Baroque - Wikipedia, the free encyclopedia

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https://en.wikipedia.org/wiki/Baroque

Baroque
From Wikipedia, the free encyclopedia

The Baroque (US /brok/ or UK /brk/) is often

thought of as a period of artistic style that used
exaggerated motion and clear, easily interpreted
detail to produce drama, tension, exuberance, and
grandeur in sculpture, painting, architecture,
literature, dance, theater, and music. The style began
around 1600 in Rome and Italy, and spread to most
of Europe.[1]
The popularity and success of the Baroque style was
encouraged by the Catholic Church, which had
The Triumph of the Immaculate by
decided at the time of the Council of Trent, in
Paolo de Matteis
response to the Protestant Reformation, that the arts
should communicate religious themes in direct and
emotional involvement.[2][3] The aristocracy also saw the
dramatic style of Baroque architecture and art as a means of
impressing visitors and expressing triumph, power and control.
Baroque palaces are built around an entrance of courts, grand
staircases and reception rooms of sequentially increasing
opulence. However, "baroque" has resonance and application
that extend beyond a simple reduction to either style or
period.[4]

Contents
1 Etymology
2 Modern taste and usage
3 Development
3.1 Periods
4 Painting
5 Sculpture
5.1 Bernini's Cornaro chapel
6 Architecture
7 Theatre
7.1 England
7.2 Germany
7.3 Spain

The Church of Sant'Andrea al

Quirinale, designed by Gian
Lorenzo Bernini

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8 Literature and philosophy

9 Music
9.1 Composers and examples
10 See also
11 Notes
12 References
13 Further reading
14 External links

Etymology
The French word baroque is derived from the Portuguese word
"barroco" or Spanish "barrueco" both of which refer to a "rough or
imperfect pearl", though whether it entered those languages via Latin,
Arabic, or some other source is uncertain.[5] It is also yields the Italian
"barocco" and modern Spanish "barroco", German "Barock", Dutch
"Barok", and so on. The 1911 Encyclopdia Britannica 11th edition
thought the term was derived from the Spanish barrueco, a large,
irregularly-shaped pearl, and that it had for a time been confined to the
craft of the jeweller.[6] Others derive it from the mnemonic term
"Baroco", a supposedly laboured form of syllogism in logical
Scholastica.[7] The Latin root can be found in bis-roca.[8]
In informal usage, the word baroque can simply mean that something
is "elaborate", with many details, without reference to the Baroque
styles of the 17th and 18th centuries.

Brooch of an African,
Walters Art Museum

The word "Baroque", like most periodic or stylistic designations, was invented by later critics
rather than practitioners of the arts in the 17th and early 18th centuries. It is a French transliteration
of the Portuguese phrase "prola barroca", which means "irregular pearl", and natural pearls that
deviate from the usual, regular forms so they do not have an axis of rotation are known as "baroque
pearls".[9]
The term "Baroque" was initially used in a derogatory sense, to underline the excesses of its
emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance
of details, which sharply contrasted the clear and sober rationality of the Renaissance. Although it
was long thought that the word as a critical term was first applied to architecture, in fact it appears
earlier in reference to music, in an anonymous, satirical review of the premire in October 1733 of
Jean-Philippe Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734. The
critic implied that the novelty in this opera was "du barocque", complaining that the music lacked
coherent melody, was unsparing with dissonances, constantly changed key and meter, and speedily
ran through every compositional device.[10]

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Modern taste and usage

The Swiss-born art historian, Heinrich Wlfflin (18641945), started the rehabilitation of the word
Baroque in his Renaissance und Barock (1888); Wlfflin identified the Baroque as "movement
imported into mass", an art antithetic to Renaissance art. He did not make the distinctions between
Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic
Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became
fashionable between the two World Wars, and has largely remained in critical favour. For example,
the often extreme Sicilian Baroque architecture is today recognised largely due to the work of Sir
Sacheverall Sitwell, whose Southern Baroque Art of 1924 was the first book to appreciate the style,
followed by the more academic work of Anthony Blunt. In painting the gradual rise in popular
esteem of Caravaggio has been the best barometer of modern taste.
In art history it has become common to recognise "Baroque" stylistic phases, characterized by
energetic movement and display, in earlier art, so that Sir John Boardman describes the ancient
sculpture Laocon and His Sons as "one of the finest examples of the Hellenistic baroque",[11] and
a later phase of Imperial Roman sculpture is also often called "Baroque". William Watson describes
a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as "baroque".[12]
The term "Baroque" may still be used, usually pejoratively, describing works of art, craft, or design
that are thought to have excessive ornamentation or complexity of line.

