Few periods in history are so fundamentally contradictory as the Baroque, the culture flourishing from the mid-sixteenth to the mid-eighteenth centuries in Europe. When we hear the term ‘Baroque,’ ...the first images that come to mind are symmetrically designed gardens in French chateaux, scenic fountains in Italian squares, and the vibrant rhythms of a harpsichord. Behind this commitment to rule, harmony, and rigid structure, however, the Baroque also embodies a deep fascination with wonder, excess, irrationality, and rebellion against order. The Oxford Handbook of the Baroque delves into this contradiction to provide a sweeping survey of the Baroque not only as a style but also as a historical, cultural, and intellectual concept. With its thirty-eight chapters edited by leading expert John D. Lyons, the Handbook explores different manifestations of Baroque culture, from theatricality in architecture and urbanism to opera and dance, from the role of water to innovations in fashion, from mechanistic philosophy and literature to the tension between religion and science. These discussions present the Baroque as a broad cultural phenomenon that arose in response to the enormous changes emerging from the sixteenth century: the division between Catholics and Protestants, the formation of nation-states and the growth of absolutist monarchies, the colonization of lands outside Europe and the mutual impact of European and non-European cultures. Technological developments such as the telescope and the microscope and even greater access to high-quality mirrors altered mankind’s view of the universe and of human identity itself. By exploring the Baroque in relation to these larger social upheavals, this Handbook reveals a fresh and surprisingly modern image of the Baroque as a powerful response to an epoch of crisis.
In a comparative and interdisciplinary analysis of modern and postmodern literature, film, art, and visual culture, Monika Kaup examines the twentieth century's recovery of the baroque within a ...hemispheric framework embracing North America, Latin America, and U.S. Latino/a culture. As "neobaroque" comes to the forefront of New World studies, attention to transcultural dynamics is overturning the traditional scholarship that confined the baroque to a specific period, class, and ideology in the seventeenth century. Reflecting on the rich, nonlinear genealogy of baroque expression,Neobaroque in the Americasenvisions the baroque as an anti-proprietary expression that brings together seemingly disparate writers and artists and contributes to the new studies in global modernity.
El estudio técnico e histórico artístico de un óleo sobre lienzo hasta ahora inédito, San Miguel Arcángel venciendo al diablo, permite adentrarse en las particularidades creativas de uno de los más ...importantes pintores de la Murcia barroca, como es Lorenzo Suárez. La revisión del catálogo hoy por hoy atribuido, identificado y conservado de este artista redimensiona su abundante producción, insuficientemente difundida fuera de su Murcia natal.
Although Americans have shown interest in Italian Baroque art since the eighteenth century—Thomas Jefferson bought copies of works by Salvator Rosa and Guido Reni for his art gallery at ...Monticello, and the seventeenth-century Bolognese school was admired by painters Benjamin West and John Singleton Copley—a widespread appetite for it only took hold in the early to mid-twentieth century. Buying Baroque tells this history through the personalities involved and the culture of collecting in the United States.
The distinguished contributors to this volume examine the dealers, auction houses, and commercial galleries that provided access to Baroque paintings, as well as the collectors, curators, and museum directors who acquired and shaped American perceptions about these works, including Charles Eliot Norton, John W. Ringling, A. Everett Austin Jr., and Samuel H. Kress. These essays explore aesthetic trends and influences to show why Americans developed an increasingly sophisticated taste for Baroque art between the late eighteenth century and the 1920s, and they trace the fervent peak of interest during the 1950s and 1960s.
A wide-ranging, in-depth look at the collecting of seventeenth- and eighteenth-century Italian paintings in America, this volume sheds new light on the cultural conditions that led collectors to value Baroque art and the significant effects of their efforts on America’s greatest museums and galleries.
In addition to the editor, contributors include Andrea Bayer, Virginia Brilliant, Andria Derstine, Marco Grassi, Ian Kennedy, J. Patrice Marandel, Pablo Pérez d’Ors, Richard E. Spear, and Eric M. Zafran.
