Baroque And Rococo - Architecture And Decoration
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Many baroque and rococo sites are now tourist destinations, including Blenheim Palace, Claydon House, Château de Vaux-le-Vicomte, Versailles, etc. The Bavarian Department of State-owned Palaces, Gardens and Lakes is responsible for many Baroque and Rococo sites, including Nymphenburg Palace, and the Würzburg Residence.
There are plenty of similarities between baroque and rococo but there are also key differences to help distinguish them. Baroque is sometimes characterized as the \"masculine\" expression of the two and Rococo the \"feminine.\" Baroque art was intended to inspire and draw upon emotion -- and one will see this especially in baroque paintings found on the ceilings and in the domes of so many baroque churches, as well as in its sculpture. These figures seem almost alive; they are dynamic and in motion -- rather than static or classically serene. One can think here of windswept robes, or emotive actions and gestures frozen midstream in time. The baroque movement too loved to play with perspective and illusion -- trompe l'oeil -- as well as light and darkness. Baroque works also favoured gold gilt decoration, frequently paired with neutral colours.
If our readers want a quick way to try to ascertain whether a particular church might be baroque or Rococo, one of the best places to start looking is at the colour palette. If you are seeing light and dark marbles with gold gilt decorations and contorted, illusionistic painted figures and scenes in brighter and darker colours, you're likely looking at baroque. If, on the other hand, you're seeing soft pastel colours in abundance, from the painted works to the marbles themselves, with figures more playful and delicate rather than emotive, you're quite likely looking at something Rococo.
Greek architecture used simple post-and-lintel building techniques. It wasn't until the Roman era that the arch was developed in order to span greater distances. As a result, Greek architects were forced to employ a great many more stone columns to support short horizontal beams overhead. Moreover, they could not construct buildings with large interior spaces, without having rows of internal support columns. The standard construction format, used in public buildings like the Hephaesteum at Athens, employed large blocks of limestone or a light porous stone known as tuff. Marble, being scarcer and more valuable was reserved for sculptural decoration, except in the grandest buildings, such as the Parthenon on the Acropolis.
As the Eastern Roman Empire continued, Byzantine architecture gradually became more influenced by eastern traditions of construction and decoration. Buildings increased in geometric complexity, while brick and plaster were employed in addition to stone for decorative purposes, like the external zig-zag patterns. The previous 'Classical Orders' or styles were interpreted more freely, and windows filtered light through thin sheets of alabaster to create softer illumination. The two basic design-plans were the basilican, or axial, type (eg. The basilica at the Holy Sepulchre, Jerusalem) and the circular, or central, type (eg. the great octagonal church at Antioch).
The Palace of Versailles (built c.1624-98), a magnificent example of French Baroque architecture, is the most famous royal chateau in France. The gigantic scale of Versailles exemplifies the architectural theme of 'creation by division' - a series of simple repetitions rhythmically marked off by the repetition of the large windows - which expresses the fundamental values of Baroque art and in which the focal point of the interior, as well as of the entire building, is the king's bed. Among its celebrated architectural designs is the Hall of Mirrors (Galerie des Glaces), which is one of the most famous rooms in the world. Located some 20 kilometres southwest of Paris, and set amidst extensive grounds, the palace and its decoration stimulated a mini-renaissance of interior design, as well as decorative art, during the 17th and 18th centuries. Indeed, French decorative art during the period 1640-1792 - notably French Furniture - is synonymous with the French Kings Louis Quatorze (XIV), Louis Quinze (XV) and Louis Seize (XVI), after whom it is named. The many French designers and craftsmen who contributed to Versailles' architecture, furnishings and objets d'art, included Louis Le Vau, Jules Hardouin Mansart, Andre le Notre, Charles Le Brun, Jean Berain the Elder, Andre-Charles Boulle, Charles Cressent, Jean-Baptiste Oudry, Francois Lemoyne, and Juste-Aurele Meissonnier, among others. From 1682 to the beginning of the French Revolution in 1789, the Palace of Versailles housed the King and the entire French royal court, a total of some 3,000 residents, making it a symbol of the absolutism and decadence of the Ancien Regime in general, and the French monarchy in particular. The royal chateau itself is not the only building complex in the grounds, which also include five chapels, plus the Grand Trianon (1687-88), the Pavilion Francais (1749), and the Petit Trianon (1762-8) as well as 800 hectares of gardens, landscaped in the classic French Garden style.
