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Journal articles on the topic 'Baroque Arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

Gash, John. "AMERICAN BAROQUE." Art History 8, no. 2 (June 1985): 249–61. http://dx.doi.org/10.1111/j.1467-8365.1985.tb00165.x.

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3

Kingston‐Reese, Alexandra. "Baroque Transfixions." Art History 46, no. 1 (February 2023): 203–6. http://dx.doi.org/10.1111/1467-8365.12703.

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4

Saunders, Andrew. "Baroque Parameters." Architectural Design 79, no. 1 (January 2009): 132–35. http://dx.doi.org/10.1002/ad.835.

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5

Leiter, Samuel L. "Kabuki: Baroque Fusion of the Arts (review)." Journal of Japanese Studies 31, no. 1 (2005): 236–41. http://dx.doi.org/10.1353/jjs.2005.0015.

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6

Jakovljevic, Branislav. "Wooster Baroque." TDR/The Drama Review 54, no. 3 (September 2010): 87–122. http://dx.doi.org/10.1162/dram_a_00006.

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In the decade following 9/11, the Wooster Group staged three landmark 17th-century plays, Phaedra, Hamlet, and La Didone. This turn to baroque theatre is both a comment on American culture of the first decade of the 21st century and a significant departure in the history of the group itself.

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7

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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8

Leach, Andrew. "Considering the Baroque." Journal of the Society of Architectural Historians 74, no. 3 (September 1, 2015): 285–88. http://dx.doi.org/10.1525/jsah.2015.74.3.285.

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9

Cecchini, Laura Moure. "The Elusive Modern Baroque." Art History 43, no. 3 (May 24, 2020): 654–61. http://dx.doi.org/10.1111/1467-8365.12514.

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10

Indych, Anna. "Nuyorican Baroque: Pepón Osorio'sChucherías." Art Journal 60, no. 1 (March 2001): 72–83. http://dx.doi.org/10.1080/00043249.2001.10792052.

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11

Christout, Marie‐Françoise. "Bérain and Baroque Spectacle." Dance Chronicle 10, no. 3 (January 1986): 375–77. http://dx.doi.org/10.1080/01472528608568960.

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12

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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13

Barthes, Roland, and Susan Homar. "The Baroque Face." Review: Literature and Arts of the Americas 53, no. 1 (January 2, 2020): 21–23. http://dx.doi.org/10.1080/08905762.2020.1748424.

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14

Boorsch, Suzanne, William M. Griswold, Stuart W. Pyhrr, Clare Vincent, Everett Fahy, Helen B. Mules, Walter Liedtke, Nadine M. Orenstein, Olga Raggio, and Laurence Libin. "Renaissance and Baroque Europe." Metropolitan Museum of Art Bulletin 51, no. 2 (1993): 28. http://dx.doi.org/10.2307/3269021.

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15

Bambach, Carmen C., Nadine M. Orenstein, James David Draper, Carolyn Logan, Keith Christiansen, Walter Liedtke, Stuart W. Phyrr, and Perrin Stein. "Renaissance and Baroque Europe." Metropolitan Museum of Art Bulletin 56, no. 2 (1998): 18. http://dx.doi.org/10.2307/3269043.

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16

Christiansen, Keith, Carmen C. Bambach, Olga Raggio, Stuart W. Pyhrr, Nadine M. Orenstein, Michiel C. Plomp, and Perrin Stein. "Renaissance and Baroque Europe." Metropolitan Museum of Art Bulletin 58, no. 2 (2000): 22. http://dx.doi.org/10.2307/3269094.

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17

Christiansen, Keith, Michiel C. Plomp, Nadine M. Orenstein, Carmen C. Bambach, Stuart W. Pyhrr, J. Kenneth Moore, and Ian Wardropper. "Renaissance and Baroque Europe." Metropolitan Museum of Art Bulletin 61, no. 2 (2003): 15. http://dx.doi.org/10.2307/3269115.

