Relevant bibliographies by topics / Baroque's classicism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Baroque's classicism'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Baroque's classicism"

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Botica, Dubravka, and Iva Barković. "Još jednom „O baroknom klasicizmu u Pogančecu“." Peristil 61 (2018): 115–27. http://dx.doi.org/10.17685/peristil.61.7.

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Watts, Derek. "La Rochefoucauld between Baroque and Classicism." Seventeenth-Century French Studies 16, no. 1 (January 1994): 65–81. http://dx.doi.org/10.1179/c17.1994.16.1.65.

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Biet, Christian. "Du national-classicisme au baroco-baroque." Littératures classiques N° 76, no. 3 (2011): 245. http://dx.doi.org/10.3917/licla.076.0245.

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Khazova, Natalia V. "Formation of Alexandre Benois’s Views on Saint Petersburg Architecture of the 18th and the Early 19th Centuries." Observatory of Culture, no. 5 (October 28, 2014): 72–78. http://dx.doi.org/10.25281/2072-3156-2014-0-5-72-78.

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Traces the emergence of Alexandre Benois as a theorist of Saint Petersburg Baroque and Classicism architecture. The author analyses the role of the artist’s family and the impact of theatre and music on elaboration of Benois’s approaches to architecture.
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STREBKOVA, K. A. "COLORISTIC DESIGN OF URBAN SPACE IN DIFFERENT HISTORIC PERIODS." Urban construction and architecture 1, no. 3 (September 15, 2011): 62–65. http://dx.doi.org/10.17673/vestnik.2011.03.14.

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The article covers various coloristic approaches. It shows changes in color design of urban spaces during different historic periods. It reveals special character of color architectural environment of such historic periods as the Ancient World, the Middle Ages, Renaissance, Baroque, Classicism.
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Yermolenko, Volodymyr. "Lesia Ukrainka, Don Juan and Europe: ideology and eropolitics in the Stone Master." Filosofska dumka (Philosophical Thought) -, no. 2 (June 12, 2021): 49–79. http://dx.doi.org/10.15407/fd2021.02.049.

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The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. In this respect, it is important to look at Lesia Ukrainka’s text as a battleground of “Romantic” will to freedom and “Post-Romantic” (or fin de siècle) will to power. In this context, Yermolenko reads The Stone Master (written in 1912) as a criticism of the fashionable topic of “will to power”, and as a political warning, with Lesia Ukrainka showing the upcoming horrors of the 20th century’s authoritarianism and totalitarianism. With the help of the concept of eropolitics, the author shows how, through the erotic topic, Lesia Ukrainka passed a major political message to her epoch — and ours as well.
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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 (September 10, 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 civilization’s birth. The most contemporary ideas: of the sustainable architecture, natural, biologically orientated, friendly to the environment, which create the world of the perfect natural man preserving the ideals of the Ancients and the Moderns, creativity, and technologies – they are all directly linked to the ideas which were on the agenda of the architectural theory of England, France, Russia, Italy, Germany of the Age of Enlightenment. They were put into practice in the implemented designs of those times. The panorama of the European art of building, including Russian as one of the central laboratories of the Enlightenment during which the vast country’s territory underwent reforms, is truly gigantic. The author cites the main theories of the period in question. He shows one of the main qualities of the art of architecture from the High Baroque style to the Late Classicism, and further – up to postmodernism and even sustainable architecture: the attempt to create the environment, in which architecture would emphasize different aspects of meaning, would become architecture parlante as Claude Ledoux said. The interaction of several stylistic trends took place during the implementation of the stated process. In this process, the author underlines the importance of the Baroque’s universal character and the ideology of the Enlightenment, which gave birth to the “clever choice” of architectural forms.
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Greene, Roland. "Baroque and Neobaroque: Making Thistory." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 150–55. http://dx.doi.org/10.1632/pmla.2009.124.1.150.