Development
The Baroque originated around 1600, several decades
after the Council of Trent (154563), by which the
Roman Catholic Church answered many questions of
internal reform, addressed the representational arts by
demanding that paintings and sculptures in church
contexts should speak to the illiterate rather than to the
well-informed. This turn toward a populist conception
of the function of ecclesiastical art is seen by many art
historians as driving the innovations of Caravaggio and
brothers Agostino and Annibale Carracci, all of whom
were working (and competing for commissions) in
Rome around 1600.

Aeneas Flees Burning Troy, Federico

Barocci, 1598

The appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century
Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct,
simple, obvious, and theatrical (illustration, right). Baroque art drew on certain broad and heroic
tendencies in Annibale Carracci and his circle, and found inspiration in other artists like Correggio
and Caravaggio and Federico Barocci (illustration, right), nowadays sometimes termed 'protoBaroque'. Germinal ideas of the Baroque can also be found in the work of Michelangelo. Some

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general parallels in music make the expression "Baroque music" useful: there are contrasting phrase
lengths, harmony and counterpoint have ousted polyphony, and orchestral color makes a stronger
appearance. Even more generalized parallels perceived by some experts in philosophy, prose style
and poetry, are harder to pinpoint.
Though Baroque was superseded in many centers by the Rococo style, beginning in France in the
late 1720s, especially for interiors, paintings and the decorative arts, the Baroque style continued to
be used in architecture until the advent of Neoclassicism in the later 18th century. See the
Neapolitan palace of Caserta, a Baroque palace (though in a chaste exterior) whose construction
began in 1752.
In paintings Baroque gestures are broader than Mannerist
gestures: less ambiguous, less arcane and mysterious, more
like the stage gestures of opera, a major Baroque art form.
Baroque poses depend on contrapposto ("counterpoise"),
the tension within the figures that move the planes of
shoulders and hips in counterdirections. See Bernini's
David.
The dryer, less dramatic and coloristic, chastened later
St. Nicholas Church in Lesser Town
stages of 18th century Baroque architectural style are often
in Prague was founded in 1703 under
seen as a separate Late Baroque manifestation, for
lead of Baroque architect Christoph
example in buildings by Claude Perrault. Academic
Dientzenhofer.
characteristics in the neo-Palladian style, epitomized by
William Kent, are a parallel development in Britain and the
British colonies: within interiors, Kent's furniture designs are vividly influenced by the Baroque
furniture of Rome and Genoa, hierarchical tectonic sculptural elements, meant never to be moved
from their positions, completed the wall decoration. Baroque is a style of unity imposed upon rich,
heavy detail.
The Baroque was defined by Heinrich Wlfflin as the age where the oval replaced the circle as the
center of composition, that centralization replaced balance, and that coloristic and "painterly"
effects began to become more prominent. Art historians, often Protestant ones, have traditionally
emphasized that the Baroque style evolved during a time in which the Roman Catholic Church had
to react against the many revolutionary cultural movements that produced a new science and new
forms of religionReformation. It has been said that the monumental Baroque is a style that could
give the Papacy, like secular absolute monarchies, a formal, imposing way of expression that could
restore its prestige, at the point of becoming somehow symbolic of the Counter-Reformation.
Whether this is the case or not, it was successfully developed in Rome, where Baroque architecture
widely renewed the central areas with perhaps the most important urbanistic revision.

Periods
The Baroque era is sometimes divided into roughly three phases for convenience:[13][14][15]

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Early Baroque, c. 1590 c. 1625

High Baroque, c. 1625 c. 1660
Late Baroque, c. 1660 c. 1725
Late Baroque is also sometimes used synonymously with the succeeding Rococo movement.

