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Books on the topic 'Late Baroque'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Buelow, George J., ed. The Late Baroque Era. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11303-3.

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2

Harman, Alec. Late Renaissance and Baroque music. London: Barrie & Jenkins, 1988.

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3

Late Baroque and Rococo architecture. Milan: Electa, 1985.

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4

Music in late Renaissance & early baroque Italy. Portland, Or: Amadeus Press, 1992.

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5

Carter, Tim. Music in late Renaissance & early Baroque Italy. London: B.T. Batsford, 1992.

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6

Carter, Tim. Music in late renaissance & early baroque Italy. London: B.T. Batsford, 1992.

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7

Carter, Tim. Music in late Renaissance and early baroque Italy. London: Batsford, 1992.

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8

Architectural diplomacy: Rome and Paris in the late Baroque. New York: Architectural History Foundation, 1993.

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9

English solo keyboard music of the middle and late Baroque. New York: Garland, 1989.

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10

Buelow, George J. The Late Baroque Era: From the 1680s to 1740 (Music and Society). Englewood Cliffs, NJ: Prentice Hall College Div, 1993.

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11

Between Renaissance and Baroque: The first Jesuit paintings in Rome, 1564-1610. Toronto: University of Toronto Press, 2003.

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12

Lomas, Victoria Katharine. The application of classical rhetoric to the performance of late baroque instrumental music. Birmingham: University of Birmingham, 2002.

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13

Leopold, Netopil, and Österreichisches Museum für Angewandte Kunst., eds. Spitzen des Barock aus der Sammlung des Österreichischen Museums für Angewandte Kunst: 1985, Aussenstelle Schlossmuseum Riegersburg, Waldviertel/NÖ : 1986, Österreichisches Museum für Angewandte Kunst Wien. [Waldviertel/NÖ: Das Schlossmuseum, 1985.

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14

Stift Göttweig (Steinaweg, Austria). Graphisches Kabinett. Jahresausstellung. Spitzenbilder als Gratulationsbilletts: Virtuos geschnittene Angebinde aus der Barockzeit : Ausstellung des Graphischen Kabinetts des Stiftes Göttweig/Niederösterreich : 38. Jahresausstellung 1989, 4. Juni bis 29. Oktober 1989. [Furth/NÖ.]: Das Kabinett, 1989.

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15

Buelow, George J. The Late Baroque Era (Man & Music). Palgrave Macmillan, 1993.

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16

Buelow, George J. The Late Baroque (Music and Society). Prentice Hall, 1993.

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17

J, Buelow George, ed. The Late baroque era: From the 1680s to 1740. Englewood Cliffs, N.J: Prentice Hall, 1994.

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18

Michael, Talbot, ed. Aspects of the secular cantata in late baroque italy. Burlington: Ashgate, 2009.

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19

The late baroque era: From the 1680s to 1740. Basingstoke: Palgrave Macmillan, 1993.

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20

The Late Baroque Era: From the 1680s to 1740. Englewood Cliffs, NJ: Prentice Hall, 1994.

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21

Dunn, Marilyn Ruth. Religious institutions as art patrons in late baroque Rome. 1985.

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22

Norberg-Schulz, Christian. Late Baroque and Rococo Architecture (History of World Architecture). 2nd ed. Electa / Rizzoli, 1991.

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23

Metaphysical and Mid-Late Tang Poetry: A Baroque Comparison. Vernon Art and Science Inc., 2020.

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24

Wang, Pengfei. Metaphysical and Mid-Late Tang Poetry: A Baroque Comparison. Vernon Art and Science Inc., 2020.

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25

Voss, Hermann. Baroque Painting in Rome, II: The High and Late Baroque, Rococo and Early Neoclassicism, 1620-1790. Alan Wofsy Fine Arts, 1997.

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26

Wang, Pengfei. Metaphysical and Mid-Late Tang Poetry [PDF]: A Baroque Comparison. Vernon Art and Science Inc., 2020.

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27

Migliarisi, Anna Giovanna. Theories of directing in late renaissance and early baroque Italy. 1996.

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28

Buelow, George J. The Late Baroque Era: Vol 4. From The 1680s To 1740. Palgrave Macmillan, 1993.

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29

1945-, Price Curtis Alexander, ed. The early Baroque era: From the late 16th century to the1660s. Basingstoke: Macmillan, 1993.

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30

Olszewski, Edward. Dynamics of Architecture in Late Baroque Rome: Cardinal Pietro Ottoboni at the Cancelleria. de Gruyter GmbH, Walter, 2020.

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31

Buelow, George J. The Late Baroque Era: From the 1680s to 1740 (Music and Society). Prentice Hall College Div, 1993.

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32

Talbot, Michael. Aspects of the Secular Cantata in Late Baroque Italy. Edited by Michael Talbot. Taylor & Francis Group, 2016.

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33

Locke, Matthew, Henry Purcell, and John Blow. Late 17th Century English Keyboard Music (Recent Researches in the Music of the Baroque Era). A-R Editions, 1997.