The royal palace's close relationship to its park was of fundamental importance, for the park, exactly like the palace itself, was made to serve the ceremonial and celebratory requirements of the king. Designed for the amusements of the court, the park constitutes the natural and ideal backdrop for endless festivities based on the close relationship - typical of the baroque - between celebration and architecture, between the ephemeral and the permanent. From the original concept, the palace was seen as the centre of an urbanistic system and a reworking of the landscape.
First architect to King Louis XIV and superintendent of royal constructions, Louis Le Vau performed an important role in the evolution of 17th-century French architecture. His training period included an important trip to Italy with visits to Genoa and Rome; in 1650 he began working for the French crown, building the pavilions of the king and queen at Vincennes, enlarging the church of St Sulpice, and participating in the completion of the Louvre. One of his major works was the chateau of Vaux-le-Vicomte, constructed in only five years (1656-61) for the finance minister Nicolas Fouquet. He then began work on the royal palace of Versailles, where he designed an enlargement of the original structure built in 1623 for Louis XIII, working together with Le Brun and Le Notre, who had worked with him at Vaux-le-Vicomte. Le Vau was responsible for the central nucleus of the palace, the two wings of the courtyard, the cour d'honneur, where the roads from Paris converge, the garden facade, and the unusual adoption of the flat 'Italian-style' roof, perhaps derived from Bernini's proposed plan for the Louvre. In addition, he was responsible for the earliest major scheme of chinoiserie decoration in interior design - which appears in the Trianon de Porcelaine (1670). The selection of Le Vau, who had already made the revolutionary chateau of Vaux-le-Vicomte, reveals the desire for a structure with close ties to the surrounding nature as in the concept of 'between court and garden', exemplified by the planning of an axial system and the arrangement of the park.
The Rococo art period had great historical significance although it was characterized by a very short tenure in the calendar of art periods. Rococo architecture, decorations, and designs are still used today, thousands of years after it was supplanted by neoclassic art period (Laurie, 2001). The physically lighthearted furniture, decorations and use of pastels that evolved during this particular art period changed the course of art in ways that had not been previously witnessed (Minor, 1999).
The rococo style is a type of art and architecture that emerged in the 18th century. It is characterized by its ornate, baroque elements, as well as its lighthearted and playful nature. This style was very popular during its time, and you can still see its influence in modern art and design. In this blog post, we will explore the origins of the rococo style, as well as some of its key characteristics!
Rococo is a French word that literally means \"rocaille.\" Rocaille is a type of ornamental stone used in architecture and decorative arts. The word Rococo was first used in the 18th century to describe the style of decoration characterized by intricate patterns and curves.
French rococo is a highly ornate style of architecture, art, and interior design that emerged in France during the early 18th century. It is characterized by its use of light colors, intricate designs, and elaborate furniture. French rococo reached its peak in the 1740s but began to decline in popularity after the French Revolution in 1789. Today, it is admired for its elegance and sophistication.
French rococo was not simply a style of architecture or art; it was an expression of the zeitgeist, or spirit of the times. The Rococo period was one of luxury, leisure, and pleasure. The aristocratic class had more time and money to devote to pursuits such as music, theater, and dance. They also commissioned more art, which helped to spread the Rococo style throughout Europe.
Despite its decline in popularity after the French Revolution, French rococo has left a lasting impression on the world of art and architecture. Its lightness, elegance, and sophistication continue to inspire artists and designers to this day.
Rococo is a style of art that emerged in the early 18th century. It is characterized by its ornate, often gaudy decoration and its focus on light and airy themes. German rococo artists took these characteristics to the extreme, creating works that were highly detailed and often excessive in their use of color and ornamentation.
Rococo was initially used to describe the ornate decoration of the interiors of French palaces and mansions. However, it soon came to be associated with a whole range of art forms including painting, sculpture, architecture, furniture, and even fashion. In England, Rococo is often referred to as English Rococo or Late Baroque. 59ce067264
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