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.
In this work, we present a mathematical interpretation for the masterpiece Allégorie de la Géométrie (1649), painted by the French baroque artist Laurent de La Hyre (1606-1656)
En 1615 el jesuita Alonso de Ledesma edita un cuento en equívocos burlescos, La Chrónica del monstro imaginado, que pone en evidencia, por un lado, la consustancial«monstruosidad» y heterogeneidad de ...la novela corta barroca, y por otro, su profundahibridación con prácticas festivas carnavalescas y las artes visuales manieristas. En este prodigio o maravilla de la agudeza conceptista, que dejará huella en Quevedo y en Vélez de Guevara, luce el ingenio de su autor: a través de múltiples artificios ludolingüísticos divierte y advierte al lector, el cual intuye, detrás de las disparatadas piruetas verbales del cuento, el simulacro del laberíntico mundo-libro escrito por Dios.
French academic research has always been reluctant to use the notion of baroque to typify the literary production of the period between the end of Renaissance and the beginnings of classicism. It is ...not before the opening of the fifties and the impact of Jean Rousset’s book La littérature de l’âge baroque en France. Circé et le paon, that numerous studies and polemics made familiar, if not indisputable, the notion of baroque applied to literature. The fame of publications which came out through these years of « baroque mirage » (Pierre Charpentrat) must not live down important forerunners works. Between 1935 and 1950, a few french-writing historians specialized in the xvith and xviith centuries french literature, opened up the field. These learned works, the first ones that explicitely refered to this notion of baroque , are the main topic of this paper. The purpose being less to examine their content in great detail than to approach them through historiography : who were these researchers ? where and in which kind of institutional framework did they work ? through which mediums and networks did their works spread ? how was this question of baroque, a new one for the french-writing historians of french literature, addressed ? A reviewing of these questions shows that throughout these fifteen years, questions were addressed, themes were explored, polemics were launched which remained cardinal in the writings about baroque during the two following decades : should we merely assign the epithet of baroque to the literary production of a determined historical moment or, conversely, picture it as a set of formal caracters, perennial and iterative ? How to bring together the political, economical, ideological caracters of a society and the literary forms expressing the tendencies and tensions at work in this society ? Can we consider that it does exist, otherwise than in a metaphorical sense, aesthetic categories common to visual arts and the art of writing ?
Le caratteristiche di ambiguità e di teatralità spesso riscontrate (e altrettanto spesso fraintese) nella pittura del Caravaggio sono conseguenza della sua particolare rappresentazione della realtà ...secondo una prospettiva non mimetica, bensì ritmica e “musicale”; tesa, cioè, a mostrare come a tutte le cose del mondo, pur nella loro ineradicabile differenza, sia sottesa sempre una medesima “relazione”, una stessa musica. Svincolando i suoi protagonisti dalla verosimiglianza dello spazio rappresentativo circostante (in tal modo quasi preannunciando l'artificialità fotografica), e preferendo farli emergere, senza particolari giustificazioni narrative, da uno sfondo indifferenziato di luce o buio, Caravaggio li libera dalle pastoie della significazione (vale a dire, dalla loro rigida collocazione entro un sistema differenziale di essere / non essere, presente / passato, umano / divino) per riconsegnarli al gesto poietico-immaginativo della loro ri-creazione all'interno della finzione pittorica. Proprio come la musica ci conquista in forma immediata, indifferente ai movimenti dialettici e alle determinazioni semantiche dell'argomentazione, i soggetti caravaggeschi rifiutano ogni precisa determinazione spaziale, facendosi piuttosto latori di un “tempo” musicale che, riconciliando gli opposti in natura, fa risuonare il senso originario, poetico e quindi serenamente immotivabile, dell'essere.
This article analyses how it was that the Sarmatian portrait, a phenomenon typical of Polish Baroque art in the twentieth century, came to be a symbol of Polishness, and to what extent this ...pop-cultural vision of the ‘Polish Baroque’ was formed by contemporary art historiography. Looking at exhibition catalogues and works published on Baroque art and the Baroque portrait, it explores the origins of the popularity of the Sarmatian Portrait in Cold-War Poland. Despite its direct connection to the ideologically problematic history of the Polish ruling class – the szlachta or gentry – there were many retrospective exhibitions on Polish Baroque portrait art held during the time of the People’s Republic. Due to their supposed realism they were regarded as the emanation of a timeless Polish spirit, and were often juxtaposed to western European portraits of the same period, which were described in negative terms as artificially idealistic and excessively courtly.
If it is true that we were all trained as art historians, working from a common canon and similar sets of theoretical and methodological propositions, and that the so-called crisis of the field ...brings up important questions for every art historian around the globe, it is also true that my position as an art historian in Brazil confronts me in specific ways with the shortcomings and limits of our field. ...we can see possibilities for making it happen.
This study compares the ampelographic characterization of adult leaves and clusters from real grapevine varieties with those present in Solomonic columns of Baroque altarpieces. In a previous ...preliminary work, the authors concluded that sculpted grapevine leaves in Baroque altarpieces were represented with botanical accuracy and may represent real varieties. Grapevines are a very important decorative feature of these art works, in particular as ornamentation on Solomonic columns. The present work examines more of these carved leaves and includes also the clusters. Six real grapevine varieties were identified on as many altarpieces, enriching their cultural value and pointing to their existence in the wine-growing zone by the 17th century. Further varieties may be identifiable on Baroque altarpieces in other winemaking areas using the same methods. These results encourage other researchers to use unconventional sources for the study of the evolution of agriculture and crop history. El presente trabajo compara a nivel ampelografico las hojas adultas y los racimos de variedades de vid reales con aquellos que aparecen representados en las columnas salomónicas de ciertos retablos barrocos. En un trabajo preliminar publicado anteriormente los autores habían concluido que las hojas esculpidas en estos retablos barrocos están representadas con una gran precisión botánica y por lo tanto podrían estar representando a variedades reales. La vid es un elemento decorativo muy importante en este tipo de obras de arte, en particular como decoración de las columnas de estilo salomonico. El presente trabajo examina un mayor numero de retablos e incluye el estudio de los racimos. Seis variedades reales de vid han sido identificadas en otros tantos retablos lo que les aporta nuevos valores culturales y permite demostrar su existencia en la zona vitícola en el siglo XVII. Otras variedades podrían ser tambien identificadas en retablos barrocos localizados en otras zonas vitfcolas diferentes siguiendo la misma metodología. Estos resultados podrían abrir las puertas para que otros investigadores utilicen fuentes de información menos convencionales en el estudio de la evolución de la agricultura y la historia de los diferentes cultivos.
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