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Among the most historically fixed of art historical and literary concepts, the Baroque arises at the intersection of early modern classicism, imperialism, and science—that is, out of the high Renaissance—to become a kind of antiprogram of resistances: to the absolutist state, the rise of empirical science, the pressures of empire, and other sixteenth-century signs of the gathering regimentation of knowledge. With a flourish of forms and a play of perspectives, the baroque embodies the recoil from such regimentation and the gathering sense that all these systems for organizing human experience fall short in the face of disorder, contingency, and death. Seen from certain vantages, the specimens of the baroque often seem complicit with the projects of absolutism, empire, and late humanism; but regarded in all their dimensions, such works are often complex reactions, critical and compromised, to those projects.
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Kim, Kyuchin. "Czech Culture in Prague: Architecture." International Area Review 6, no. 1 (March 2003): 19–33. http://dx.doi.org/10.1177/223386590300600102.

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Prague's main feature is that, out of many cultural treasures, it preserved its architectural culture and put it to practical use to present day. Particularly Prague has embraced a wealth of architectural styles from many ages. From the Romanesque, the Gothic culture of Czech's pinnacle age, Baroque, Neo Classicism, the Art Nouveau style buildings that concentrated in Prague at the end of 19th century and finally to modern structures. As we have studied, Prague is a textbook of historical styles: a Romanesque rotunda, a Gothic cathedral, a constellation of Baroque churches and palaces, a Renaissance summer palace, whole districts with histoicizing ‘neo-styles: neo-Gothic, neo-Renaissance, neo-Baroque, neo-Classic,’ Art Nouveau cafes, unfunctional pebble-stone streets and as yet undigested, isolated postmodern structure such as ‘Dancing Building-Gunger and Fred Building’ by Frank O. Gehry and Vlado Milinic
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Garaz, Oleg. "Do Androids Dream of Electric Sheep? or about The Sense of Cultural Nostalgia." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 79–87. http://dx.doi.org/10.24193/subbmusica.2020.2.05.

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"The evolution of the European musical culture took place in a flagrant contradiction with the traditional image of a simple succession of stylistic stages. Even if the linearity of the consecution of Antiquity, Middle Ages, Renaissance, Baroque, Viennese Classicism, Romanticism, Modernism and Postmodernism is only too obvious, the nature and logic of the transformations are related to the determining referentiality of the syncretic principle. But, unlike the Enlightenment conception of linear progress, applicable rather to the technological and, in general, scientific thinking, musical art has evolved in mirror symmetry to a cultural history that was separated into two great “ages”, following Eliade's idea of the sacred-profane dichotomy. Around the year 1600, the order of the constituents of the syncretic principle, which are three in number: the Sacred (the tribal societies), the mythological (the Greek and Roman Antiquities) and the ritualistic (the Middle Ages and the Renaissance), was reversed – the ritualistic and the mythological (the Baroque, the Viennese classicism and Romanticism) and the Sacred (the first modernism). In postmodernity, the syncretic principle itself is “recycled” and thus the cycle of cultural evolution closes by returning (in an obviously distorted manner) to the original principle. Keywords: syncretism, Sacred, mythological, ritualistic, three modernisms and three modernities."
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Dissertations / Theses on the topic "Baroque's classicism"

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Silva, Dinamarque Oliveira da. "Poetas no tempo, pólen ao vento: Gregório de Matos e Guerra e Tomás Antônio Gonzaga." Universidade Federal de Viçosa, 2011. http://locus.ufv.br/handle/123456789/4838.

