introduction to baroque and rococo architecture

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Page 1: Introduction to Baroque and Rococo Architecture

Prof. Amal Shah, Faculty of Design, CEPT University

HISTORY OF DESIGNA J O U R N E Y I N T O T H E H I S T O RY O F A R C H I T E C T U R E A N D I N T E R I O R D E S I G N

B a r o q u e a n d R o c o c o

Page 2: Introduction to Baroque and Rococo Architecture
Page 3: Introduction to Baroque and Rococo Architecture

The fundamental characteristic of Baroque art is dynamism (a sense of motion). Strong curves, rich decoration, and general complexity are all typical features of Baroque art.

The full Baroque aesthetic emerged during the Early Baroque, and High Baroque; both periods were led by Italy.

The Baroque age concluded with the French-born Rococo style (ca. 1725-1800), in which the violence and drama of Baroque was quieted to a gentle, playful dynamism. The Late Baroque and Rococo periods were led by France

Baroque

Page 4: Introduction to Baroque and Rococo Architecture

The Baroque is a period of artistic style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, architecture, literature, dance, theater, and music. The style began around 1600 in Rome, Italy, and spread to most of Europe.

The popularity and success of the Baroque style was encouraged by the Catholic Church, which had decided at the time of the Council of Trent, in response to the Protestant Reformation, that the arts should communicate religious themes in direct and emotional involvement.

The aristocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and expressing triumph, power and control. Baroque palaces are built around an entrance of courts, grand staircases and reception rooms of sequentially increasing opulence. However, "baroque" has resonance and application that extend beyond a simple reduction to either style or period.

Page 5: Introduction to Baroque and Rococo Architecture

Baroque architecture is the building style of the Baroqueera, begun in late 16th-century Italy, that took the Roman vocabulary of Renaissance architecture and used it in a new rhetorical and theatrical fashion.

It was characterized by new explorations of form, lightand shadow, and dramatic intensity.

The Baroque was, initially at least, directly linked to the Counter-Reformation, a movement within the Catholic Church to reform itself in response to the Protestant Reformation.

Baroque architecture and its embellishments were on the one hand more accessible to the emotions and on the other hand, a visible statement of the wealth and power of the Church.

The new style manifested itself in particular in the context of the new religiousorders, like the Theatinesand the Jesuits who aimed to improve popular faith.

BAROQUE ARCHITECTURE

The most impressive display of Churrigueresque (Spanish Baroque style) spatial decoration found in the west façade of the Cathedral of Santiago de Compostela.

Belfry in Mons, Belgium designed by architect Louis Ledoux

Church of Sant’Agnese in Agone, in Piazza Navona, rebuilt in the Baroque style. Francesco Borromini and Gianlorenzo Bernini (bitter rivals) worked on the church.

Page 6: Introduction to Baroque and Rococo Architecture

Distinctive features of Baroque architecture can include:

1. In churches, broader naves and sometimes given oval forms.

2. Fragmentary or deliberately incomplete architectural elements.

3. Dramatic use of light; either strong light-and-shade contrasts as at the church of Weltenburg Abbey, or uniform lighting by means of several windows.

4. Opulent use of colour and ornaments (putti or figures made of wood (often gilded), plaster or stucco, marble or faux finishing).

5. Large-scale ceiling frescoes.6. An external façade often

characterized by a dramatic central projection.

7. The interior is a shell for painting, sculpture and stucco

8. Illusory effects like an art technique involving extremely realistic imagery in order to create the optical illusion that the depicted objects appear in three dimensions and the blending of painting and architecture.

9. Pear-shaped domes in the Bavarian, Czech, Polish and Ukrainian Baroque

10. Marian and Holy Trinity columns erected in Catholic countries, often in thanksgiving for ending a plague

Weltenburg Abbey, Bavaria, Germany

Holy Trinity Column in Olomouc, Czech Republic

Page 7: Introduction to Baroque and Rococo Architecture
Page 8: Introduction to Baroque and Rococo Architecture

The Church of the Gesù or Chiesa del Santissimo Nome di Gesù all'Argentina or Church of the Most Holy Name of Jesus at the "Argentina“.

Its facade is "the first truly baroque façade", introducing the baroque style into architecture.

Page 9: Introduction to Baroque and Rococo Architecture

The plan synthesizes the central planning of the High Renaissance, expressed by the grand scale of the dome and the prominent piers of the crossing.

Everywhere inlaid polychrome marble revetments are relieved by gilding, frescoed barrel vaults enrich the ceiling and rhetorical white stucco and marble sculptures break out of their tectonic framing.

