Journal articles: 'Baroque art'

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Haverkamp-Begemann, Egbert. "Northern Baroque Art." Art Bulletin 69, no. 4 (December 1987): 510. http://dx.doi.org/10.2307/3050996.

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Moebius, William. "Art Baroque, Art d'Enfance (review)." Lion and the Unicorn 22, no. 1 (1998): 107–11. http://dx.doi.org/10.1353/uni.1998.0006.

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Souiller, Didier. "D’un art poétique baroque." Littératures classiques 36, no. 1 (1999): 45–61. http://dx.doi.org/10.3406/licla.1999.1395.

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Vlăsceanu, Mihaela. "Illusion and Allegory in the Baroque Art of the Banat: An Introduction." Eikon / Imago 11 (March 1, 2022): 381–91. http://dx.doi.org/10.5209/eiko.76757.

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The present study aims to underline the particularities found in the Banat by means of reinterpreting some of the main creations of Central-European late Baroque, where the illusion of the Habsburg power and allegories of Catholic faith were employed in the unifying artistic discourse. The main methods used range from comparative-historical to iconographic, with a structural-semantic and formal analysis of the works presented as case studies. The epideictic rhetoric of these examples contributes to a better acknowledgement of the role played by art in every society, having in mind that the eighteenth-century artistic phenomenon was synergic with the Central-European evolution and the style was tributary to the late Baroque, one of the many variants with particularities of the so-called “Baroques”.

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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 (December 30, 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 in different types of art such as architecture, sculpture, painting, literature, theater, and music will be discussed. At the end of this work, the Baroque in Portugal will be exposed, as well as some of the representative works of the Baroque style existing in the District of Vila Real.

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Kotliar, Elena Romanovna, and Vladimir Aleksandrovich Khlevnoi. "Representation of the Baroque Style in the Decor of the Crimean Architecture of the Art Nouveau Period." Человек и культура, no. 1 (January 2023): 33–45. http://dx.doi.org/10.25136/2409-8744.2023.1.39804.

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The subject of the study is the characteristic of the Baroque style and the integration of its elements into the decor of the architecture of the Crimea of the Art Nouveau period. The object of the study is the architecture of the Crimea and its decor of the period of the late XIX – first third of the XX century. The research uses the methods of art criticism analysis of Baroque visual forms and their integration into modernity, the method of analysis of previous studies, the method of synthesis in conclusions regarding the connotations of Baroque symbolism. The author considers such aspects of the topic as: a general overview of the origin of the Baroque style; features of the architecture of the Crimean Art Nouveau; integration of Baroque elements into the decor of the Art Nouveau of the Crimea. The main conclusions of the study are: 1. The appearance of the Baroque style in architecture and decor is attributed by architectural historians to the XVII century. However, its origins should be sought in the Middle Ages, since many Baroque elements repeat Arabesques brought by the Crusaders to Europe. Baroque has established itself as a church and palace style. In turn, the Asia Minor (Turkish) Baroque was a synthesis of traditional Arab elements and Western European influence in the XVIII century. 2. The Art Nouveau style in architecture and its decor is a synthesis of various elements of previous styles, arbitrarily used by architects in accordance with their personal tastes, as well as with the wishes of customers. The basis of the Crimean Art Nouveau, represented in country villas, mansions, palaces, apartment buildings, is classicism, Renaissance and Mudekhar style, with the introduction of individual features into them with the help of decor. The use of Baroque elements enlivened the buildings, giving them an elegant, southern flavor. A special contribution of the author to the study of the topic is to clarify the periodization and origin of the Baroque style. The scientific novelty of the research lies in the fact that the author for the first time analyzed the decor of the architecture of the Crimea of the modern period, identified and analyzed the elements of the Baroque, their origin and role in the style of modernity.

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TRIADO, J.-R. "THE KEY TO BAROQUE ART." Art Book 1, no. 3 (June 1994): 16d. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00128.x.

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Kolomiiets, Anton. "The Phenomenon of New Spanish Baroque: An Architectural Aspect." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 61–67. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306901.

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The paper provides a brief overview of the academic literature on the New Spanish Baroque architecture history. The genesis and spectrum of the scientific opinion of the leading Mexican researchers in this area have been studied and presented. Sculpture is briefly mentioned as a type of fine art inextricably linked to Baroque architecture. The New Spanish Baroque classification modalities according to Manuel González Galván is also presented. The authors and their works mentioned in the article were previously unknown to the Ukrainian researchers. Unfortunately, none of these studies have been translated into Ukrainian. The article introduces the information about the New Spanish Baroque, its main researchers, architects and monuments into the national scientific circulation, opening up opportunities for further art-historical and cultural studies and a deeper study of the history of architecture and art of New Spain Baroque era.

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Maryatch, Anastasiya Y. "Specificity of performance and intonation of clavier works of the Baroque era." Tambov University Review. Series: Humanities, no. 191 (2021): 107–15. http://dx.doi.org/10.20310/1810-0201-2021-26-191-107-115.