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34

Price, Curtis. The Early Baroque Era: From the Late 16th Century to the 1660s (Music and Society). Prentice Hall College Div, 1993.

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35

Price, Curtis. The Early Baroque Era: From the Late 16th Century to the 1660s (Music and Society). Prentice Hall College Div, 1994.

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36

The Early Baroque Era: From the Late 16th Century to the 1660s (Music and Society). Prentice Hall College Div, 1993.

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37

Price, Curtis. The Early Baroque Era: From the Late 16th Century to the 1660s (Music and Society). Prentice Hall College Div, 1994.

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38

Alec and Anthony Milner Harman. MAN AND HIS MUSIC, STORY OF MUSICAL EXPERIENCE IN THE WEST: LATE RENAISSANCE AND BAROQUE MUSIC PART TWO. Barrie and Jenkins, 1988.

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39

Publishing, Sunshine. I Would Rather Suffer with Late Baroque Than Be Senseless: Funny Notebook for Late Baroque Lovers, Cute Journal for Writing Journaling and Note Taking at Home Office Work School College,appreciation Birthday Christmas Gag Gift for Women Men Teen Friend. Independently Published, 2020.

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40

Cecil, King James, ed. Sangallensia in Washington: The arts and letters in medieval and baroque St. Gall viewed from the late twentieth century. New York: P. Lang, 1993.

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41

King, James Cecil. Sangallensia in Washington: The Arts and Letters in Medieval and Baroque St. Gall Viewed from the Late Twentieth Century. Peter Lang Publishing, 1994.

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42

Saints, Sinners, and Sisters: Gender and Northern Art in Medieval and Early Modern Europe. Taylor & Francis Group, 2017.

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43

(Editor), Jane L. Carroll, and Alison G. Stewart (Editor), eds. Saints, Sinners, and Sisters: Gender and Northern Art in Medieval and Early Modern Europe. Ashgate Publishing, 2003.

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44

The eagle and the cross: Jesuits in late baroque Prague (No. 16 in series 3: Original studies composed in English). Institute of Jesuit Sources, 2002.

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45

Szulakowska, Urszula. The Alchemy of Light: Geometry and Optics in Late Renaissance Alchemical Illustration (Symbola Et Emblemata Studies in Renaissance and Baroque Symbolism). Brill Academic Publishers, 2000.

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46

Baroque & Later Ivories. V & A Publishing, 2013.

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47

Roth, Martin. Complete Motets from Florilegium Portense. Edited by L. Frederick Jodry. A-R Editions, 2021. http://dx.doi.org/10.31022/b218.

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Martin Roth was a student and later cantor at the Pforta school near Leipzig. His sixteen surviving motets are contained in the anthology Florilegium Portense, issued in two volumes in 1618 and 1621. Consisting largely of double-choir motets, this collection is a retrospective of late Renaissance style, intersecting with seventeenth-century usage in Lutheran churches. The collection consists of 165 pieces by about ninety composers and was used widely in schools and churches throughout central Germany. These motets were performed on a weekly basis as late as 1770 for services at the main churches in Leipzig; J. S. Bach purchased new copies in use at the St. Thomas School in 1729, mentioning that the old copies had been sung to pieces (zersungen). The fact that such late-Renaissance motets were performed in rotation for some 150 years in Leipzig lends depth to our understanding of baroque performance practice.

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48

Brehy, Petrus Hercules. Instrumental Works from the Library of the Royal Conservatories, Brussels. Edited by Lewis Reece Baratz. A-R Editions, 2021. http://dx.doi.org/10.31022/b215.

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Brussels native Petrus Hercules Brehy (1673–1737) composed twelve sonatas for two violins, viola, basso viola, and continuo around 1715–22, and two sonatas for five instruments and continuo approximately ten years later, all during his tenure as zangmeester of the Collegiate Church of SS. Michael and Gudula. Since 1929 the autograph manuscripts have been conserved at the Library of the Royal Conservatories of Music, Brussels. Unlike Brehy's earlier symphonias, these were not published during his lifetime and were written to be played by a mix of professional musicians, able clerics, and older choirboys. Six of the twelve sonatas for four instruments and continuo reflect the earlier polyphonic ensemble sonata da chiesa of the late seventeenth century, four feature the violin in more flamboyant soloistic passagework, and two contain elements of both idioms. The two sonates à 5 are consistent with the late Baroque international style. All the sonatas in this volume reflect the somewhat conservative religious style of a Habsburg Empire territory capital during the early eighteenth century.

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49

Listri, Massimo, and Stefano Zuffi. Borromeo Palace on Lake Maggiore: Masterpiece of Italian Baroque. Rizzoli International Publications, Incorporated, 2018.

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50

Tweedie, James. The Afterlife of Art and Objects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190873875.003.0006.

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Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse (1986) as its primary touchstones, this chapter situates this renewed interest in the cinematic still life within the context of both the late twentieth-century cinema of painters and a socially oriented art cinema that focuses on marginal people and overlooked objects rather than the hegemonic historical narratives also undergoing a revival at the time.

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