In the mid to late 17th century the style reached its peak, later termed the High Baroque. Many monumental works were commissioned by Popes Urban VIII and Alexander VII. The sculptor and architect Gian Lorenzo Bernini designed a new quadruple colonnade around St. Peter's Square (1656 to 1667). The three galleries of columns in a giant ellipse balance the oversize dome and give the Church and square a unity and the feeling of a giant theatre. [34]

Painted ceilings, crowded with angels and saints and trompe-l'œil architectural effects, were an important feature of the Italian High Baroque. Major works included The Entry of Saint Ignatius into Paradise by Andrea Pozzo (1685–1695) in the Church of Saint Ignatius in Rome, and The Triumph of the Name of Jesus by Giovanni Battista Gaulli in the Church of the Gesù in Rome (1669–1683), which featured figures spilling out of the picture frame and dramatic oblique lighting and light-dark contrasts. [35] a b Heal, Bridget (1 December 2011). " 'Better Papist than Calvinist': Art and Identity in Later Lutheran Germany". German History. German History Society. 29 (4): 584–609. doi: 10.1093/gerhis/ghr066. William Craft Brumfield (1993). "Chapter Eight: The Foundations of the Baroque in Saint Petersburg". A History of Russian Architecture. Cambridge: Cambridge University Press. ISBN 978-0-521-40333-7. Helen Gardner, Fred S. Kleiner, and Christin J. Mamiya, Gardner's Art Through the Ages (Belmont, CA: Thomson/Wadsworth, 2005), p. 516.

Artistas destacados

Gardner, Helen, Fred S. Kleiner, and Christin J. Mamiya. 2005. Gardner's Art Through the Ages, 12th edition. Belmont, CA: Thomson/Wadsworth. ISBN 978-0-15-505090-7 (hardcover)

Wölfflin, Heinrich (1964) [Originally published in German, 1888]. Renaissance and Baroque. Translated by Simon, Kathrin. Collins. ISBN 0-00-217349-2. During the reign of Empress Anna and Elizaveta Petrovna, Russian architecture was dominated by the luxurious Baroque style of Italian-born Bartolomeo Rastrelli, which developed into Elizabethan Baroque. Rastrelli's signature buildings include the Winter Palace, the Catherine Palace and the Smolny Cathedral. Other distinctive monuments of the Elizabethan Baroque are the bell tower of the Troitse-Sergiyeva Lavra and the Red Gate. [87] Claude V. Palisca, "Baroque". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). Refiriéndose al coloquio de Pontigny, nos dice que hacia la mitad de las sesiones ya se consolidaba la opinión de la universalidad del Barroco por encima de las localizaciones geográficas[17], y que las propias contradicciones de los que se oponían a esta tesis no hacían más que reforzarla. Así, un ponente holandés afirmaba que “el barroquismo es un fenómeno del Norte; por debajo de los Alpes no hay barroquismo genuino”, mientras que Paul Firenes le replicaba que en el Norte no hay barroquismo. Por su parte, Paul Desjardins se adhería a la tesis clásica que vinculaba el Barroco a los países católicos (España, Francia, Italia) como consecuencia de la Contra-Reforma. Other notable Spanish baroque architects of the late Baroque include Pedro de Ribera, a pupil of Churriguera, who designed the Royal Hospice of San Fernando in Madrid, and Narciso Tomé, who designed the celebrated El Transparente altarpiece at Toledo Cathedral (1729–1732) which gives the illusion, in certain light, of floating upwards. [41]There are multiple similarities between Rococo and Baroque. Both styles insist on monumental forms, and so use continuous spaces, double columns or pilasters, and luxurious materials (including gilded elements). There also noticeable differences. Rococo designed freed themselves from the adherence to symmetry that had dominated architecture and design since the Renaissance. Many small objects, like ink pots or porcelain figures, but also some ornaments, are often asymmetrical. This goes hand in hand with the fact that most ornamentation consisted of interpretation of foliage and sea shells, not as many Classical ornaments inherited from the Renaissance like in Baroque. Another key difference is the fact that since the Baroque is the main cultural manifestation of the spirit of the Counter-Reformation, it is most often associated with ecclesiastical architecture. In contrast, the Rococo is mainly associated with palaces and domestic architecture. In Paris, the popularity of the Rococo coincided with the emergence of the salon as a new type of social gathering, the venues for which were often decorated in this style. Rococo rooms were typically smaller than their Baroque counterparts, reflecting a movement towards domestic intimacy. [165] Colours also match this change, from the earthy tones of Caravaggio's paintings, and the interiors of red marble and gilded mounts of the reign of Louis XIV, to the pastel and relaxed pale blue, Pompadour pink, and white of the Louis XV and Madame de Pompadour's France. Similarly to colours, there was also a transition from serious, dramatic and moralistic subjects in painting and sculpture, to lighthearted and joyful themes. Thomas da Costa Kaufmann (1999). "12 / East and West: Jesuit Art and Artists in Central Europe, and Central European Art in the Americas". In John W. O'Malley; Gauvin Alexander Bailey; Steven J. Harris; T. Frank Kennedy (eds.). The Jesuits: Cultures, Sciences, and the Arts, 1540–1773, Volume 1. University of Toronto Press. pp.274–304. ISBN 978-0-8020-4287-3. The English word baroque comes directly from the French. Some scholars state that the French word originated from the Portuguese term barroco 'a flawed pearl', pointing to the Latin verruca 'wart', [5] or to a word with the Romance suffix -ǒccu (common in pre-Roman Iberia). [6] [7] Other sources suggest a Medieval Latin term used in logic, baroco, as the most likely source. [8] The Belle Époque was a period that begun around 1871–1880 and that ended with the outbreak of World War I in 1914. It was characterized by optimism, regional peace, economic prosperity, colonial expansion, and technological, scientific, and cultural innovations. Eclecticism reached its peak in this period, with Beaux Arts architecture. The style takes its name from the École des Beaux-Arts in Paris, where it developed and where many of the main exponents of the style studied. Buildings in this style often feature Ionic columns with their volues on the corner (like those found in French Baroque), a rusticated basement level, overall simplicity but with some really detailed parts, arched doors, and an arch above the entrance like the one of the Petit Palais in Paris. The style aimed for a Baroque opulence through lavishly decorated monumental structures that evoked Louis XIV's Versailles. When it comes to the design of the Belle Époque, all furniture from the past was admired, including, perhaps, contrary to expectations, the Second Empire style (the style of the proceeding period), which remained popular until 1900. In the years around 1900, there was a gigantic recapitulation of styles of all countries in all preceding periods. Everything from Chinese to Spanish models, from Boulle to Gothic, found its way into furniture production, but some styles were more appreciated than others. The High Middle Ages and the early Renaissance were especially prized. Exoticism of every stripe and exuberant Rococo designs were also favoured. [183] Armado de una teoría estética bien construida, D’Ors puede iniciar su labor como crítico de arte, especialmente del arte pictórico, en obras como Tres horas en el Museo del Prado (1922)o Cezanne (1921), aunque sus fundamentos teóricos hay que buscarlos en Lo Barroco (1922).