Baroque and Roccoco
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The document outlines the characteristics and evolution of Baroque and Rococo architecture from the 17th to 18th centuries, focusing on key figures like Gian Lorenzo Bernini and Francesco Borromini. It discusses the stylistic elements, monumental structures, and notable architectural works in Europe, emphasizing dynamism, opulence, and the dramatic use of light. Rococo is described as a reaction to Baroque, marked by elegance and intricate ornamentation, primarily in secular buildings.
Baroque and Roccoco
- 1. • Baroque Architecture • Gian Lorenzo Bernini • Francesco Boromini • Roccoco Architecture • Inigo Jones • Christopher Wren
- 2. Baroque ➢ The name is derived from Baroque pearls - pearls with unusual, odd shapes ➢ Baroque Style spread throughout Europe - Italy, Holland, France, Spain, and England. ➢ Compared to Renaissance art, it was considered to be • “over-dramatic” • The architecture, “overly decorated”. ➢ The baroque period covers some 150 years from about 1600 to 1750 ➢ Divided into three phases • Early Baroque c 1600-1625 • High Baroque c 1625-1675 • Late Baroque and Rococo 1675-1750. ➢ The fundamental characteristic of Baroque art is dynamism(a sense of motion). Strong curves, rich decoration, and general complexityare 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
- 3. Baroque Architecture ➢ In churches, broader naves and sometimes given oval forms. ➢ Fragmentary or deliberately incomplete architectural elements. ➢ 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. ➢ Opulent use of colour and ornaments (puttior figures made of wood (often gilded), plaster or stucco, marble or faux finishing). ➢ Large-scale ceiling frescoes. ➢ An external façade often characterized by a dramatic central projection. ➢ The interior is a shell for painting, sculpture and stucco ➢ Illusionary 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. ➢ Pear-shaped domes in the Bavarian, Czech, Polish and Ukrainian Baroque ➢ Marian and Holy Trinity columns erected in Catholic countries, often in thanksgiving for ending a plague ➢ Complex architectural plan shapes, often based on the oval, and the dynamic opposition and interpenetration of spaces were favoured to heighten the feeling of motion and sensuality. ➢ Other characteristic qualities include grandeur, drama and contrast (especially in lighting), curvaceousness, and an often dizzying array of rich surface treatments, twisting elements, and gilded statuary.
- 4. Baroque
- 5. Baroque ➢ Outstanding practitioners in Italy included Gian Lorenzo Bernini, Carlo Maderno (1556–1629), Francesco Borromini, and Guarino Guarini (1624–83). ➢ Classical elements subdued Baroque architecture in France. In central Europe, the Baroque arrived late but flourished in the works of such architects as the Austrian Johann Bernhard Fischer von Erlach (1656–1723). ➢ Its impact in Britain can be seen in the works of Christopher Wren.
- 6. Church Il Gesu- sometimes called pre-baroque or proto-baroque. ➢ The church has a single nave without aisles, so attention is focused on the high altar. In place of aisles there are a series of identical interconnecting chapels behind arched openings. The most striking feature of the interior decoration is the ceiling fresco-Triumph of the Name of Jesus by Giovanni Battista Gaulli. ➢ Nave of Il Gesu: Dedicated to St. Ignatius Loyol
- 7. Church Il Gesu- sometimes called pre-baroque or proto-baroque.