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18

Christiansen, Keith, Carolyn Logan, Carmen Bambach Cappel, Suzanne Boorsch, Stuart W. Pyhrr, Perrin Stein, and Jessie McNab. "Renaissance and Baroque Europe." Metropolitan Museum of Art Bulletin 53, no. 2 (1995): 28. http://dx.doi.org/10.2307/3269256.

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19

Christiansen, Keith, Nadine M. Orenstein, William M. Griswold, Suzanne Boorsch, Clare Vincent, Donald J. LaRocca, Helen B. Mules, et al. "Renaissance and Baroque Europe." Metropolitan Museum of Art Bulletin 52, no. 2 (1994): 20. http://dx.doi.org/10.2307/3258872.

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20

de Jésus, Mary Sprinson, Carmen C. Bambach, Michiel C. Plomp, Nadine M. Orenstein, Perrin Stein, Stuart W. Pyhrr, Keith Christiansen, et al. "Renaissance and Baroque Europe." Metropolitan Museum of Art Bulletin 59, no. 2 (2001): 21. http://dx.doi.org/10.2307/3258900.

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21

Bambach, Carmen C., Thomas Campbell, James David Draper, Carmen C. Bambach, Nadine M. Orenstein, Laurence Libin, Stuart W. Pyhrr, et al. "Renaissance and Baroque Europe." Metropolitan Museum of Art Bulletin 57, no. 2 (1999): 23. http://dx.doi.org/10.2307/3259912.

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22

Boorsch, Suzanne, Carmen Bambach, Keith Christiansen, Carolyn Logan, Thomas Campbell, Nadine M. Orenstein, and James David Draper. "Renaissance and Baroque Europe." Metropolitan Museum of Art Bulletin 54, no. 2 (1996): 22. http://dx.doi.org/10.2307/3262707.

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23

Draper, James David, Carmen C. Bambach, Michiel C. Plomp, Stuart W. Pyhrr, Perrin Stein, Keith Christiansen, and Walter Liedtke. "Renaissance and Baroque Europe." Metropolitan Museum of Art Bulletin 60, no. 2 (2002): 14. http://dx.doi.org/10.2307/3263906.

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24

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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25

Golahny, Amy. "Poe’s References to the Visual Arts." Edgar Allan Poe Review 22, no. 1 (June 1, 2021): 6–29. http://dx.doi.org/10.5325/edgallpoerev.22.1.6.

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Abstract Poe’s references to the visual arts have long been noted, but rarely examined for personal and original content. Barbara Cantalupo’s recent monograph is an exception in this regard and proposes that Poe’s interest in the arts was deep and generally concerned beauty and aesthetic issues. Facile with aspects of antiquity, the Renaissance, and the Baroque, Poe had an enthusiasm for artists working in the United States that was more personal than his interest in those from the European past. He knew firsthand works by Joshua Shaw, Clark Mills, and Hiram Powers. Without traveling to continental Europe, Poe became familiar with Renaissance and Baroque art through his reading and by viewing works in New York and Philadelphia. He was sufficiently familiar with foremost artists and antiquities to make references that strengthened his characters and settings. In commenting on exhibits in New York, Poe revealed his opinions, both positive and negative. Conversant with the typical qualities of major categories of art, Poe did not stray from the generally received information about past art but evidently relied on his own observations for current art. Ultimately, Poe’s interest in the visual arts depended on how he could use painting and sculpture in his writings.

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26

Cottini, Luca. "D’Annunzio, Bernini, and the Baroque prelude of Il Piacere." Forum Italicum: A Journal of Italian Studies 51, no. 2 (April 5, 2017): 335–55. http://dx.doi.org/10.1177/0014585817698396.