In Benjamin’s Library, Jane O. Newman offers, for the first time in any language, a reading of Walter Benjamin’s notoriously opaque work, Origin of the German Tragic Drama that systematically attends ...to its place in discussions of the Baroque in Benjamin’s day. Taking into account the literary and cultural contexts of Benjamin’s work, Newman recovers Benjamin’s relationship to the ideologically loaded readings of the literature and political theory of the seventeenth-century Baroque that abounded in Germany during the political and economic crises of the Weimar years.
To date, the significance of the Baroque for Origin of the German Tragic Drama has been glossed over by students of Benjamin, most of whom have neither read it in this context nor engaged with the often incongruous debates about the period that filled both academic and popular texts in the years leading up to and following World War I. Armed with extraordinary historical, bibliographical, philological, and orthographic research, Newman shows the extent to which Benjamin participated in these debates by reconstructing the literal and figurative history of sixteenth- and seventeenth-century books that Benjamin analyzes and the literary, art historical and art theoretical, and political theological discussions of the Baroque with which he was familiar. In so doing, she challenges the exceptionalist, even hagiographic, approaches that have become common in Benjamin studies. The result is a deeply learned book that will infuse much-needed life into the study of one of the most influential thinkers of the twentieth century.
This book explores the history of art and architecture in the Polish-Lithuanian Commonwealth from the 18th century to the uprising against the Russian occupation of 1863-64. It serves to introduce ...the English-language reader to research produced by East European scholars. The geographical area under discussion consists of the modern nation states of Latvia, Lithuania, Belarus, and Ukraine, which from 1772 were incorporated into the empires of Russia, Austria, and Prussia. One of the major questions raised is, what became of the old Commonwealth's artistic and cultural traditions under the rule of these alien powers? The book strives to do justice to the history of all the national groups involved, even though the region was heavily Polonised from the 16th century onwards. The art, architecture, and culture introduced from western Europe are analysed in their effects not only on Polish culture, but also on that of the Orthodox and Uniate Ruthenians (Ukrainians), on the Jewish settlement and on those of the Karaime and Islamic Tatars. An additional concern is the history, art and architecture of the Baltic Germans in the Latvian region. The book suggests a critical approach involving alternative models to those of nationalistic schools of art. It is geography that dictates the writing of history, rather than national identity.
Baroque depictions of violence are often dismissed as 'over the top' and 'excessive'. Their material richness and exciting visual complexity, together with the visceral engagement they demand from ...beholders, are usually explained in literature as reflecting the presumed violence of early modern society. This book explores the intersection between materiality, excess, and violence in seventeenth-century paintings through a close analysis of some of the most iconic works of the period. Baroque paintings expose or reference their materiality by insisting on various physical changes wrought through violence. This study approaches violence as the work of materiality, which has the potential to analogously stage pictorial surfaces as corporeal surfaces, where paint becomes flayed flesh, canvas threads ruptured skin, and red paint spilt blood.
Cet article entend considérer la porte et le passage comme un défi à la inventio dans le roman d’aventures baroque. Le seuil et son franchissement ont à voir avec une poétique particulière et sont ...liés à la captivité ou à la réunion des amants. L’étude d’une œuvre tardive et la représentation qu’elle offre du seuil et du passage permettra de mesurer l’évolution de l’action et de l’héroïsme romanesques à la fin du XVIIe.
En el presente trabajo recuperamos del olvido la participación del platero Tomás Sánchez Reciente en la total renovación de la capilla de Nuestra Señora de la Antigua de la catedral de Sevilla ...promovida entre 1734 y 1738 por el arzobispo Luis de Salcedo y Azcona. A pesar de que las crónicas de la época referían a su creatividad con grandes elogios, la historiografía posterior olvidó su importante actividad que como platero episcopal realizó en este recinto, cuya huella material aún podemos admirar en la baranda de plata, el relicario de la Santa Faz y en otras obras de platería pertenecientes a esta capilla principal del culto mariano de la ciudad.
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