Page 10: Introduction to Baroque and Rococo Architecture
Page 11: Introduction to Baroque and Rococo Architecture
Page 12: Introduction to Baroque and Rococo Architecture

Francesco Borromini was the master of curved-wall architecture. Though he designed many large buildings, Borromini's most famous and influential work may be the small church of San Carlo alle Quattro Fontane ("Saint Charles at the Four Fountains").

The concave-convex facade of San Carlo undulates in a non-classic way.

Tall Corinthian columns stand on plinths and bear the main entablatures; these define the main framework of two storeys and the tripartite bay division. Between the columns, smaller columns with their entablatures weave behind the main columns and in turn they frame niches, windows, a variety of sculptures as well as the main door,

Page 13: Introduction to Baroque and Rococo Architecture

The three principal parts can be identified vertically as the lower order at ground level, the transition zone of the pendentives and the oval coffered dome with its oval lantern.

Page 14: Introduction to Baroque and Rococo Architecture

The pendentives are part of the transition area where the undulating almost cross-like form of the lower order is reconciled with the oval opening to the dome. The arches which spring from the diagonally placed columns of the lower wall order frame the altars and entrance.

The oval entablature to the dome has a 'crown' of foliage and frames a view of deep set interlocking coffering of octagons, crosses and hexagons which diminish in size the higher they rise. Light floods in from windows in the lower dome that are hidden by the oval opening and from windows in the side of the lantern. In a hierarchical structuring of light.

Page 15: Introduction to Baroque and Rococo Architecture

The church of Sant'Andrea al Quirinale, an important example of Roman Baroque architecture, was designed by GianLorenzo Berniniwith Giovanni de'Rossi.

Unlike San Carlo, Sant’Andrea is set back from the street and the space outside the church is enclosed by low curved quadrant walls.

An oval cylinder encases the dome, and large volutes transfer the lateral thrust. The main façade to the street has a pedimentedframe at the center of which a semicircularporch with two Ionic columns marks the main entrance.

Page 16: Introduction to Baroque and Rococo Architecture

In contrast to the dark side chapels, the high altar niche is well lit from a hidden source and becomes the main visual focus of the lower part of the interior. As a result, the congregation effectively become ‘witnesses’ to the theatrical narrative of St Andrew which begins in the High Altar chapel and culminates in the dome.

Page 17: Introduction to Baroque and Rococo Architecture

(1) Main entrance,

(2) Chapel of Saint Francis Xavier,

(3) Chapel of the Passion,

(4) Chapel Saint StanislasKostka,

(5) Chapel of Saint Ignatius of Loyola,

(6) Main altar, (7) Entrance to

novitiate and access to the rooms of Saint StanislasKostka.

Page 18: Introduction to Baroque and Rococo Architecture

Inside, the main entrance is located on the short axis of the church and directly faces the high altar. The oval form of the main congregational space of the church is defined by the wall, pilasters and entablature, which frame the side chapels, and the golden dome above. Large paired columns supporting a curved pediment differentiate the recessed space of the high altar from the congregational space.

Page 19: Introduction to Baroque and Rococo Architecture

Baroque in Residencies and PalacesThe Late Baroque marks the ascent of France as the heart of Western culture. Baroque art of France tends to be restrained.

The most distinctive element of French Baroque architecture is the double-sloped mansard roof.

The most famous Baroque structures of France are magnificent chateaux (grand country residences), greatest of which is the Palace of Versailles. The Palace of Louvre in France and Blenheim Palace in England are other fine examples.

Page 20: Introduction to Baroque and Rococo Architecture

Vaux-le-VicomteThe Château de Vaux-le-Vicomte is a baroque French château located in Maincy.

The château was an influential work of architecture in mid-17th-century Europe. At Vaux-le-Vicomte, the architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brunworked together on a large-scale project for the first time.

Their collaboration marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design.

Page 21: Introduction to Baroque and Rococo Architecture
Page 22: Introduction to Baroque and Rococo Architecture

THE LOUVRE • The LOUVRE museum is one of the

world's largest museums and a historic monument in Paris,France on the right bank of the river Seine. Presently used as a very famous art museum , design / textile museum , historic site transformed from a royal palace . The building was first made with an intention of a fortress by Philippe || France .

• LOUVRE Begun in 1190 and constructed of cut stone, the Louvre is a masterpiece of the French renaissance . Architect Pierre Lescot was one of the first to apply pure classical ideas in France, and his design for a new wing at the Louvre defined its future development.

Page 23: Introduction to Baroque and Rococo Architecture

The present-day Louvre Palace is a vast complex of wings and pavilions on four main levels which, although it looks to be unified, is the result of many phases of building, modification, destruction and restoration.