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Made available in DSpace on 2015-03-26T13:44:24Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1832719 bytes, checksum: f2760053531616e979e6244010d7b44a (MD5) Previous issue date: 2011-02-28
This dissertation is a comparative study between some satirical poems by Gregório de Matos e Guerra and the epistolary poem Cartas Chilenas by Tomás Antônio Gonzaga. These poets lived and produced in distinct centuries. Gregório de Matos was a poet in the 17th century and Tomás Antônio Gonzaga in the 18th century. This work investigates the satirical ways that both poets poeticize, often convergent, promoting a fruitful continuity of the satire in Brazilian literature. Moreover, it aims to distinguish and value the particularities of its inventive act. This study also aims to demonstrate that the historical factor is not a determining element of the artistic quality of the satirical poem, but is such for the thematic quality of the like, relating to the aforementioned poems. According to the final considerations, one can conclude that the satirical compositions reviewed were led by the poetry of two artists that revolutionized the verse of their time from the 17th and 18th centuries' poetic meter and through a subtle understanding of the world.
Esta dissertação é um estudo comparativo entre alguns poemas satíricos de Gregório de Matos e Guerra e o poema epistolar Cartas Chilenas, de Tomás Antônio Gonzaga. Estes poetas viveram e produziram em séculos distintos. Gregório de Matos foi poeta no século XVII, e Tomás Antônio Gonzaga, no século XVIII. Este trabalho investiga os modos satíricos de poetar de ambos, às vezes convergentes, às vezes divergentes, promovendo uma continuidade fecunda da Sátira na Literatura Brasileira. Além disso, visa a distinguir e valorizar as particularidades de seu ato inventivo. Este estudo também busca demonstrar que o fator histórico não é elemento determinante para a qualidade artística do poema, mas, nos poetas citados, é parte integrante de sua temática. As considerações finais permitem afirmar que as composições satíricas tratadas se conduziram pela poesia de dois artistas que recriaram sua época em versos por meio da medida poética dos séculos XVII e XVIII, e por um sutil entendimento do mundo.
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Hong, Hyun-Ah. "1+1=1 : la Dialectique du mouvement pictural." Paris 8, 2012. http://octaviana.fr/document/167541609#?c=0&m=0&s=0&cv=0.

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Cette thèse recherche quelle est la valeur propre de la peinture et ce qui détermine la nature des rapports entre les éléments picturaux dans cette valeur. S’interrogeant sur le sens de la picturalité et sur plusieurs types du beau plastique contemporain, elle se développe au moyen d’une comparaison entre des éléments ordinairement opposés. Considérant que toute peinture est constituée d’une relation à la fois variable et relative entre divers éléments picturaux, ce qui se trouve remis en question ici est l’opposition, voire même la distinction dichotomique, concernant divers couples d’opposés, au travers de leur relativisation. En tant qu’artiste-peintre, l’auteur approfondit sa problématique au moyen d’un commentaire de peintures personnelles, mises en relation avec de grandes œuvres de l’histoire de la peinture. Chaque partie de ce travail met ainsi en jeu une dialectique construite sur le jeu de deux caractères contraires. La première partie est une étude sur le mouvement en tant que sujet : La Vitalité, entre dynamisme et statisme. La deuxième partie concerne la composition d’une peinture : La Tension, entre ordre et désordre. Dans la troisième, sont développées des questions relatives à l’expression dans la peinture : L’Expression, entre « créant » et « créé »
This thesis inquires into what makes the proper value of painting and what determines the nature of the relationship between the pictorial elements in this value. Questioning the meaning of the pictoriality and of several types of contemporary plastic beauty, this thesis proceeds through a comparison between elements usually opposed. Considering that all painting is made up on the basis of a relationship which is both variable and relative between its various pictorial elements, this thesis questions the opposition, or even the dichotomous distinction frequently made between these couple of opposite. It does so through their relativisation. As an artist-painter, the author deepens her issues through a comment of her personal paintings, establishing connections with great works of painting history. Each part of this work is built on the dialectical play between two opposite characters. The first part is a study of movement as subject : Vitality, between dynamic and static. The second part is concerned with the composition of a painting : Tension, between order and disorder. In the third part are developed questions concerning expression in painting : Expression, between "creating" and "created"
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Rivière, Jean. "La peinture à la cour des Pays-Bas : 1490-1530." Paris 4, 1987. http://www.theses.fr/1986PA040276.

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TAILLARD, CHRISTIAN. "Victor louis 1731-1800." Paris 4, 1991. http://www.theses.fr/1991PA040207.

