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Baroq

The document summarizes the key aspects of Baroque architecture from the early 1600s to late 1700s. It describes the four phases (Early, High, Late Baroque and Rococo), the leading regions and architects, and distinctive features. The Baroque style emerged in the Catholic Church around 1600 in response to the Protestant Reformation, emphasizing emotion, wealth and power. Churches had broader naves, fragmented elements, dramatic light/shadow, and ornamentation. Architects like Bernini, Borromini and Cortona synthesized elements and influenced northern Europe.

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Sunil Kalwaniya
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53 views30 pages

Baroq

The document summarizes the key aspects of Baroque architecture from the early 1600s to late 1700s. It describes the four phases (Early, High, Late Baroque and Rococo), the leading regions and architects, and distinctive features. The Baroque style emerged in the Catholic Church around 1600 in response to the Protestant Reformation, emphasizing emotion, wealth and power. Churches had broader naves, fragmented elements, dramatic light/shadow, and ornamentation. Architects like Bernini, Borromini and Cortona synthesized elements and influenced northern Europe.

Uploaded by

Sunil Kalwaniya
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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BAROQUE ARCHITECTURE

Summary of Baroque Architecture


Early Baroque
ca. 1600-25

High Baroque
ca. 1625-75

Late Baroque
ca. 1675-1725

Rococo
ca. 1725-1800

Maderno
(facade of St
Peter's)

Bernini and
Borromini
(sacred
architecture)

chateaux
(notably
Versailles)

Austria/souther
n Germany
(notably
churches)

phase of the Baroque age


Early Baroque (ca. 1600-25)
High Baroque (ca. 1625-75)
Late Baroque (ca. 1675-1725)
Rococo (ca. 1725-1800)

leading region
Italy
France

Distinctive features of Baroque


architecture
In churches, broader naves and sometimes
given oval forms
Fragmentary or deliberately incomplete
architectural elements
dramatic use of light; either strong light-andshade contrasts (chiaroscuro effects) as at the
church of Weltenburg Abbey, or uniform
lighting by means of several windows (e.g.
church of Weingarten Abbey)

opulent use of colour and ornaments


(putti or figures made of wood (often
gilded), plaster or stucco, marble or
faux finishing)
large-scale ceiling frescoes
an external faade often
characterized by a dramatic central
projection
the interior is a shell for painting,
sculpture and stucco (especially in

Architects
The three principal architects of this period
were the sculptor Gianlorenzo Bernini,
Francesco Borromini and the painter Pietro da
Cortona and each evolved their own
distinctively individual architectural
expression.
A synthesis of Bernini, Borromini and
Cortonas architecture can be seen in the late
Baroque architecture of northern Europe
which paved the way for the more decorative
Rococo style.

The Baroque was, linked to the Counter-Reformation,


a movement within the Catholic Church to reform
itself in response to the Protestant Reformation.
Baroque architecture and its embellishments were on
the one hand more accessible to the emotions and on
the other hand, a visible statement of the wealth and
power of the Church.
The new style manifested itself in particular in the
context of the new religious orders, like the Theatines
and the Jesuits

llusory effects like trompe l'oeil (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

Pietro da Cortona, illustrated by his design of Santi Luca e Martina


(construction began in 1635) with what was probably the first curved
Baroque church facade in Rome.
The most well known example of such an approach is
Saint Peter's Square, which has been praised as a masterstroke of
Baroque theatre.
The piazza, designed by Gian Lorenzo Bernini, is formed principally by
two colonnades of free standing columns centred on an Egyptian
obelisk.
Bernini's own favourite design was his oval church of Sant'Andrea al
Quirinale decorated with polychome marbles and an ornate gold dome.
His secular architecture included the Palazzo Barberini based on plans
by Maderno and the Palazzo Chigi-Odescalchi (1664), both in Rome.
Sant'Ivo alla Sapienza by Francesco Borromini
Bernini's rival

the church of Santa


Susanna, designed by
Carlo Maderno. The
dynamic rhythm of
columns and pilasters,
central massing, and the
protrusion and condensed
central decoration add
complexity to the
structure.
There is an incipient
playfulness with the rules
of classic design, but it still
maintains rigor.

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