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This essay investigates the early rediscovery of Bernini and the Roman Baroque in D’Annunzio’s Il piacere. Starting from the analysis of the few explicit textual references and the many implicit allusions to the Baroque artist in the novel, the present study documents Bernini’s impact on Sperelli’s persona, poetic method, and artistic projects. At the same time, based on the protagonist’s radical re-evaluation of Bernini—after two centuries of critical dismissal—this article also sheds light on the deep and substantial relationship connecting the Roman Baroque and D’Annunzio’s aesthetics. The rediscovered culture of the 17th century indeed constitutes not only a key element in Il piacere, but also an important poetic prelude for D’Annunzio’s hoped-for renaissance of the arts, and for the scholarly re-appreciation of the genius of Bernini (from Riegl to Wittkower). In light of the later success of dannunzianesimo, the novel’s Baroque vein can also be read as the first historical spark of the fervent Italian debate known as the questione barocca.

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27

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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28

Knapp. "Rethinking the Literary Baroque." Criticism 62, no. 1 (2020): 165. http://dx.doi.org/10.13110/criticism.62.1.0165.

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29

Ostrow, Steven F., and John Varriano. "Italian Baroque and Rococo Architecture." Art Bulletin 70, no. 3 (September 1988): 528. http://dx.doi.org/10.2307/3051184.

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30

Harbison, Robert. "Baroque Exuberance: Frivolity or Disquiet." Architectural Design 80, no. 2 (March 2010): 44–49. http://dx.doi.org/10.1002/ad.1041.

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31

Grechanivska, Tetyana. "Functional role of the cello in Handel's solo cantatas." Culturology Ideas, no. 22 (2'2022) (2022): 63–71. http://dx.doi.org/10.37627/2311-9489-22-2022-2.63-71.

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The article considers the functional role of the cello in the vocal-instrumental musical works of the Baroque period and attempts to shift the problem from the practical-performing background into the field of professional musicological discourse. Two Italian solo cantatas by G. F. Handel were chosen for analysis, in which the composer clearly structured and used instrumental accompaniment according to the stylistic norms of the instrumental and vocal ensemble of the 17th–18th centuries — as a dialogue of two voices accompanied by others. Emphasis is placed on the differences between the basso continuo and obliggato parts, which reveal the main directions of the functional purpose of the instrument and prove the importance of the cello in the ensemble performance of the Baroque period. It is revealed that the problem of manifestation of performing individuality and interpretation of Baroque works in the concert practice of today is the subject of a separate musicological study and requires more detailed research. In this discourse, Baroque musical literature is a vast field for research, rightly playing a dominant role in contemporary performing arts.

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32

Dolskaya-Ackerly, Olga. "Vasilii Titov and the ‘Moscow’ Baroque." Journal of the Royal Musical Association 118, no. 2 (1993): 203–22. http://dx.doi.org/10.1093/jrma/118.2.203.

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The Baroque, which manifested itself in Muscovy during the course of the seventeenth century, has been recognized as one of the most dynamic and influential eras of Russian musical and artistic creativity. When looking at the history of Russian music one has a tendency to equate the new stylistic trends of the second half of the seventeenth century with those of the highly westernized eighteenth, and to dismiss both merely as periods of Western imitation. In reality music manuscripts reveal otherwise, and now that compositions are finally becoming available in transcription we realize that an entire era remains to be recognized and re-evaluated. In art and architecture, that era, known as the ‘Moscow’ or the ‘Naryshkin’ Baroque, is distinguished by a blend of Italian, Dutch, Russian, Ukrainian and Bielorussian features in a style that, although influenced by foreign elements, was none the less distinct from any in existence at the time. The Moscow Baroque embraced many aspects of the arts, from iconography, architecture and the applied arts to literature and music. Endorsed by Tsar Alexei Mikhailovich (1645–76), foreign influence began to penetrate Muscovy, ushering in a cognizance of Western concepts that began to clash with the rich and long-established spiritual and cultural traditions. In fact Muscovy was just emerging from an aesthetic explosion known as the Golden Age of national artistic expression. Familiar are the magnificent onion-dome churches that were created during the sixteenth century and the flourishing musical centres in Novgorod and Moscow, where composers and singers developed an intrinsically Russian musical style. This was also the age of indigenous Russian polyphony (e.g. strochnoe moskovskoe, strochnoe novgorodskoe, znamennoe and demestvennoe mnogogolosie) which preceded the wave of Western infiltration that inadvertently led to an untimely halt of the evolutionary process of national awakening. Prior to that halt, the Moscow Baroque stands as a brief but unique chapter in the development of the Russian choral tradition.