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We analyze the specifics of performance and intonation clavier works of the Baroque era. An approximate model of the system for mastering the art of intonation of Baroque clavier music is given. The complex of expressive means of works for the Baroque clavier is analyzed. The subject of the research is the process of performance and intonation of Baroque clavier works. The purpose of the research is a scientific and theoretical justification of the system of mastering the culture of performance and intonation of Baroque clavier works. The relevance of the research is that there is a need to study the musical heritage of the Baroque era, preserve and continue the traditions of performing Baroque music, and search for innovative approaches to its development. The research methodology was based on the analysis of the results of experimental work on the research topic; comparative analysis and systematization of the main provisions of the intonation and style approach to the development of the musical heritage of the Baroque era. As a result of this research, a system is formulated and the need for stage-by-stage development of the piano performance culture-intonation of musical works of the Baroque era is confirmed. It is concluded that mastering the art of performance and intonation of clavier works of the Baroque era involves mastering the specifics of reading the musical text of clavier works, mastering the complex system of musical and expressive means of the Baroque era, the art of performing melisms. The field of application of the results obtained is the practical activity of a teacher-musician.

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BILIR EYÜPOĞLU, Emine. "IDENTIFYING THE DIFFERENCES THE HARPSICHORD AND THE PIANO INTERPRETATION OF J. S. BACH'S BWV 1056 CONCERTO IN F MINOR." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 34 (November 15, 2022): 100–114. http://dx.doi.org/10.31567/ssd.770.

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The Baroque period is a period in which the form and style of the renaissance period came to an end, religious and mythological subjects were dealt with in all branches of art, and the period between renaissance and classicism in art history and described as 'ornate art style'. In this article, the differences between the harpsichord interpretation of J.S.Bach's Bwv 1056 F Minor Concerto originally written and the modern instrument piano interpretation were determined. In the first parts of the study, the general features of the Baroque period, the baroque period in music, the most important composers of the baroque period, the instruments of the baroque period and the music forms of the baroque period are mentioned. Subsequently, the focus is on the journey from the past of the harpsichord to the modern piano, J.S.Bach's style and harpsichord concertos; In the last part, with the support of the Project* recordings the analysis of BWV 1056 F Minor Concerto’s piano and harpsichord interpretations were analyzed and evaluated. It is aimed that this article will be a pre-study tutorial and contribution to many musicians and commentators.

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Sierra Valentí, X. "Medicine and Disease in Baroque Art." Actas Dermo-Sifiliográficas (English Edition) 98, no. 8 (2007): 570–74. http://dx.doi.org/10.1016/s1578-2190(07)70517-6.

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Szanto, Ivan. "Monumental Art East of the Baroque." Beiträge zur islamischen Kunst und Archäologie 2, no. 1 (2010): 178–91. http://dx.doi.org/10.29091/9783954909537/011.

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Kofman, Andrey F. "“A Well-organized Disorder”. A Look at the Spanish American Neo-baroque." Literature of the Americas, no. 15 (2023): 70–115. http://dx.doi.org/10.22455/2541-7894-2023-15-70-115.

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The article consists of two parts: theory and artistic practice. The first part examines the history of the concept of Latin American Neo-Baroque. It begins in European art history, first, when J. Burkhard characterized the Baroque as a certain period in the development of art; then, when G. Wölfflin presented the Baroque as a kind of “great style” and singled out its constitutive features; finally, when E. d’Ors formulated the theory of “eternal” styles, “classical” and “non-classical” (baroque) cyclically replacing each other. D’Ors’ concept was accepted and developed by Cuban writers J. Lezama Lima, A. Carpentier and S. Sarduy. Two factors led to the formation of the theory of Latin American Neo-Baroque. The first one is the richest layer of colonial art that developed in the Baroque style; the second one is the peculiarity of Latin American imago mundi, which from the very beginning was the opposite to rationality, system, order. The peculiarity of this imago mundi is revealed in the section “Artistic Practice. Motives”. The citations show that in Latin American literature are embodied such constants of Latin American imago mundi as chaos, predominance of curved lines, violation of European norms and mystery. The final part of the article presents an analysis of the four famous Latin American Neo-Baroque novels that reveal the poetics of this literary current on the level of imagery and motives and, most expressively, in style.

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Weiss, Jernej. "The Art of Music in the Period from Monteverdi to Bach." Musicological Annual 54, no. 1 (July 3, 2018): 163–68. http://dx.doi.org/10.4312/mz.54.1.163-168.

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The monograph The Art of Music in the Period from Monteverdi to Bach by Jurij Snoj is an original scientific work that brings an in-depth review of the history of European art music during the Baroque Period. In recent times, quite a few scientific monographs about the Baroque Period have been published in English and in other languages,

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Gendova, Marya Yu. "On the Reflection of the Baroque Style in the Russian Art of Ballet." ICONI, no. 3 (2021): 37–47. http://dx.doi.org/10.33779/2658-4824.2021.3.037-047.