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L'enquete repose sur l'etude des edifices lorsqu'ils subsistent, sur les archives, les plans originaux, les documents figures permettant de connaitre les motivations de louis, les modalites des creations et l'etat primitif des oeuvres. Nous avons reconstitue a partir de cette documentation, la vie de l7architecte et mene a bien l'analyse technique et artistique de ses oeuvres. La carriere de louis, tres feconde jusqu'a la revolution, a ete pratiquement interrompue a partir de ce moment ses creations permettent de saisir un temperament artistique plus que de definir un style. Rejete par les architectes de l'academie a cause de ses liens avec le marechal de richelieu pui le duc d'orleans, il a ete largement sollicite par une clientele privee qu'il a su satisfaire avec souplesse. Tenant du gout "a la grecque" pour la decoration, fortement marque par palladio, michel-ange, vignole, le bernin et piranese, il maitrise la tradition francaise des maitres-macons et sait en meme temps, user avec intelligence de techniques annoncant le 19e siecle
This research is based on the study of any buildings still extant, of archives, original plans and figured documents, which allow us to understand louis motivations, his creative methods, and original state of the works. With this we have been able to trace the architect's biography and to carry out the technical and artistical analysis of his works. Louis's career was very prolific until the french revolution, but was later virtually suspended. His creations enable us to apprehend an artistic temperament rather than to define a style. Rejected by the academy architects because of his ties with marechal de richelieu and the duc d'orleans, he was called upon by private clients who he satisfied with versatility. Champion of the "greek fashion" in decoration strongly influenced by palladio, michelangelom vignola, bernini and piranesi, he astered the french master masons tradition, while skilfully employing techniques foreshadowing the 19th century
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Berregard, Sandrine. "Tristan L'Hermite, "héritier" et "précurseur"." Paris 3, 2001. http://www.theses.fr/2001PA030066.

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Paire, Bernard. "Histoire de la plongée en apnée de l'Antiquité au XVIIIe siècle : techniques, applications, mythes et légendes." Lille 3, 1988. http://www.theses.fr/1989LIL30004.

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A partir de documents litteraires, geographiques, archeologiques : 1) etude des techniques utilisees par les plongeurs : deplacements sous l'eau, etude du lest, lutte contre la pression, vision, apnee diverses causes d'accidents preparation et entrainement des plongeurs evaluation des performances : temps, profondeurs evolution des connaissances theoriques : physique, physiologie. 2) applications de la plongee : peches (corail, murex, eponges, perles) manoeuvres des bateaux, plongees militaires, recuperations d'epaves pour chaque activite, etude de sites (mediterranee, golfe persique, ocean indien, antilles legislation des recuperations. 3) etude des croyances, mythes, oeuvres poetiques ou figurees mettant en scene des plongeurs litterature : oeuvres de sannazar, parthenius les grands mythes de plongeurs : gilgamesh, thesee, glaucos, scyllias, le plongeur sicilien, l'homme marin (17e et 18 siecles). Rapport entre ces divers mythes. 4) etudes des progres techniques, reels ou fictifs dans les textes ou les gravures. 5) le declin de la plongee libre a la fin du 18e siecle. Annexe : presentation de quelques textes inedits (paris, archives nationales) decrivant ces plongees
From literary, geographic, archeological documents : 1) study of technics used by the divers : underwater moving, ballast, decompression, underwater vision, apnoea diving accidents training performance evaluation : time, depth physiology 2) diving-practices : sponge and coral cutters, pearl and purple fischers, caulkers, military-divers, wrecks salvagers, legislation of salvages some examples : geece, persian-gulf, india. . . 3) legendary divers : gilgamesh, thesee, glaucos, scyllias, the sicilian diver. 4) technical improvements, or fiction ? some descriptions of divingequipements 5) decline of free-diving in the end of the 18e century : appendix : national archives, old royal navy : some unpublished documents describing divers
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LaManna, Kathleen. "Power and Nostalgia in Eras of Cultural Rebirth: The Timeless Allure of the Farnese Antinous." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/176.