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33

van Gastel, Joris. "Painting and Economics in Baroque Naples." Art History 41, no. 1 (January 24, 2018): 205–7. http://dx.doi.org/10.1111/1467-8365.12362.

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34

Arijčuk, Petr. "Daniel Gran und die Anfänge seines Schaffens in den böhmischen Ländern." Opuscula historiae artium, no. 1 (2023): 22–39. http://dx.doi.org/10.5817/oha2023-1-2.

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Paintings by François Roëttiers (1685–1742) delivered in 1732 for the side altars of the Church of St John of Nepomuk in Krahulčí near Telč, whose builders and patrons were Count Franz Anton of Liechtenstein-Kastelkorn and his wife Marie Anna of Halleweil, are the unique contribution in the Czech Lands of this painter of Flemish origin, who later settled in Vienna. However, the artist of the original image on the high altar of the same church, St John of Nepomuk adoring the crucifix, now missing, is not this painter. The original Baroque painting was replaced in 1890 by the current painting by the academic painter and restorer Čeněk Neumann. Contemporary records of his painting refer to it as a copy of the original Baroque painting. However, the distinctive visages of St John of Nepomuk and the attending angels evoke strikingly the work of the famous Viennese painter Daniel Gran (1694–1757), whose first contacts with clients in the Czech Lands are documented in the late 1720s. Apart from several indirect indications, Gran's presumed authorship is significantly supported by the finding of a Baroque graphic sheet with the figure of John of Nepomuk adoring the crucifix, whose very specific rendered face evidently corresponds to the matching part of Neumann's copy of the Baroque original. Johann Ernst Mansfeld (1739–1796), the creator of the graphic transcript, identified Daniel Gran as the author of the original which was used.

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35

Levchenko, Nataliia, Olena Liamprekht, Maryna Povar, and Olena Chukhno. "Adoption of Western Four-Sense Biblical Hermeneutics by Ukrainian Baroque Literature." Revista Amazonia Investiga 9, no. 31 (August 7, 2020): 178–84. http://dx.doi.org/10.34069/ai/2020.31.07.16.

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The study outlines general principles of biblical hermeneutics influence on the poetics of Ukrainian baroque prose. The Bible perceived by ancient writers as a collection of sacred books written by the Holy Spirit through the mediation of hagiographers is full of metaphors, comparisons, allegories and parables that needed clarification. Biblical hermeneutics developed rules for the Bible exegesis in order to avoid false variants of interpreting the Scripture. The four-sense method of biblical hermeneutics borrowed from Western Catholic tradition helped to avoid controversial interpretation of the Holy Scripture. The immersion of Ukrainian baroque literature into the biblical domain caused its paraphrasing nature and created conditions for the development of the four-sense hermeneutics as the structure of the poetics of Ukrainian baroque prose. Principles of biblical hermeneutics, having become a monolithic core of the form and content of authors’ texts, eventually began to go beyond the actual theological literature into the field of secular arts.

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36

Macarthur, John, and Andrew Leach. "Mannerism, Baroque, Modern, Avant-garde Introduction." Journal of Architecture 15, no. 3 (June 2010): 239–42. http://dx.doi.org/10.1080/13602365.2010.486560.

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37

Roule, Natasha. "Bodily Narratives in French Baroque Opera." Cambridge Opera Journal 29, no. 3 (November 2017): 353–59. http://dx.doi.org/10.1017/s0954586718000022.