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The article is devoted to the theme of the Baroque style on the Russian ballet scene of the end of the 19th century, and the focus of attention of this research steps over the bounds of the indicated time period, dwelling upon the reflection of Baroque subject matter on the 20th and early 21st century art of ballet. The author does not analyze the plotline basis of ballet performances and does not attempt to search for stylistic attributes of the Baroque period which would confirm the ballet’s pertaining to the Baroque era. The author determines as her main goal the aspiration to comprehend the fundamental — philosophical, value-based and spiritually significant — dominant ideas of human existence which are relevant beyond time and, hence, significant today, as well: the themes of personality, time, good and evil, stereotypes and algorithms (the theme of liberty), the theme of allusions. The author finds it important to comprehend how, conformably with the baroque worldview, they disclosed themselves in the late 19th century art of ballet (during the era of Marius Petitpas’ late productions, which was the flourishing of the Baroque style in ballet), exerting an impact on its plotline and architectonic structure. While preserving the retrospective-explorative vector of her research, the author poses the question, why do these specific concepts of the epoch’s worldview, as well as the constructive peculiarities of the baroque manner of ballet production has manifested itself in the art of 20th and 21st century ballet-masters George Balanchine and Alexei Miroshnichenko.

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Asadi Amjad, Fazel, and Mahdi Ghiasian Shahrbabaki. "The Redemption of the Theological Ideal in the Baroque: An Analysis of Donne, Herbert, and Marvell’s Poetry." Journal of Critical Studies in Language and Literature 4, no. 3 (April 22, 2023): 9–15. http://dx.doi.org/10.46809/jcsll.v4i3.202.

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The baroque is a term that its meaning, apart from its etymology, is not by any means clear. There are a lot of inconsistencies in the descriptions which have been given of the characteristics of baroque art. One of such disagreements is regarding the kind of mentality that it supposedly represents. Whereas a lot of critics—if not the majority of them—seem to believe that baroque art represents the kind of mind that was overwhelmed by existential fears, Gilles Deleuze represents the baroque subject as being capable of resolving such fears. He believes that baroque artists and philosophers were able to redeem the theological ideal, or the idea that the world is meaningful. They did so, he explains, by inventing new principles that were capable of proving that the world is perfectly harmonious despite the existence of evil. The aim of this study is to establish a correlation between, and provide new readings of, some major seventeenth-century poems, namely Donne’s “Anniversaries,” Herbert’s “Virtue” and Marvell’s “The Garden,” by showing that they indicate a struggle to save the theological ideal, or to prove that the world is perfectly harmonious–which is according to Deleuze characteristic of the baroque.

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García, César. "Cardinal Mazarin’s Breviary of politics: Exploring parallelisms between the Baroque and public relations in a post-truth society." Public Relations Inquiry 9, no. 3 (May 24, 2020): 295–310. http://dx.doi.org/10.1177/2046147x20920805.

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This article suggests we live in a neo-Baroque era of communication between organizations and publics. The 17th and 18th centuries are particularly rich in literature about the importance of building a reputation to get and retain power. These authors consider communication management, a key factor in how monarchs, princes, and governments must relate to their constituencies to make their power sustainable. A chief minister to the French kings Louis XIII and Louis XIV, Cardinal Mazarin’s Breviary of Politics offers a solid representation of Baroque thought on communication and power. A critical analysis of his book shows that many of the elements associated with Baroque art, a style born with a propagandistic purpose that appeals to irrationality and primary emotions through a combination of dramatic visual elements, could be found to have profound resemblances with the way public relations is practiced in our current post-truth era. This era shows how communication managers and leaders have been able to reach their objectives by being irrational, thanks to the echo chamber provided by both social media and mainstream media with their multiplicity of truths, where a community of like-minded individuals, sort of a correlate of the ‘believers’ in the Baroque period, are looking to confirm their preconceptions. The resemblances between Mazarin and Baroque’s simulation art, privileging appearances, the visual and emotional over facts, squares surprisingly well with how recent or current leaders such as Donald J. Trump, Boris Johnson or George W. Bush connect with the masses. Perhaps these political leaders are being irrational, but there is a rationality in using irrationality to their advantage.

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Vincent, Robert Hudson. "Baroco: The Logic of English Baroque Poetics." Modern Language Quarterly 80, no. 3 (September 1, 2019): 233–59. http://dx.doi.org/10.1215/00267929-7569598.

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Abstract As many scholars, including the editors of the Oxford English Dictionary, continue to cite false etymologies of the baroque, this article returns to a Scholastic syllogism called baroco to demonstrate the relevance of medieval logic to the history of aesthetics. The syllogism is connected to early modern art forms that Enlightenment critics considered excessively complicated or absurdly confusing. Focusing on the emergence of baroque logic in Neo-Latin rhetoric and English poetics, this article traces the development of increasingly outlandish rhetorical practices of copia during the sixteenth century that led to similarly far-fetched poetic practices during the seventeenth century. John Stockwood’s Progymnasma scholasticum (1597) is read alongside Richard Crashaw’s Epigrammatum sacrorum liber (1634) and Steps to the Temple (1646) to reveal the effects of Erasmian rhetorical exercises on English educational practices and the production of English baroque poetry. In the end, the article demonstrates the conceptual unity of the baroque by showing the consistency between critiques of baroco, critiques of English metaphysical poetry, and critiques of baroque art during the Enlightenment.

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Carrier, David. "TOWARD A STRUCTURALIST ANALYSIS OF BAROQUE ART." Source: Notes in the History of Art 27, no. 4 (July 2008): 32–36. http://dx.doi.org/10.1086/sou.27.4.23207906.