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Little did Hadrian know in 130 A.D. that when he deified his beloved departed Antinous, in order to provide a unifying symbol of worship for his diverse empire, that he was instead creating a lasting symbol of the antique world. This thesis examines the power of nostalgia and its successful use by two formidable men from different eras in Rome: The Emperor Hadrian and the extravagantly wealthy Renaissance merchant Agostino Chigi. Though separated by centuries, each man used the nostalgic allure of the beautiful youthful male figure of Antinous to gain power and influence in his own time and to leave a lasting impact on generations to come. Using the statue known as the Farnese Antinous I will show that these very different men were not so different after all: each understood the human tendency to romanticize the past, and each attempted to evoke a feeling of nostalgia for the past from those they sought to “conquer.” Hadrian used portraits of Antinous to unite an empire and cement his place in history; Agostino used one of those very same portraits in commissioned artworks by Raphael to earn his place among the nobility of his day, and to leave a lasting legacy for his descendants.
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Turcat, André. "Esteban Jamete (Etienne Jamet) sculpture français de la Renaissance en Espagne (1515-1565)." Toulouse 2, 1990. http://www.theses.fr/1990TOU20010.

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Parmi les nombreux sculpteurs francais qui affluent en espagne dans la premiere partie du xvie siecle, etienne jamet, ne a orleans en 1515 et devenu esteban jamete, se remarque pour trois grandes raisons: - contemporain de juan de juni et eleve de felipe vigarny, deux autres francais, il s'en distingue par la continuite de son style classique et une hispanisation limitee a la profusion et au gras du decor; sa sculpture toujours ornementale, sans pathos ni froideur, s'inscrit dans un cadre architectural rigoureux; - inspire par des humanistes, ses decors sculpturaux constituent le plus souvent des programmes ou les symboles a l'antique tiennent une grande part, traites dans un esprit italianisant; -suspect de lutheranisme, il est arrete par l'inquisition en 1557, et le texte de son proces fournit notamment son itineraire en espagne, partage entre dix ans d'errance de la vieille castille a l'andalousie, puis vingt ans de relatif isolement a cuenca ou il meurt en 1565; - ses oeuvres majeures sont au salvador d'ubeda et dans la cathedrale de cuenca
Among those french sculptors rushing to spain during the first part of the xvith century, etienne jamet, born in orleans (1515), becomes esteban jamete, and is to be remarked for three main reasons: -contemporaneous of juan de juni, apprentice of felipe vigarny, two other french artists, he differs from them by the continuity of his classical style and an hispanism limited to profuseness and thickness of the ornament, far from either pathos or coldness, and always included in rigorous architectural frames; - inspired by humanists, his sculptures constitute most of the time programmes where classical symbolism take a large part, and are dealt with in an italian spirit; - suspected of lutheranism, he is arrested by the inquisition in 1557, and the manuscript of his trial porvide us notably with his itinerary though spain, divided in ten years travelling from old castile to andalusia, then twenty years of relative isolation in cuenca, where he died in 1565. -his most important works are in the salvador church of ubeda and in the cathedral of cuenca
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Chamali, Mohamed al. "Recherches sur Les Nouvelles françaises de Segrais." Paris 4, 1993. http://www.theses.fr/1993PA040143.

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Les « Nouvelles françaises » de Segrais, l'ouvrage qui, selon tous les historiens de la littérature narrative du dix-septième siècle, a rendu possible la Princesse de Clèves, n'ont bénéficié jusqu'à nous que de quelques approches rapides qui ont visé à définir leur formule narrative. Notre projet consiste à trouver des solutions à des problèmes que l'œuvre pose nettement : ses secrets de création, ses procédés de composition, l'idéal romanesque qu'elle consacre et, enfin, la conception de son auteur de l'art de la nouvelle
The “Nouvelles françaises" of Segrais the work which, according to all the historians of the seventeenth century narrative literature, has made possible the "Princesse de Cleves" has benefited up now but a few brief approaches that have aimed at defining their narrative method. Our project consists in finding solutions to problems that the work raises clearly: its secrets of creation, processes of writing, the novelistic ideal that it stalls and, finally, its author’s conception of the short story art
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Boubli, Lizzie. "Ostinato rigore - destinato rigore, variante et variation dans le dessin italien : modes et pratiques au XVIe siècle." Paris 1, 2000. http://www.theses.fr/2000PA010501.

