presentation on architecture of baroque and rococo

1. BRIEF HISTORY OF ARCHITECTURE
BEFORE INDUSTRIAL REVOLUTION
-BAROQUE AND ROCOCO were the International Architecture styles
that were present before the Industrial Revolution

2. • Examples of Baroque Architecture are to be found almost throughout Europe and
Latin America, they differ notably from one country to another.
• For convenience, in order to summarize the art of a whole period with a single word,
but mainly on account of their common aesthetic origin.
• In France the term 'Baroque' originally denoted an irregular, oddly-shaped pearl,
whereas in Italy it meant a pedantic, contorted argument of little dialectic value.
• It ended by becoming, in almost all European languages, a synonym for the
extravagant, deformed, abnormal, unusual, absurd, and irregular; and in this sense it
was adopted by eighteenth-century critics to apply to the art of the preceding
century.
• Critics defined Baroque as those works in which certain specific characteristics were
to be seen: -the use of movement, whether actual (a curving wall, a fountain with jets
of water forever changing shape) or implied (a figure portrayed as making a vigorous
action or effort); the attempt to represent or suggest infinity (an avenue which
stretched to the horizon, a fresco giving the illusion of a boundless sky, a trick of
mirrors which altered perspectives and made them unrecognizable); the importance
given to light and its effects in the conception of a work of art and in the final impact
it created; the taste for theatrical, grandiose, scenographic effects; and the tendency
to disregard the boundaries between the various forms of art and to mix together
architecture, painting, sculpture, and so on. For Baroque architects a building was to
some extent a kind of large sculpture.
Baroque Architecture-Origin and Definition (1600-1700)

3. • As in Renaissance architecture, the two most popular types of architectural
commissions during the Baroque era involved either churches or palaces. In their
different versions they respectively included cathedrals, parish churches, and
monastic buildings, and town and country mansions, and above all royal palaces,
these last being especially typical of the period.
• Baroque architecture was also characterized by what is now known as town planning:
the arrangement of cities according to predetermined schemes, and the creation of
great parks and gardens around residences of importance.
• Baroque led to the rejection of the simple, elementary, analytical plans which were
deliberately preferred by Renaissance architects. Their place was taken by complex,
rich, dynamic designs. Those typical of Baroque architecture were the ellipse or the
oval, or far more complex schemes derived from complicated geometrical figures.
• Besides their complex ground-plans, the resultant curving walls were other
outstanding characteristic of Baroque buildings.
• They also introduced the idea of movement into architecture.
• The undulating motif was not confined to walls. The idea of giving movement to an
architectural element in the form of more or less curves and counter-curves became a
dominant motif of all Baroque art. Interiors were made to curve. Even columns were
designed to undulate. In spite of their bizarre shape their function was not purely
decorative, but principally a strengthening, functional one.
Baroque Architecture-Idea of Building

4. • Another, and decisive, consequence of the conception of a building as a single mass to
be articulated was that a construction was no longer seen as the sum of individual
parts. As a result the traditional rules which determined the planning of these parts
became less important or was completely disregarded.
• For example, for the architects of the Renaissance the facade of a church or a palace
had been a rectangle, or a series of rectangles each of which had corresponded to a
storey of the building. For Baroque architects the facade was merely that part of the
building that faced outwards, one element of a single entity.
• The division into storeys was generally retained, but almost always the central part of
the facade was organised with reference more to what was above and below it than
to what stood on either side: in other words, it was given a vertical emphasis and
thrust which was in strong contrast to the practice of horizontal division by storeys.
• Furthermore, in the facade the elements - columns, pilasters, cornices, or pediments -
projecting from the wall. In the centre is the more massive, more important section,
and the sides, as the eye recedes froth it, appear less weighty. The final effect is that
of a building which has been shaped according to sculptural concepts, rather than put
together according to the traditional view of architecture.
Baroque Concept-Architectural Sculpture

5. • Arguably the first truly International Architectural Style.
• First emerged in Rome
• Emerged during the first years of Seventeenth Century
• Spread to Spain, France, Germany and later England
• Reached as far as Scandinavia, Russia and even Latin America
• Illusion and Drama are traditionally seen as its principal characteristics
• Characteristics of Baroque Architecture:
o Bold and powerful massing
o Sweeping Curves
o Dramatic Effects of Light and Shade
o Highly decorated interiors that blurred the boundaries between
Architecture, Painting and Sculpture
Baroque Architecture

6. • Italian Baroque
• German and Eastern European Baroque
• Spanish and Latin American Baroque
• French Baroque
• English Baroque
• Rococo
Different Styles of Baroque Architecture

7. • Italian Baroque
Region- Italy
Period- Seventeenth and Eighteenth Century
Characteristics- Oblique angles, Ovals, Curving Facades, Giant Order,
Synthesis of Architecture and Sculpture, Illusion
Different Styles of Baroque Architecture

8. Synthesis of Architecture and Sculpture-Gian Lorenzo Bernini, Ecstasy of St. Teresa, Cornaro Chapel, Rome,1647-52

9. Ovals-Gian Lorenzo Bernini, Sant’Andrea al Quirinale, Rome, 1658-70

10. Oblique Angles-Guarino Guarini, S. Lorenzo, Turin, 1666-80

11. Curving Facades-Pietro da Cortona, Sta. Maria della Pace, Rome, 1656-67

12. Giant Order-Gian Lorenzo Bernini, baldacchino, St. Peter’s,
Rome, 1623-34

13. Illusions-Andrea Pozzo, nava frescos, St. Ignatius of Loyola, Campus martius, Rom, from 1685

14. • German and Eastern European Baroque
Region- Germany and Eastern Europe
Period- Seventeenth and Eighteenth Centuries
Characteristics- Italian Influence, Palace Architecture, Gothic Influence,
Synthesis of Classical and Sacred Architecture, Spatial
complexity, Onion dome.
Different Styles of Baroque Architecture