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Riegl (book author), Alois, Andrew Hopkins (book editor and translator), Arnold Witte (book editor and translator), and Gregory Davies (review author). "The Origins of Baroque Art in Rome." Renaissance and Reformation 34, no. 1-2 (March 13, 2012): 296–98. http://dx.doi.org/10.33137/rr.v34i1-2.16191.

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Vidugirytė, Inga. "Lotman and the Baroque." Semiotika 17 (December 30, 2022): 208–32. http://dx.doi.org/10.15388/semiotika.2022.32.

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The title of this article refers to Gilles Deleuze’s work titled The Fold: Leibnitz and the Baroque and supposes a link, which could be established between the Baroque as a type of art, imagery, and a philosophical concept, as it was described by Deleuze, on the one hand, and the culture, its inner structure, and mechanisms (workings), as they were defined by Juri Lotman in his conception of the semiosphere, on the other. The article shows that the main concepts introduced by Leibniz and Deleuze find their counterparts in the semiotic space described by Lotman. Starting with the concept of a monad that both thinkers are concerned with, following conceptual pairs could be identified in their systems: a border – a fold, meaning-making – folding, semiosphere – total art, Deleuzian principle of cone – the hierarchy of monads in the semiosphere of Lotman. In the article, when placed side by side, both systems reveal their proximity as well as new aspects. The analysis leads to a conclusion that Lotman, who started his career as a strict structuralist, in the end, became a post-structural thinker revealing in his works the folded (Baroque) boundary between these two intellectual trends.

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Bercu, Alina. "Golden Era of Baroque Dance." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 30, 2021): 69–78. http://dx.doi.org/10.24193/subbmusica.2021.2.05.

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"The reign of Louis XIV marks an important milestone in the development of dance and art. Convinced that visual arts and music would significantly contribute to a monarch’s authority, image, and glory, the “Sun King” coordinated artistic activities through establishing a significant number of royal academies. Through the Académie Royale de Danse the art of dancing was given a proper language and notation system for the first time in history. On the other hand, the Académie Royale de Musique was tied to the birth of a national operatic style. Opera was the perfect tool for an idealistic and majestic projection of a nation’s monarch. Keywords: baroque dance, Louis XIV, dance notation systems, ballet de cour, royal academies, Jean-Baptiste Lully, music, opera. "

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Mirzoev, Vladimir, and Marina Vitkin. "Peter Hinton’s Baroque Hints." Canadian Theatre Review 67 (June 1991): 12–16. http://dx.doi.org/10.3138/ctr.67.002.

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1 I have heard more than once how important, how simply indispensable, it is to create a “national Canadian theatre.” And each time I have felt uneasy. Because theatre in the modern global village cannot but be part of the world cultural process, Canadian culture does not have the option of becoming “national” by entering complete self-isolation, as did, for example, mediaeval China and Japan, and then for centuries painstakingly developing its canon of national art.

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Vidal Ortega, Carlos Federico. "Lezama Lima and Chess." LETRAS, no. 75 (December 7, 2023): 65–80. http://dx.doi.org/10.15359/rl.2-75.3.

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In the early 20th Century, Alfonso Reyes’ and Pedro Henríquez Ureña’s intellectual contributions were pivotal to the cultural appropriation of the Baroque in Latin America. However, Lezama Lima also develops his concept of the Baroque in dialogue with European Art historians. Thus, the article examines chess in the poem “Un puente, un gran Puente” [A bridge, a great bridge] (1941) as an allegory of World War II. The theoretical framework includes Neo-Baroque procedures explained by Severo Sarduy.

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Devlin, E. L. "Alois Riegl, The Origins of Baroque Art in Rome Helen Hills Rethinking the Baroque." Seventeenth Century 28, no. 1 (February 2013): 100–103. http://dx.doi.org/10.1080/0268117x.2012.760948.

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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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Haverkamp-Begemann, Egbert. "The State of Research in Northern Baroque Art." Art Bulletin 69, no. 4 (December 1987): 510–19. http://dx.doi.org/10.1080/00043079.1987.10788456.

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Ertuna, Irmak. "Digital baroque: New media art and cinematic folds." Visual Studies 24, no. 3 (November 18, 2009): 280–81. http://dx.doi.org/10.1080/14725860903309294.

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Suarez, J. L., F. Sancho-Caparrini, E. Ortega, J. d. l. Rosa, N. Caldas, and D. Brown. "Towards a digital geography of Hispanic Baroque art." Literary and Linguistic Computing 28, no. 4 (August 13, 2013): 718–35. http://dx.doi.org/10.1093/llc/fqt050.

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Massey, E. W., and L. Sanders. "Babinski's Sign in Medieval, Renaissance, and Baroque Art." Archives of Neurology 46, no. 1 (January 1, 1989): 85–88. http://dx.doi.org/10.1001/archneur.1989.00520370087025.

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Massey, E. W. "Babinski's Sign in Medieval, Renaissance, and Baroque Art." Archives of Neurology 47, no. 3 (March 1, 1990): 253. http://dx.doi.org/10.1001/archneur.1990.00530030017004.