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Étudiées dans le domaine musical, littéraire ou esthétique, les formes de la variante et de la variation sont appliquées ici à une discipline très différente, plus concrète, le dessin italien de la renaissance. Ce travail présente à la fois la genèse et les formes diverses prises par la variante dessinée à partir de la seconde moitié du XVe siècle pour en comprendre les développements et le plein épanouissement au XVe siècle. Les variantes jouent un rôle de premier plan dans la constitution de répertoires de formes réutilisées par l'atelier ou par ses propres membres, et dans la diffusion des modèles employés par un atelier à diverses fins utilitaires. La typologie des variantes est fondée sur une définition stable où la variante se rapporte à une forme de référence ou invariant dont chaque alternative peut engendrer des développements autonomes, concrétisés ou non par la suite. La variation dans le dessin est ici définie comme une suite de dessins qui modifient les formes ou les contenus thématiques, mais tous développés selon un même principe initial : cette expression de la variation est particulièrement évidente dans les changements iconographiques ou les mutations du thème peuvent en transférer le sens et se déployer au moyen de variantes pour former ensemble une variation. Selon le contexte, les variantes peuvent édifier ou modifier la disposition d'une figure, d'un groupe, structurer la composition générale, contribuer a créer l'illusion du mouvement et des effets rythmiques inhérents à la mimesis, ou enfin être un moyen efficace, par un effet répété mais toujours varié, de traduire la varieta dans laquelle se condensent plusieurs éléments propres a la variante comme à la variation.
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Books on the topic "Baroque's classicism"

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Villeneuve, René. Du baroque au néo-classicisme: La sculpture au Québec. Ottawa: Musée des beaux-arts du Canada, 1997.

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Castex, Jean. Renaissance baroque et classicisme: Histoire de l'architecture, 1420₋1720. Paris: Hazan, 1990.

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municipal, Souvigny (France) Musée, ed. Bourbonnais baroque: Aspects du baroque et du classicisme aux XVIIe et XVIIIe siècles dans l'Allier. [Souvigny]: Ville de Souvigny, 2009.

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M, Strinati Claudio, Vodret Adamo Rossella, Leone Giorgio, and Museo di Palazzo Venezia (Rome, Italy), eds. Francesco Cozza, 1605-1682: Un calabrese a Roma tra classicismo e barocco. Soveria Mannelli: Rubbettino, 2007.

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The baroque in English neoclassical literature. Newark: University of Delaware Press, 2003.

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Sotheby, Parke-Bernet London. Fine decorative arts: Baroque to Neo-classicism : auction: Tuesday 9 November 1999 .... London: Sotheby's, 1999.

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1594?-1665, Poussin Nicolas, Rubens Peter Paul 1577-1640, Sainte-Fare-Garnot Pierre-Nicolas, and Musée Jacquemart-André, eds. Du baroque au classicisme: Rubens, Poussin et les peintres du XVIIe siècle. Bruxelles: Fonds Mercator, 2010.

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Shpinarskai͡a, E. N. Klassit͡sizm i barokko: Istoriograficheskiĭ analiz. Sankt-Peterburg: Petropolis, 1998.

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Cottegnies, Line. L' Eclipse du regard: La poésie anglaise du baroque au classicisme (1625-1660). Genève: Droz, 1997.

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González-Palacios, Alvar. Il tempio del gusto: Le arti decorative in Italia fra classicismo e barocco. 2nd ed. Vicenza: Neri Pozza, 2000.

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Book chapters on the topic "Baroque's classicism"

1

Tambling, Jeremy, and Louis Lo. "Neo-Classicism." In Walking Macao, Reading the Baroque, 98–117. Hong Kong University Press, 2009. http://dx.doi.org/10.5790/hongkong/9789622099371.003.0006.