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38

Alexander, Zeynep Çelik. "Baroque out of Focus." New German Critique 45, no. 1 (February 1, 2018): 79–109. http://dx.doi.org/10.1215/0094033x-4269862.

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39

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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40

Warburg, Inés. "El barroco teodosiano en el poema De mortibus boum." Revue des Études Anciennes 118, no. 2 (2016): 511–25. http://dx.doi.org/10.3406/rea.2016.6782.

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Le poème De mortibus boum, du rhéteur Severus Sanctus Endelechius composé vers la fin IVe s. présente les signes distinctifs du baroque théodosien ou baroque tardif romain. Cette conception de l’esthétique qui a eu une grande influence dans la littérature latine de l’antiquité tardive se traduit en particulier par une rénovation totale du genre bucolique et la suprématie du surnaturel sur l’ordre naturel troublé, selon l’idéologie triomphaliste de la poesie theodosienne.

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41

Scott, John Beldon. "Nicodemus Tessin and Baltic Baroque Architecture." Journal of the Society of Architectural Historians 65, no. 4 (December 1, 2006): 628–32. http://dx.doi.org/10.2307/25068337.

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42

Pyle, Robert W., and Robinson Pyle. "The modern baroque trumpet." Journal of the Acoustical Society of America 95, no. 5 (May 1994): 2912–13. http://dx.doi.org/10.1121/1.409264.

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43

Loughery, John. "Sexual Violence: Baroque to Surrealist." Hudson Review 55, no. 2 (2002): 293. http://dx.doi.org/10.2307/3853006.

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44

Mosser, Monique, and Alain Mérot. "Le retour du baroque : us et abus." Revue de l'Art 90, no. 1 (1990): 5–7. http://dx.doi.org/10.3406/rvart.1990.347865.

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45

Mérot, Alain, and Monique Mosser. "Le retour du baroque : us et abus." Revue de l'art N° 90, no. 4 (April 1, 1990): 5–7. http://dx.doi.org/10.3917/rda.090.0005.

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46

Kirienko, I. V., and O. V. Perich. "Synthesis of Arts in the Artistic Worldview within the Baroque Period." Университетский научный журнал, no. 61 (2021): 184–93. http://dx.doi.org/10.25807/22225064_2021_61_184.

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47

Brittain-Catlin, Timothy. "Baroque between the wars: alternative style in the arts, 1918–1939." Journal of Architecture 24, no. 1 (January 2, 2019): 114–18. http://dx.doi.org/10.1080/13602365.2019.1569386.

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48

Ostrow, Steven F., and Maryvelma Smith O'Neil. "Giovanni Baglione: Artistic Reputation in Baroque Rome." Art Bulletin 85, no. 3 (September 2003): 608. http://dx.doi.org/10.2307/3177390.

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49

Stone, Rob. "Coy Teloi: Baroque Dissonance in Pevsner's Suburbs." Journal of Visual Culture 2, no. 2 (August 2003): 186–204. http://dx.doi.org/10.1177/14704129030022003.

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50

Ault, C. Thomas. "Baroque Stage Machines for Venus and Mars from the Archivio Di Stato, Parma." Theatre Survey 28, no. 2 (November 1987): 27–39. http://dx.doi.org/10.1017/s0040557400000478.

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The seven drawings shown below are designs for baroque stage machines identified as machines “for Venus and Mars” and are reproduced from MS Majie, V, 4, 1–38, The Archivio di Stato, Parma. These designs are particularly interesting since they are at the same time characteristic of baroque stage machines which performed similar functions, found in other sources, and yet unique for their simplicity, rendering them easy to interpret and understand. Although several of these designs have been published individually in various places, the group of seven is published here in its entirety for the first time. Together, these designs illustrate the use of sliding winches in the grid to produce spectacular effects on the stage as well as the “Mars machines.”

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