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Karacsony, Noemi. "Expressing Reality through Spectacle and Dream in Baroque Art Karacsony, N.: Expressing Reality through Spectacle and Dream in Baroque Art." " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), no. 1 (October 10, 2019): 45–52. http://dx.doi.org/10.31926/but.pa.2019.12.61.5.

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Kliuchynska, Nataliia. "HUMOR IN THE MUSICAL-DIDACTIC WORKS OF THE BAROQUE PERIOD." Scientific Journal of Polonia University 52, no. 3 (August 30, 2022): 60–65. http://dx.doi.org/10.23856/5207.

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Interest in musical treatises of past epochs is part of the interpretive process of performing early music according to the methodology of historically informed performance. We find in them information about performance practice and music theory of a certain historical time. The presentation of language in treatises also triggers our interest, especially in view of a comprehensive perception of aesthetics and worldview of artists of the baroque time. A feature of the baroque art is its division into high and low styles (high and low baroque). The expressive means of the lower baroque works contain elements of humour, irony and hyperbole. However, the same means can be seen in the works of high style. The object of coverage in the paper is a conscious use of elements of lower style by artists, in particular, the emphasis on the role of humour in musical-didactic treatises of the baroque period. This combination reflects the polarity and contrast of the baroque aesthetics. A take on music theory and performance practice through the prism of laughter and irony will help to identify another spectre of expressive means in the serious genres of baroque music and embody it in interpretation.

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Tkachuk, Ilona, Yaryna Lysun, Bohdana Hrynda, Yaroslav Shymin, and Daria Yankovska. "Illusionism in sacred monumental painting of the baroque era, optics of perception." Linguistics and Culture Review 5, S4 (November 13, 2021): 1270–87. http://dx.doi.org/10.21744/lingcure.v5ns4.1777.

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The investigation of the mechanisms of dual influence in a pair “work of art – viewer” opens up important opportunities for the worldview, cultural, aesthetic intentions laid down by the author(s), outlines the ways of transmitting the message to the recipient and assesses the effectiveness. The authors of this article analyse the practices of applying the mechanisms and principles of neuroaesthetics in the perception of baroque monumental paintings and the effects caused by the conscious use of illusory techniques in the duality of relationships. The authors of the article aim to find out the principles of the formation of cognitive and aesthetic connections expressed in specific formal principles-approaches, in the processes of perception of illusionistic baroque painting by the primary addressee-a person of the Baroque era – from the point of view of neuroaesthetics. The methodology refers to the implementing a multidisciplinary approach, based on the synthesis of cultural, anthropological and art research methods. To solve research problems and achieve results, we turn to the functional method and the modelling method, thanks to which defining effective models of interaction in the pair “work of art – recipient” and modes of functioning of consciousness when generating a pictorial image.

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Heidari, Amin. "Emoji." Screen Bodies 8, no. 2 (December 1, 2023): 27–41. http://dx.doi.org/10.3167/screen.2023.080204.

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Abstract Online users devise different strategies and techniques to make up for the absence of physical bodies in online communications, one of which is using emojis. Emojis are a diverse set of small images, symbols, or icons, standardized by the Unicode Consortium for utilization in electronic communication platforms. Their primary role is to effectively convey the emotional attitude of the writer, succinctly provide information, and playfully communicate messages. This article posits that bodily emojis (emojis portraying a body gesture or facial expression) are a form of digital embodiment. Their usage, thus, creates a form of digital performance. Emojis appear as a screen body in a space that lacks the physical one. Furthermore, I suggest that this body could be described as aesthetically Baroque. My proposition is that emojis exhibit Baroque characteristics such as dynamic and exaggerated forms and decorate texts. Emojis share similarities with the appearance and function of the Baroque body both in Baroque visual art and Baroque dance.

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Szymański, Witold, and Maurycy Kin. "The perspective transformation in illusionistic ceiling painting of late Baroque." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 15, no. 1 (January 31, 2020): 104–12. http://dx.doi.org/10.35784/teka.899.

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The following work has shown the analyses carried out in order to clarify facts necessary to understand the phenomenon of the perspective representation in the works of art in Renaissanse and late Baroque. A lot of misunderstandings have arisen on the grounds of critical work made by many theoreticians and art historians. The aim of this work was to stipulate the reasons for the conceptual and methodological fallacies. Having evaluated the methods used by illusionistic ceiling painters of late Baroque, it was possible to conduct some geometric analyses of the paintings placed on the vault of the Leopoldine Hall at the University of Wrocław.

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Johnson, Christopher D. "On Borges’s B/baroque." Comparative Literature 72, no. 4 (December 1, 2020): 377–405. http://dx.doi.org/10.1215/00104124-8537731.