- 8. Carlo Maderno(1507 –1573) Façade of Santa Suzanna completed in 1603 Façade of Sant'Andrea della Valle, Rome(1590-1650)
- 9. Gian Lorenzo Bernini (1598 – 1680) ➢ Amongst his secular works are a number of Roman palaces: following the death of Carlo Maderno, he took over the supervision of the building works at the Palazzo Barberini from 1630 on which he worked with Borromini; the Palazzo Ludovisi (now Palazzo Montecitorio)(started 1650); and the Palazzo Chigi (now Palazzo Chigi-Odescalchi) (started 1664). ➢ His first architectural projects were the façade and refurbishment of the church of Santa Bibiana (1624–26) and the St. Peter’s baldachin (1624–33) St. Peter’s baldachinSanta Bibiana Piazza and Colonnade in front of St. Peter's
- 10. Gian Lorenzo Bernini (1598 – 1680) ➢ Further significant works by Bernini at the Vatican include the Scala Regia, (1663–66) the monumental grand stairway entrance to the Vatican Palace and the Cathedra Petri, the Chair of Saint Peter, in the apse of St. Peter’s. ➢ Scala Regia or Royal Staircase is a flight of steps in the Vatican City and is part of the formal entrance to the Vatican. It was built by Antonio da Sangallo the Younger in the early 16th century, to connect the Apostolic Palace to St. Peter's Basilica, and restored by Gian Lorenzo Bernini from 1663 to 1666. ➢ The site for the stairs, a comparatively narrow sliver of land between church and palace, is awkwardly shaped with irregular converging walls. ➢ Bernini used a number of typically theatrical, baroque effects in order to exalt this entry point into Vatican. Above the arch at the beginning of this vista is the coat of arms of Alexander VII, flanked by two sculpted angels.
- 11. The Church of Sant'Andrea al Quirinale ➢ The church of Sant'Andreaal Quirinale, an important example of Roman Baroque architecture, was designed by Gian Lorenzo Bernini with Giovanni de'Rossi. ➢ 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 pedimented frame at the center of which a semicircular porch with two Ionic columns marks the main entrance. ➢ 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.
- 12. Francesco Borromini (1599-1667) San Carlino(San Carlo alle Quattro Fontane)(1638) ➢ 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"). ➢ A keen student of the architecture of Michelangelo and the ruins of Antiquity, Borromini developed an inventive and distinctive, if somewhat idiosyncratic, architecture employing manipulations of Classical architectural forms, geometrical rationales in his plans and symbolic meanings in his buildings. Oratory of Saint Phillip Neri (Oratorio dei Fillipini)(1637- 1650) Sant' Ivo alla Sapienza(1642-1660)
- 13. San Carlo alle Quattro Fontane("Saint Charles at the Four Fountains") ➢ The concave-convex façade 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. ➢ 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.
- 14. San Carlo alle Quattro Fontane("Saint Charles at the Four Fountains") ➢ 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.
- 15. Roccoco ➢ Rococo is a subset of Baroque ( late Baroque of 18th century) in the field of Panting, Sculpture , architecture , interior design and decoration, literature , music and theatre ➢ 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. ➢ Display shapes of nature – leaves, shells, scrolls (floral elements) in surface ornament ➢ More simplified forms ➢ Painted Details over built forms ➢ Compiled with Painting to create illusion of depth ➢ Predominately used in Secular Buildings ➢ France, Germany, Austria, 18th Century Hall of Mirrors, Versailles Hall of Mirrors, Louvre
- 16. Roccoco ➢ 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. ➢ Examples include the Catherine Palace, in Russia, the Queluz National Palace in Portugal, the Charlottenburg palace in Germany, as well as elements of the Chateau de Versailles in France. ➢ Architects who were renowned for their constructions using the style include Francesco Bartolomeo Rastrelli, an Italian architect who worked in Russia and who was noted for his lavish and opulent works, Philip de Lange, who worked in both Danish and Dutch Rococo architecture. ➢ Rococo architecture also brought significant changes to the building of edifices, placing an emphasis on privacy rather than the grand public majesty of Baroque architecture, as well as improving the structure of buildings in order to create a more healthy environment.
- 17. Roccoco The Catherine Palace, Russia The Queluz National Palace in Portugal Church of Saint Francis of Assisi Saint Andrew's Church Francesco Bartolomeo Rastrelli
- 18. Renaissance and Baroque in England LATE RENAISSANCE - STUART PERIOD (1625 to 1702 AD) 1st Phase: Inigo Jones was influenced by Italian Renaissance 2nd Phase: Sir Christopher Wren was influenced by French Renaissance • Renaissance architecture arrived in England during the reign of Elizabeth I, having first spread through the Low countries where among other features it acquired versions of the Dutch gable, and Flemish strapwork in geometric designs adorning the walls. The new style tended to manifest itself in large square tall houses such as Longleat House. • The mansions displayed many new combinations of features. Externally, towers, gables, parapets, balustrades and chimmey stacks produced an effective skyline,and walls were enlivened by oriel and bay-windows with mullions and transoms, while internally the same style, when applied to fittings, furniture, and decoration, made for repose, dignity and uniformity. • Elizabethan mansions looked outwards rather than inwards towards courtyards. • The smaller mansions had a central hall flanked at one end by kitchen and offices, and at the other by withdrawing and living-rooms; while the larger types was quadrangular with similar accommodation, but with additional rooms grouped round the court, and with a gatehouse in the centre of the entrance side.