15. Gothic Influence-Jan Santini Aichel, Pilgrimage Church
of St. John of Nepomuk, Zd’ar nad Sazavou, Czech
Republic, 1719-27

16. Synthesis of Classical and Sacred Architecture-Johann Bernhard Fischer von Erlach Karlskirche, Vienna,
Austria, completed 1737

17. Spatial Complexity-Johann Balthasar Neumann,
staircase of the Episcopal Palace, Bruchsal,
Germany, 1721-32

18. Italian Influence-Egid Quirin Asam and Cosmas Damian Asam, Weltenburg, Bavaria, Abbey Church, 1717-21

19. Onion Dome-Francesco Bartolomeo Rastrelli, St. Andrew’s Church, Kiev, Ukraine, 1747-54

20. Palace Architecture- Johann Lukas von Hildebrandt, Upper Belvedere, Vienna, 1717-23.

21. • Spanish and Latin American Baroque
Region- Spain and Latin America
Period- Seventeenth and Eighteenth Centuries
Characteristics- Moorish Influence, Indigenous American Influence,
Churrigueresque, Defiance of Structure, Dramatic use of
Light, Heavy Mouldings.
Different Styles of Baroque Architecture

22. Indigenous American Influence- Cathedral of Santo Domingo, Cusco, Peru, 1559-1654

23. Moorish Influence- Hall of
the Abencerrajes, Palaceof
the Lions, Alhambra,
Granada, 1354-91

24. Churrigueresque-Luis
de Arevalo and F.
Manuel Vasquez,
Sacristy, Granada
Charterhouse, Spain,
1727-64

25. Defiance of Structure-
Narciso Tome, El
Transparante
altarpiece, Toledo
Cathedral, Spain, 1729-
32

26. Dramatic use of Light-
El Tranparante
altarpiece, Toledo
Cathedral, Spain, 1729-
32

27. Heavy Mouldings-
Diego Duran and
Cayetano Siguenza,
Santa Prisca, Taxco,
Mexico, 1751-58

28. • French Baroque
Region: France
Period: Seventeenth and Early Eighteenth Century
Characteristics: Mansard Roof, Dome, Landscape Design, Sumptuous
Interiors, Heavy Rustication
Different Styles of Baroque Architecture

29. Mansard Roof-Francois Mansard, Chateau De Maisons, Maisons-Laffitte, Near Paris, 1630-51

30. Dome-Jules Hardouin-mansat, St. Louis
Des Invalides, Paris, 1675-1706

31. Dome
Landscape Design
Landscape Design-Andre Le Notre, Orangerie gardens at Chateau de Versailles, Versailles from 1661

32. Sumptuous Interiors-Jules Hardouin_Mansart and Charles Le Brun, Hall of Mirrors, Chateau de Versailles, Versailles,
1678-84

33. Heavy Rustication- Jules Hardouin- Mansart, Orangerie, Chateau de Versailles, Versailles, 1684-6

34. • English Baroque
Region: England
Period: Mid seventeenth to early eighteenth century
Characteristics: Plainness, Animated Skyline, Medieval influence, Exaggerated
keystones, eclecticism, domes
Different Styles of Baroque Architecture

35. Plainness-Sir John Vanbrugh and Nicholas Hawksmoor, Blenheim Palace, Oxfordshine, 1705-24

36. Medieval Influence-Sir John Vanbrugh,Vanbrugh Castle, Greenwich, London, finished 1719

37. Eclecticism- Nicholas
Hawksmoor, St. Mary
Woolnoth, London, 1716-
24

38. Exaggerated keystones-William Talman, South Front, Chatsworth, Derbyshire, completed 1696

39. Animated Skyline-Thomas Archer, St. John,
Smith Square, London, 1713-28

40. Domes: Sir Christopher Wren, St. Stephen
Walbrook, London, 1972-9

41. • Rococo
Region: Europe, especially France, Germany and Russia
Periods: Eighteenth Century.
Characteristics: Gesamtkunstwerk, Continuous Spaces, Virtuosity,
Asymmtery, Foliage decoration, secular architecture.
Different Styles of Baroque Architecture

42. Foliage decoration- Francois de Cuvilles, Amalienburg, Nymphenburg Palace, Munich, 1734-9

43. Gesamtkunstwerk- johann Balthasar Neumann, Speigelkabinett (Mirror Cabinet), Residenz Wurzburg, Bavaria, 1740-45
(rebuilt after world war II

44. Virtuosity-Nikolaus Pacassi, Interior of the Schonbrunn Palace, Vienna, 1743-63

45. Secular Architecture-Germain Boffrand and Charles-Joseph Natoire, Salon de la Princesse de Soubise, hotel-de-
Soubise, Paris, 1735-40

46. Asymmetry- Francois de Cuvillies and Johamm Balthasar Neumann, Augustusburg Palace, Bruhl, Germany, 1700-61

47. https://www.youtube.com/watch?v=ly8orBNiNQM&t=6s
https://www.youtube.com/watch?v=R7YxG4nsqeg
https://www.youtube.com/watch?v=U2W5Wmp15YA&t=19s
https://www.youtube.com/watch?v=RE3xAfWd59I&t=72s
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