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Abstract This article examines Jorge Luis Borges’s ingenious, largely dehistoricized interpretations and imitations of seventeenth-century writers typically called Baroque. It contends that the aesthetic, epistemological, and metaphysical values Borges assigns to works by Cervantes, Góngora, Quevedo, Gracián, Marino, Browne, Pascal, Leibniz, Angelus Silesius, and Spinoza depend largely on his conservative notions of how style and, specifically, metaphor should work. While writers from the historical Baroque often require readers to embrace hermeneutic difficulty, Borges, despite the ingenious difficulty of his own writings, refuses to countenance this stance. This refusal turns also on Borges’s distinction between writing he fervently praises as “classic” and writing he ambiguously blames as “baroque.” The former serves as the explicit model for his own invention; but the latter implicitly, agonistically, informs much of his thinking and writing as well. Borges’s unwillingness to distinguish the historical Baroque from a recurring, eternal baroque is understandable, given his philosophy of art and history; however, it ignores how periodization can have the heuristic and conceptual function of finding unity in multiplicity, a unity that includes divergent styles and ideologies.

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Osipova, Anastasiya. "The End of The Soviet Baroque: Historical Poetics in Olesha’s Envy and Tynianov’s The Wax Person." Transcultural Studies 13, no. 2 (February 1, 2017): 177–96. http://dx.doi.org/10.1163/23751606-01302005.

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The term Soviet Baroque was coined by Viktor Shklovsky in 1929 to describe the aesthetic and theoretical tendencies of the left art of the 1920s – a generation of revolutionary artists to which he himself belongs. Shklovsky understands Baroque not as a specific historical style, but as the aesthetics of “intensive detail” and nonsychronous conception of history. With the onset of the Stalinist ideology and of the Five-Year Plan era’s optimism in the legibility of progress, Shklovsky becomes openly critical of the Soviet Baroque and his former artistic allies who espouse it. In this article I analyze the Soviet Baroque as an extension of a broader tendency that falls in line with the tradition of Historical Poetics and draw on several examples from Yuri Olesha’s Envy and Yuri Tynianov’s The Wax Person that I consider illustrative of this tendency.

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Sakhno, Irina M. "“Ut Pictura Poesis”: the Poetic and Pictorial Emblem of the Baroque." Observatory of Culture, no. 5 (October 28, 2015): 94–101. http://dx.doi.org/10.25281/2072-3156-2015-0-5-94-101.

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The article describes parallelism of the two arts, poetry and painting, in the emblematic books of the Baroque epoch. In the Baroque art, an emblem, as a visual metaphor, formed stylistic singularity of the culture of the 16th-17th centuries. The emblem represented the principle of simultaneity, a picture with a brief motto coexisting with a didactic or spiritual text. Not only was the emblem an ornamental “insertion”, a piece of encrusted graphics, but it also reflected the Baroque principle of a witty game. A book of emblems could act as a visual dictionary of signified objects. The significance of finished emblems was not limited to their pictographical meanings, they could also include some symbolic senses. Such verbal pictures illustrating abstract notions can be found in the “Emblemata” (1531) by Andreas Alciatus. The synthesis of the verbal and the visual, as an allegorical way of defining the world and the exegesis of Biblical texts, provided wide opportunities for the emblematic signification. The Picta Poesis Baroque book “Graphical Poetry. Alchemy” (1552) by Barthélemy Aneau contained an alchemy symbolism reflecting the character of the Renaissance worldview. Dutch artists of the 17th century developed the theme of evanescence and vanity in their emblematic still-life painting.

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Гужва, О. П., and Н. В. Миколайчук. "INTERPRETATION OF BAROQUE VOCAL MUSIC AT THE CONTEMPORARY STAGE." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 151–62. http://dx.doi.org/10.33287/221931.

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The purpose of the article is to identify the specificities of teachingthe interpretation of vocal pieces of music of the Baroque era, based on therelevant literature and experience of baroque master classes ofcontemporary performers. The author focuses on the performancerequirements to vocalists, which comply with the particular interpretationfeatures of the baroque score, in terms of historically informed andtechnical performance. The methods in the proposed research is based onthe use of empirical approaches, namely observation and generalization ofvocalist's performance tasks, as well as analytical method in performanceanalysis of pieces of music (intonation and structural analysis), andrevealing the value of the baroque repertoire in the process of becoming amodern vocalist. Applied methods reveal the practical performing aspectof the study. The scientific novelty of the article is to identify andsummarize the main factors and techniques of training that becomenecessary for modern performers of baroque vocal music, influencing theformation of a vocalist and the further performance of another vocalrepertoire. This question is considered from the singer-performer’s point ofview the application of the rules and traditions of baroque performance inmodern conditions. Both the works of composers and the methodologicalliterature of the Baroque era, as well as the experience of contemporaryrecognized singers, the personal experience of the author as a singerperformerof baroque music, and pieces of music, are in the field of view.In the conclusions it is noted that the broad analysis of pieces of music,involved in performing practice, makes it possible to reveal the existenceof important requirements for vocalists in the Baroque art, from whichboth the musical aesthetics of the Baroque and the tradition of baroqueperformance gradually grew.

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Верховых, Елена Юрьевна. "THE PROCESS OF MASTERING OF THE BAROQUE STYLE IN RUSSIAN CHURCH ARCHITECTURE." Академический вестник УралНИИпроект РААСН, no. 2(49) (June 30, 2021): 26–31. http://dx.doi.org/10.25628/uniip.2021.49.2.005.

