institutions and princely palaces, the city is scoured by narrow crevasses of sunless streets, lined with looming convents and monasteries, sealed to the outside world like sheer dark cliffs. From afar, the dominance of religious institutions is immediately evident. From Castel Sant’Elmo, the Angevin castle rebuilt in the sixteenth century, high to the west of Naples, the city cascades dramatically and unevenly down the slopes to the sea like a huge r
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Armond, Kate. "The Apes of God and the World of the Commedia." In Modernism and the Theatre of the Baroque. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419628.003.0007.

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When Sacheverell Sitwell’s Southern Baroque Art was published in 1924 the term ‘baroque’ was still considered a pejorative in Britain, Italy and much of southern Europe, denoting vulgar extravagance and a lack of formal restraint. Sacheverell’s original account of a largely forgotten incarnation of the Italian and Spanish baroque changed this perception of the period dramatically for the well-read British public. His text was at once a critically-acclaimed source for the art-historian and a lyrical, imaginative recreation of the artistic and architectural splendours of Lecce, Noto and Naples a
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