The Baroque was the first truly global culture. The Ibero-American Baroque illuminates its dissemination, dynamism, and transformation during the early modern period on both sides of the Atlantic.
...This collection of original essays focuses on the media, institutions, and technologies that were central to cultural exchanges in a broad early modern Iberian world, brought into being in the aftermath of the Spanish and Portuguese arrivals in the Americas. Focusing on the period from 1600 to 1825, these essays explore early modern Iberian architecture, painting, sculpture, music, sermons, reliquaries, processions, emblems, and dreams, shedding light on the Baroque as a historical moment of far-reaching and long-lasting importance.
Anchored in extensive, empirical research that provides evidence for understanding how the Baroque became globalized, The Ibero-American Baroque showcases the ways in which the Baroque has continued to define Latin American identities in the twentieth and twenty-first centuries.
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.
A Transitory Star Lehmann, Claudia; Lloyd, Karen J
2015, 2015-07-24, Letnik:
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Examining Bernini's works from 1665 on, from Paris and Rome, the essays collected here use visual and material examination, archival research, and comparative textual analysis to illuminate the ...growing distance of Gallic absolutism from the fading dream of papal hegemony over Europe, and the complexities of Bernini's role as mouthpiece, obstacle, and flatterer of the Princes of the Papal States.
Baroquemania explores the intersections of art,
architecture and criticism to show how reimagining the Baroque
helped craft a distinctively Italian approach to modern art.
Offering a bold ...reassessment of post-unification visual culture,
the book examines a wide variety of media and ideologically charged
discourses on the Baroque, both inside and outside the academy. Key
episodes in the modern afterlife of the Baroque are addressed,
notably the Decadentist interpretation of Gianlorenzo Bernini, the
1911 universal fairs in Turin and Rome, Roberto Longhi's
historically grounded view of Futurism, architectural projects in
Fascist Rome and the interwar reception of Adolfo Wildt and Lucio
Fontana's sculpture. Featuring a wealth of visual materials,
Baroquemania offers a fresh look at a central aspect of
Italy's modern art.
A new approach to late Ottoman visual culture and its place in the world With its idiosyncratic yet unmistakable adaptation of European Baroque models, the eighteenth-century architecture of Istanbul ...has frequently been dismissed by modern observers as inauthentic and derivative, a view reflecting broader unease with notions of Western influence on Islamic cultures. In Ottoman Baroque —the first English-language book on the topic—Ünver Rüstem provides a compelling reassessment of this building style and shows how between 1740 and 1800 the Ottomans consciously coopted European forms to craft a new, politically charged, and globally resonant image for their empire's capital.Rüstem reclaims the label "Ottoman Baroque" as a productive framework for exploring the connectedness of Istanbul's eighteenth-century buildings to other traditions of the period. Using a wealth of primary sources, he demonstrates that this architecture was in its own day lauded by Ottomans and foreigners alike for its fresh, cosmopolitan effect. Purposefully and creatively assimilated, the style's cross-cultural borrowings were combined with Byzantine references that asserted the Ottomans' entitlement to the Classical artistic heritage of Europe. Such aesthetic rebranding was part of a larger endeavor to reaffirm the empire's power at a time of intensified East- West contact, taking its boldest shape in a series of imperial mosques built across the city as landmarks of a state-sponsored idiom.Copiously illustrated and drawing on previously unpublished documents, Ottoman Baroque breaks new ground in our understanding of Islamic visual culture in the modern era and offers a persuasive counterpoint to Eurocentric accounts of global art history.
An in-depth look at the exquisite metal sculpture of the
Roman baroque Roman baroque sculpture is usually thought
of in terms of large-scale statues in marble and bronze, tombs, or
portrait busts. ...Smaller bronze statuettes are often overlooked, and
the extensive production of sculptural silver-much of which is now
lost but can be studied from drawings-is frequently omitted from
the histories of art. In this book, Jennifer Montagu enriches our
understanding of the sculpture of the period by investigating the
bronzes that adorn the great tabernacles of Roman churches; gilded
silver, both secular and ecclesiastical; elaborately embossed
display dishes; and the production of medals. Concentrating on
selected pieces by such master sculptors as Bernini and leading
metal-workers such as Giovanni Giardini, Montagu examines the often
tortuous relationship between patrons and artists and elucidates
the relationship between those who provided the drawings or models
and the craftsmen who executed the finished sculptures.
Baroque Modernity will appeal to readers in a wide array of disciplines, including comparative literature, theater and performance, art and music history, intellectual history, and aesthetic theory.
This second edition of Historical Dictionary of Baroque Art and Architecture contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 600 ...cross-referenced entries on famous artists, sculptors, architects, patrons, and other historical figures, and events.