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В статье рассмотрен процесс освоения исторического «большого стиля» барокко в русской храмовой архитектуре. Впервые показана количественная динамика и выделены основные периоды строительства храмов в стиле барокко. Проведено сравнение предложенной периодизации их возведения с периодизацией развития стиля барокко в России, введенной в искусствоведении. Показано территориальное распределение барочных храмов по регионам страны, отмечается его повсеместность, но существенная неравномерность. Выявлено, что «староосвоенные» районы страны были наиболее восприимчивыми к усвоению стиля барокко. The article considers the process of mastering of the historical «grand style» of the Baroque in Russian temple architecture. For the first time, the quantitative dynamics is shown and the main periods of the construction of churches in the Baroque style are highlighted. The proposed periodization of their construction is compared with the periodization of the development of the Baroque style in Russia, introduced in art history. The territorial distribution of Baroque churches in the regions of the country is shown, and its ubiquity, but significant unevenness, is noted. It was revealed that the «old-developed» areas of the country were the most susceptible to the assimilation of the Baroque style.

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Ambroży, Paulina. "Wading through black jade in Marianne Moore’s sunken cathedral: The modernist sea poem as a Deleuzian fold." Studia Anglica Posnaniensia 50, no. 4 (December 1, 2015): 79–97. http://dx.doi.org/10.1515/stap-2015-0034.

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Abstract The study is a close reading of Moore’s poem “The Fish” (1918) through the conceptual lens of Gilles Deleuze’s trope of the fold, as explained in his influential 1988 study of Leibniz, The Fold: Leibniz and the Baroque. The purpose is to explore Moore’s (neo)baroque sensibility and her peculiar penchant for Baroque tropes, images and forms. The Deleuzian concept of the fold, with its rich epistemological implications and broad cultural applicability as the universal trope of crisis, change, unrest and transience, helps to comprehend Moore’s own philosophical and aesthetic concerns. The study, in accord with the interdiscursive character of the contemporary studies of modernism draws from art history, philosophy, theory, literature, and visual arts, to uncover a strong Baroque undercurrent in the poet’s polyphonic imagination. Seen in the light of Deleuze’s fold, Moore’s poem emerges as a quasi-Baroque ruin, a sunken cathedral-cum-graveyard, with a theatrical chiaroscuro lighting and folding and unfolding of sense, which both shelters and entombs the severely wounded modernist soul.

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Liqin, Gao. "PEDAGOGICAL ANALYSIS OF THE AESTHETIC FOUNDATIONS OF MUSICAL WORKS OF THE BAROQUE ERA." Научное мнение, no. 1-2 (February 16, 2024): 182–90. http://dx.doi.org/10.25807/22224378_2024_1-2_182.

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The article is devoted to the pedagogical analysis of the aesthetic foundations of the Baroque culture and identification of the most significant features of the musical art of this era. In the universal picture of the world created by Baroque thinkers, who tended to a comprehensive understanding of being, the main role is assigned to man, or rather, to the problem of human self-knowledge. The created hierarchy of moral values distinguishes between the “high” and “low”, “earthly” and “heavenly” in a person, directs a person to the path of conscious self-control and reasonable self-restraint. In this regard, at the present stage of cultural development, it is necessary to search for the embodiment of the immanent features of the poetics of Baroque compositions from the position of deep knowledge of all levels of their content and symbolism. In modern musical performance, the problems of interpreting Baroque music arise with renewed vigor. In professional training of modern performing musicians, mastering the works of the Baroque style and understanding its aesthetics is an important stage in the formation of their professional competencies.

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Heady Faulstick, Chene. "“Earth has clear call of daily bells”: Nature’s Apocalyptic Liturgy in Christina Rossetti’s Verses." Religion and the Arts 15, no. 1-2 (2011): 172–71. http://dx.doi.org/10.1163/156852911x547510.

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AbstractThis essay reconsiders Charles Ryder’s religious conversion in Brideshead Revisited in terms of a primarily emotional conversion. When reading the novel as a pilgrimage to passion, readers can see in Charles a legitimate, convincing emotional conversion, which should—when emphasizing traditional Catholic ideals—ultimately also be understood as a religious conversion. Charles’s emotional interaction with Catholicism includes his intimate, formative relationship with the Catholic Flyte family, especially Sebastian, and aspects of his career as a Baroque artist, as Baroque art is often identified with Catholicism. It also includes Charles’s disenchantment with both the soullessness of war, which drains its participants of any emotional experience, and the modern world, which lacks connection to depth and tradition. Finally, the emotive power of his inadvertent pilgrimage to Brideshead also connects Charles to Catholicism as the house facilitates Charles’s memories of his religious experience at Lord Marchmain’s deathbed, his artistic conversion to Baroque art, and his passionate friendship with Sebastian. Such a broad definition of Catholicism calls for an expansive understanding of religion, but it is this kind of a religious understanding that Brideshead Revisited recommends.

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Korniy, Lidiya. "Ukrainian School Christmas Drama of the XVIIth–XVIIIth Centuries and Puppet Nativity Play Theatre: Problem of Adaptation and Interpretation of a Musical Factor." Folk art and ethnology, no. 2 (July 30, 2021): 5–14. http://dx.doi.org/10.15407/nte2021.02.005.