- 19. Elizabethan Country Houses Wollaton Hall, Nottinghamshire, Robert Smythson (1580-88). Wollaton was built between 1580 and 1588 for Sir Francis Willoughby and is believed to be designed by the Elizabethan architect, Robert Smythson, who was the architect of Hardwick Hall.
- 20. Plan of Wollaton Hall
- 21. Hardwick Hall Hardwick Hall, Derbyshire, Robeert Smythson (1590-97) Hardwick Hall, in Derbyshire, is one of the most significant Elizabethan country houses in England. In common with its architect Robert Smythson's other works at both Longleat House and Wollaton Hall, Hardwick Hall is one of the earliest examples of the English interpretation of the Renaissance style of architecture, which came into fashion when it was no longer thought necessary to fortify one's home.
- 22. Hardwick Hall
- 23. Inigo Jones Inigo Jones (July 15, 1573 - June 21, 1652) is regarded as the first significant British architect of the modern period, and the first to bring Italianate Renaissance architecture to England. He left his mark on London by single buildings, such as the Banqueting House, Whitehall and in area design for Covent Garden square which became a model for future developments Banqueting House, Whitehall, London (1619-22) The Banqueting House, Whitehall, London, is the grandest and best known survivor of the architectural genre of banqueting house, and the only remaining component of the Palace of Whitehall. Queen's House, Greenwich, 1616 was built for James I’s wife, Anne of Denmark. It was finished in 1635 and was the first strictly classical building in England, employing ideas found in the architecture of Palladio and ancient Rome.
- 24. Plan of Queen’s House by Inigo Jones
- 25. THE WHITEHALL PALACE The Palace of Whitehall (or Palace of White Hall) was the main residence of the English monarchs in London from 1530 until 1698 when all except Inigo Jones's 1622 Banqueting House was destroyed by fire. Before the fire it had grown to be the largest palace in Europe, with over 1,500 rooms, overtaking the Vatican and Versailles. The palace gives its name, Whitehall, to the road on which many of the current administrative buildings of the UK government are situated, and hence metonymically to the central government itself.
- 26. Banqueting House
- 27. The Baroque & Rococo in UK Sir Christopher Michael Wren (20 October 1632 – 25 February 1723) is one of the most highly acclaimed English architects in history. He was accorded responsibility for rebuilding 52 churches in the City of London after the Great Fire in 1666, including his masterpiece, St. Paul's Cathedral, on Ludgate Hill, completed in 1710. Trinity College LibrarySheldonian Theatre(Oxford, England) The chapel at Pembroke College, Cambridge St Paul’s Cathedral Royal Naval CollegeHampton Court Palace
- 28. St Paul’s Cathedral Old St. Paul Cathedral before the Great Fire of 1666.
- 29. St Paul’s Cathedral St. Paul Cathedral after the Great Fire of 1666.
- 30. St Paul’s Cathedral Length 555ft (160m) Nave width 121ft (37m) Width across transepts 246ft (75m)
- 31. St Paul’s Cathedral The WHISPERING GALLERY runs around the inside of the dome 99 feet (30.2 m) above the cathedral floor. It is reached by 259 steps from ground level. It gets its name because of the acoustic effects peculiar to domes; a whisper against its wall at any point is audible to a listener with an ear held to the wall at any other point around the gallery. A low murmur is equally audible.
- 32. St Paul’s Cathedral SPECIFICATIONS Height 365ft (111m) Dome height (outer) 278ft (85m) Dome height (inner) 225ft (68m) Dome diameter (outer) 112ft (34m) Dome diameter (inner) 102ft (31m)
- 34. St Paul’s Cathedral Interiors
- 35. Thank You.