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    • 1. the baroque style or period: "the interior of the church is in lavish baroque"
  2. Baroque - Wikipedia › wiki › Baroque

    The Baroque (UK: / b ə ˈ r ɒ k /, US: / b ə ˈ r oʊ k /; French: ) is a style of architecture, music, dance, painting, sculpture and other arts that flourished in Europe from the early 17th century until the 1740s.

    • 17th–18th centuries
  3. Baroque | Definition of Baroque by Merriam-Webster › dictionary › baroque

    Baroque definition is - of, relating to, or having the characteristics of a style of artistic expression prevalent especially in the 17th century that is marked generally by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements often conveying a sense of drama, movement, and tension.

  4. Baroque - definition of baroque by The Free Dictionary


    Define baroque. baroque synonyms, baroque pronunciation, baroque translation, English dictionary definition of baroque. adj. 1. also Baroque Of, relating to, or ...

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  6. Baroque | Definition of Baroque at › browse › baroque

    Baroque definition, of or relating to a style of architecture and art originating in Italy in the early 17th century and variously prevalent in Europe and the New World for a century and a half, characterized by free and sculptural use of the classical orders and ornament, by forms in elevation and plan suggesting movement, and by dramatic effect in which architecture, painting, sculpture, and ...

  7. About the Baroque Period. Derived from the Portuguese barroco, or “oddly shaped pearl,” the term “baroque” has been widely used since the nineteenth century to describe the period in Western European art music from about 1600 to 1750.

  8. Baroque |

    • Etymologies
    • Origins of A Period Style
    • Recoveries
    • Baroque and Modernity
    • Bibliography

    It seems fitting that for a style known for instability and mutation no secure etymology has been determined. Baroque as a term is shrouded in greater ambiguity than the etymologies of other period styles. Wherever its origins truly lie, one can safely say thatbarocco (Italian and Spanish),Barock(German), and baroque (French and English) are linguistic mutations and semantic grotesques, much like the style they describe. The four principal etymologies are presented here, from the most to least frequently accepted definitions: 1. Barroco, the Portuguese word for 'deformed pearl'(in Spanishbarueca), is the etymology preferred by art historians, not for any particular philological reason, but because it signifies a visual form. Just as a spherical unblemished pearl may signify classical perfection, so a baroque pearl signifies its flawed perversion. "Flawed" was a nineteenth-century opinion; in the seventeenth century "baroque" pearls were fashionable. 2. In Italian, abaroco was a fals...

    Otto Kurz, Bruno Migliorini, and Rossana Bossaglia have traced the earliest applications ofbarocco /baroque/Barock as an art or architectural term to the 1740s. In 1751 Denis Diderot's encyclopedia entry definedbarochéas "a painter's term used to explain that the paintbrush did not cleanly delineate a contour and that it smeared colors." At the same time, Charles Cochin and Charles de Brosses described baroque forms as twisted, winding, tortuous,and confused. Others likened it to the plague, dropsy, and other diseases, to decadence and lunacy. Francesco Milizia (1768) likened the suicidal and "raving mad" Borromini to the "contagious architectural madness" of his buildings: "He went baroque." De Brosses, picking up on a seventeenth-century epithet of Borromini as "a gothic ignoramous," identified baroque art as neo-Gothic where clear structure is hidden behind "fussy trimmings" and where precious miniature decorations are inappropriately gigantic. Baroque was thus an Asiatic style o...

    The recovery of the baroque as a legitimate independent period style instead of a late bastardized form of the Renaissance began in late-nineteenth-century architectural studies (Wölfflin, 1888; Gurlitt; Riegl). For the architect Cornelius Gurlitt, this historical rehabilitation coincided with his architectural practice in a neo-baroque style. More than any other scholar, Heinrich Wölfflin came to be associated with the rehabilitation of the baroque, first inRenaissance and Baroque (1888; based on his dissertation) and finally in the classicPrinciples of Art History (1915). In the latter, he proposed five paired morphological categories, intended to distinguish Renaissance from baroque but that became for early-twentieth-century art historians universal categories: linear/painter; plain/recession; closed/pen form; multiplicity/unity; clearness/unclearness. Although now often dismissed as a "mere" formalist, Wölfflin, in his interest in the psychology of art and perception, influence...

    The rehabilitation of the baroque in the late nineteenth century coincided with the discovery of its modernity. Wölfflin stated this first: "One can hardly fail to recognise the affinity that our own age in particular bears to the Italian Baroque." Impressionism, art nouveau and liberty, symbolism, Richard Wagner's operas, and the philosophical treatises of Wagner's friend Friedrich Nietzsche offered new possibilities for appreciating the baroque. Nietzsche blamed pedants for mistaking the dionysian baroque for merely an irrational delirium. In Carlo Collodi'sPinocchio (1883) the metamorphosized bambocciois sent off to an enchanted house of mirrors, the "Casa dei Barocchi," where men are transformed into asses, and it is in this unlikely place that Pinocchio finds his true path. Not only have ideas on the baroque been reinterpreted in light of modern culture, but the baroque itself is seen as perennially modern. In 1934 Panofsky said the baroque was not the end of the Renaissance bu...

    Primary Sources

    Brosses, Charles de.Lettres familières écrites d'Italie a quelques amis en 1739 et 1740. Paris, 1799. Letters from his travels in Italy; composed between 1745 and 1755. Diderot, Denis, and Jean Le Rond d'Alembert.Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Vol. 2, p. 77. Geneva, 1777–1779. Milizia, Francesco.Memorie degli architetti antichi e moderni. Rome, 1781. Pompei, Alessandro.Li cinque ordini dell'architettura civile di Michel Sanmicheli. Verona, 1735....

    Secondary Sources

    Calabrese, Omar.Neo-Baroque: A Sign of the Times.Translated by Charles Lambert. Princeton, 1992. Holly, Michael Ann. "Imagining the Baroque." InPast Looking: Historical Imagination and the Rhetoric of the Image, pp. 91–111. Ithaca, N.Y., 1996. Lacan, Jacques. "On the Baroque." InLectures, edited by J.-A. Miller and translated by B. Fink. New York, 1998. Book XX; originally published in 1975. Panofsky, Erwin. "What Is Baroque?" InThree Essays on Style, edited by Irving Lavin, pp. 19–88. Cambri...

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