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Stewart, Andrew. "BAROQUE CLASSICS:." In Classical Pasts, 127–70. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv19fvxqg.10.

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Radandt, Friedhelm. "Rationalism and Classicism." In From Baroque to Storm and Stress 1720–1775, 24–49. Routledge, 2020. http://dx.doi.org/10.4324/9781003014157-2.

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Waller, Gary. "Catholic Female Baroque." In The Female Baroque in Early Modern English Literary Culture. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463721431_ch07.

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Here I consider two women writers whose work marks a transition from the Baroque to Enlightenment. Margaret Cavendish figures in two diverging intellectual worlds. There are multiple rich, if often contradictory, Baroque aspects to her life and writings. However, she later developed an ambivalence towards the new empirical science, the dynamics of which point us beyond the Baroque to the Enlightenment. Aphra Behn’s groundbreaking writings are frequently described as Baroque but she, too, is moving into a new cultural paradigm: just as, at the beginning of the period, the Baroque spasmodically surfaced in Pembroke and Lanyer, in the late seventeenth century, some Baroque characteristics blazed spectacularly before merging into Enlightenment culture and literary neo-classicism.
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"La Granja: Castilian Baroque and European Classicism." In The Architecture of Western Gardens: A Design History from the Renaissance to the Present Day. MIT Press, 1991. http://dx.doi.org/10.37862/aaeportal.00122.034.

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"Baroque, French Classicism and Rococo (1650–1750)." In Architect's Drawings, 64–87. Routledge, 2006. http://dx.doi.org/10.4324/9780080454658-8.

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Spuybroek, Lars. "Gothic Ontology and Sympathy: Moving Away from the Fold." In Speculative Art Histories. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474421041.003.0009.

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Lars Spuybroek proposes an ‘ill-disciplined’ reading of John Ruskin’s vitalist, anti-classicist theory of Gothic architecture. By discussing three of the six characteristics that Ruskin uses to define the nature of Gothic architecture, namely savageness (a form of rough variation), changefulness (a form of smooth variation), and rigidity (a form of structural activity), Spuybroek develops a Gothic ontology. At the heart of this ontology lies the relation between figures and configurations in which figures are variable and active parts that relate to each other in order to form collaborative entities. The figure-configuration relation transcends the aesthetic opposition between structure and ornament, an opposition that is upheld by Classicism and its varieties. In Gothic architecture, ornament is not ‘added on’ to structure, but rather generates structure by configurational behaviour such as bundling, weaving, and webbing. This flexible form of agency allows the fundamental element of the Gothic, the rib, to create an enormous variety of patterns. As an entity the Gothic rib takes position between the classical atom and the baroque fold, adhering to the discreteness of the former and the flexibility of the latter. Subsequently, Gothic ontology does not differentiate between beauty and workings, conflating both in a realm of sympathy, a concept of interiority based on readings which connect the work of Ruskin to that of Worringer, Lipps and Whitehead.
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"Problems of Musical Style: Classicism, Baroque and the Twentieth Century." In Musical Style and Genre, 131–76. Routledge, 2013. http://dx.doi.org/10.4324/9780203059722-8.

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Glissant, Édouard. "The Time of the Other." In Treatise on the Whole-World, translated by Celia Britton, 55–72. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620986.003.0007.

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Glissant introduces the concept of measure, seen as both a search for depth and the inspiration of the spatial expanse. This is followed by a long section on the European Middle Ages, where diversity gradually gives way to classicism. He discusses our anxiety about our contemporary loss of control over history; and then the rhetorics of orality, and whether the transcendence and the sacred connotations of writing is being challenged. Orality is seen as a form of Relation, characterized by multiplicity and circularity as opposed to the linearity of traditional rhetoric. Baroque art in the Americas is linked with orality.
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"French Classicism in Jesuit Theater Poetics of the Eighteenth Century." In Politics and Aesthetics in European Baroque and Classicist Tragedy, 373–97. BRILL, 2016. http://dx.doi.org/10.1163/9789004323421_015.

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