Page 24: Introduction to Baroque and Rococo Architecture

From the renaissance their are famous works of Michelangelo's slaves , Leonardo da Vinci's Monalisa and works by Raphael Botticelli and titian . French master piece include engrace la ingres‘la grandeodalisque.’

Page 25: Introduction to Baroque and Rococo Architecture

Francesco Borromini, was an Italian architect who, with his contemporaries Gian Lorenzo Bernini was a leading figure in the emergence of Roman Baroque architecture.

Borromini developed an inventive and distinctive, if somewhat peculiar, architecture employing manipulations of Classical architectural forms, geometrical rationales in his plans and symbolic meanings in his buildings.

He seems to have had a sound understanding of structures, His soft lead drawings are particularly distinctive. He appears to have been a self-taught scholar.

Baroque Art: Borromini

Page 26: Introduction to Baroque and Rococo Architecture

Gian Lorenzo Bernini was an Italian artist and a prominent architect who worked principally in Rome. He was the leading sculptor of his age, credited with creating the Baroque style of sculpture. In addition, he painted, wrote plays, and designed metalwork and stage sets.

Baroque Art: Bernini

Bernini possessed the ability to depict dramatic narratives with characters showing intense psychological states, but also to organize large-scale sculptural works which convey a magnificent grandeur.

His skill in manipulating marble ensured that he would be considered a worthy successor of Michelangelo.

Page 27: Introduction to Baroque and Rococo Architecture
Page 28: Introduction to Baroque and Rococo Architecture

The Trevi Fountain is a fountain in the Trevi district in Rome, Italy, designed by Italian architect Nicola Salvi. it is the largest Baroque fountain in the city and one of the most famous fountains in the world.

Page 29: Introduction to Baroque and Rococo Architecture

Caravaggio trained as a painter in Milan. In his twenties Caravaggio moved to Rome where there was a demand for paintings to fill the many huge new churches and palazzos being built at the time.

It was also a period when the Church was searching for a stylistic alternative to Mannerism in religious art that was tasked to counter the threat of Protestantism.

Caravaggio's innovation was a radical naturalism that combined close physical observation with a dramatic, even theatrical, and the shift from light to dark with little intermediate value.

Baroque Art: Caravaggio

Saint Francis of Assisi in Ecstasy

Page 30: Introduction to Baroque and Rococo Architecture
Page 31: Introduction to Baroque and Rococo Architecture

Baroque Art: Rembrandt

Page 32: Introduction to Baroque and Rococo Architecture

Rembrandt van Rijn was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art and the most important in Dutch history.

His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age although in many ways antithetical to the Baroque style that dominated Europe.

Rembrandt's greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

Page 33: Introduction to Baroque and Rococo Architecture

Baroque Art: Vermeer

Johannes, Jan or Johan Vermeer was a Dutch painter who specialized in domestic interior scenes of middle-class life.

Vermeer painted mostly domestic interior scenes. "Almost all his paintings are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people, mostly women.“

Vermeer's painting techniques have long been a source of debate, given their almost photorealistic attention to detail, despite Vermeer having had no formal training.

Page 34: Introduction to Baroque and Rococo Architecture
Page 35: Introduction to Baroque and Rococo Architecture

Rococo style, in interior design, the decorative arts, painting, architecture, and sculpture that originated in Paris in the early 18th century but was soon adopted throughout France and later in other countries, principally Germany and Austria.

It is characterized by lightness, elegance, and an exuberant use of curving, natural forms in ornamentation. The word Rococo is derived from the French word rocaille, which denoted the shell-covered rock work that was used to decorate artificial grottoes.

Rococo

Page 36: Introduction to Baroque and Rococo Architecture

Hall of Mirrors, Versailles

Page 37: Introduction to Baroque and Rococo Architecture

Hall of Mirrors, Louvre

Page 38: Introduction to Baroque and Rococo Architecture

At the outset the Rococo style represented a reaction against the ponderous design of Louis XIV’s Palace of Versailles and the official Baroque art of his reign.

Several interior designers, painters developed a lighter and more intimate style of decoration for the new residences of nobles in Paris.

In the Rococo style, walls, ceilings, and moldings were decorated with delicate interlacings of curves and counter-curves based on the fundamental shapes of the “C” and the “S,” as well as with shell forms and other natural shapes.

Asymmetrical design was the rule. Light pastels, ivory white, and gold were the predominant colours, and Rococo decorators frequently used mirrors to enhance the sense of open space.

Page 39: Introduction to Baroque and Rococo Architecture

Nymphenburg Palace in Munich

The Nymphenburg Palace, located in Munich, Bavaria, Germany, is a decorated palace and also the Bavarian rulers summer residence. Agostino Barelli, an Italian architect, designed the Nymphenburg Palace.

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Page 41: Introduction to Baroque and Rococo Architecture