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The article states that the Ukrainian baroque art has become differentiated into the high, middle and lower stylistic levels. There were certain connections between them, and new art genres appeared on the verges of these levels. The problem of the connection between distinct stylistic levels of the Ukrainian musical baroque has not yet attracted the attention of researchers. The study examines the links between the Ukrainian school Christmas drama of the XVIIth– XVIIIth centuries and the puppet Nativity play theatre. It is noted that for the first time a comparison of these two kinds of theatrical art is drawn in terms of the use of a musical factor in them. It is established that the first act of the Nativity play drama is related to the high style of Ukrainian Christmas school drama. This is revealed on the basis of analysing the dramatic functions of a Choir in both school drama and Nativity play drama. A choir in these spectacles took an active part in revealing the Christmas story, playing the role of a character. What they had in common was the genre of spiritual chant with the syllabic versification. Despite its association with the high style of school drama, the Nativity play drama was a quite new theatrical genre that belongs to the middle stylistic level. Focusing on the folk environment, authors of the Nativity play drama intelligibly conveyed to a wide audience the sacred plot. It is noted that in the second act of the Nativity scene were adapted interludes of school dramas, which represented the lower stylistic level of the Baroque. In this act, a funny line came to the fore, and a musical component is marked by influences of the Ukrainian musical folklore with a predominance of its dancing variety. The interaction of folklore with the lower version of the Baroque had a great potential for the further development of the Ukrainian national theatre. Due to the fact that music was an integral part of the puppet Nativity play drama and played an important dramatic function, this theatrical spectacle, like some school dramas, had the features of the drama with music genre. Thus, school drama and Nativity play drama created the foundation, on which in the XIXth century, the Ukrainian dramaturgy emerged, with a significant role of the musical factor in it, which was essentially a drama with music.

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Gabriel, Lisa-Marie. "Zukunftspessimismus in der Frühen Neuzeit? Überlegungen zu frühneuzeitlichen Zukunftsvorstellungen am Beispiel des Vanitas-Motives zur Zeit des Barock." historia.scribere, no. 9 (June 9, 2017): 71. http://dx.doi.org/10.15203/historia.scribere.9.566.

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Future pessimism in the Early Modern era? Reflections on Early Modern future imaginations exemplified by the baroque Vanitas motif. The following bachelor thesis is about the future imaginations of the Early Modern time. The paper follows the question, if there was a factual ‚future pessimism‘ in the baroque era, trying to exemplify this by the booming Vanitas motif. Therefore, the thesis will examine the history and meaning of the motif compared to the trends of the tumultous 17th century. As will be shown, the Vanitas motif was also an art form as well as a manifestation of a transience-consciousness that manifested itself not least in the form of Vanitas still life and baroque poetry.

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Slipushko, O. М., R. Fan, and M. Huan. "OUTLOOK BASIC OF "GARDEN OF GOD SONGS" OF HRYHORII SKOVORODA." Literary Studies, no. 63 (2022): 132–46. http://dx.doi.org/10.17721/2520-6346.2(63).132-146.

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In this article the fundamental outlook basic of poetical book “Garden of God songs” of Hryhorii Skovoroda is investigated. It is underlined the new character of formation of modern methods of poetic representation, partly poetic. It is represented understanding and interpretation by Skovoroda of difficult and important philosophical categories. It is underlined the formation by poet individual symbols, allegories and metaphor. It is analysed the join it his outlook the Ancient, Middle Ages and Renaissance traditions. The outlook basic of book “Garden of God Songs” is characterised as Baroque. The general symbols in the art outlook of Hryhorii Skovoroda is mirror, way, nom, snake, stone, circle, sea, plant, garden, theatre. Symbols and emblems of poetic texts represent his Baroque outlook, that was formed in the basic of Bible, Ancient traditions and philosophical thinking. Poetic texts of book and its ideas in this book represented its connection with European literature traditions. That is why we can analysed literary heritage of writer in the context of the world literature and philosophy. In general in book of Hryhorii Skovoroda “Garden of God songs” we can observe the Baroque complicate art conception and outlook system. The outlook context is based on the reinterpretation of Middle Ages and Renaissance traditions. The text of author represent the interpretation of Bible texts and Ancient culture. These two equal sources for inspiration and looking texts. The outlook system of Skovoroda is represented through reading not only exterior text but interior text too. Author formed individual interpretation model interpretation model of outlook thinking. It is presented through system of art images with Baroque character.

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Posner, Donald, Elizabeth Cropper, and Charles Dempsey. "On the State of Research in Italian Baroque Art." Art Bulletin 70, no. 1 (March 1988): 138. http://dx.doi.org/10.2307/3051160.

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Pericolo, Lorenzo. "Statuino:An Undercurrent of Anticlassicism in Italian Baroque Art Theory." Art History 38, no. 5 (September 2, 2015): 862–89. http://dx.doi.org/10.1111/1467-8365.12187.

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Spragins, Elizabeth. "Baroque Seville: sacred art in a century of crisis." Journal of Spanish Cultural Studies 18, no. 4 (October 2, 2017): 479–81. http://dx.doi.org/10.1080/14636204.2017.1380260.

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Journal articles on the topic 'Baroque art'

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