Painting
A defining statement of what Baroque signifies in painting
is provided by the series of paintings executed by Peter
Paul Rubens for Marie de Medici at the Luxembourg
Palace in Paris (now at the Louvre),[16] in which a Catholic
painter satisfied a Catholic patron: Baroque-era
conceptions of monarchy, iconography, handling of paint,
and compositions as well as the depiction of space and
movement.
Baroque style featured "exaggerated lighting, intense
Caravaggio, The Crowning with
emotions, release from restraint, and even a kind of artistic
Thorns
sensationalism". Baroque art did not really depict the life
style of the people at that time; however, "closely tied to
the Counter-Reformation, this style melodramatically reaffirmed the emotional depths of the
Catholic faith and glorified both church and monarchy" of their power and influence.[17]
There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona; both
approaching emotive dynamism with different styles. The most prominent Spanish painter of the
Baroque was Diego Velzquez.[18]
Another frequently cited work of Baroque art is Bernini's Saint Theresa in Ecstasy for the Cornaro
chapel in Saint Maria della Vittoria, which brings together architecture, sculpture, and theatre into
one grand conceit.[19]
The later Baroque style gradually gave way to a more
decorative Rococo.
A rather different art developed out of northern realist
traditions in 17th century Dutch Golden Age painting,
which had very little religious art, and little history
painting, instead playing a crucial part in developing
secular genres such as still life, genre paintings of everyday
Still-life, by Josefa de bidos, c. 1679,
scenes, and landscape painting. While the Baroque nature
Santarm, Portugal, Municipal Library
of Rembrandt's art is clear, the label is less often used for
Vermeer and many other Dutch artists. Flemish Baroque
painting shared a part in this trend, while also continuing to produce the traditional categories.

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In a similar way the French classical style of painting exemplified by Poussin is often classed as
Baroque, and does share many qualities of the Italian painting of the same period, although the
poise and restraint derived from following classical ideas typically give it a very different overall
mood.

Sculpture
In Baroque sculpture, groups of figures assumed new
importance and there was a dynamic movement and energy of
human formsthey spiraled around an empty central vortex, or
reached outwards into the surrounding space. For the first time,
Baroque sculpture often had multiple ideal viewing angles. The
characteristic Baroque sculpture added extra-sculptural
elements, for example, concealed lighting, or water fountains.
Aleijadinho in Brazil was also one of the great names of
baroque sculpture, and his master work is the set of statues of
the Santurio de Bom Jesus de Matosinhos in Congonhas. The
soapstone sculptures of old testament prophets around the
terrace are considered amongst his finest work.
Stanislaus Kostka on his
deathbed by Pierre Le Gros the
Younger

The architecture, sculpture and fountains of Bernini

(15981680) give highly charged characteristics of Baroque
style. Bernini was undoubtedly the most important sculptor of
the Baroque period. He approached Michelangelo in his
omnicompetence: Bernini sculpted, worked as an architect, painted, wrote plays, and staged
spectacles. In the late 20th century Bernini was most valued for his sculpture, both for his virtuosity
in carving marble and his ability to create figures that combine the physical and the spiritual. He
was also a fine sculptor of bust portraits in high demand among the powerful.

Bernini's Cornaro chapel

A good example of Bernini's Baroque work is his St. Theresa in Ecstasy (164552), created for the
Cornaro Chapel of the church of Santa Maria della Vittoria, Rome. Bernini designed the entire
chapel, a subsidiary space along the side of the church, for the Cornaro family.
Saint Theresa, the focal point of the chapel, is a soft white marble statue surrounded by a
polychromatic marble architectural framing. This structure conceals a window which lights the
statue from above. Figure-groups of the Cornaro family sculpted in shallow relief inhabit opera
boxes on the two side walls of the chapel. The setting places the viewer as a spectator in front of
the statue with the Cornaro family leaning out of their box seats and craning forward to see the
mystical ecstasy of the saint.
St. Theresa is highly idealized and in an imaginary setting. She was a popular saint of the Catholic
Reformation. She wrote of her mystical experiences for an audience of the nuns of her Carmelite

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Order; these writings had become popular reading among lay

people interested in spirituality. In her writings, she described
the love of God as piercing her heart like a burning arrow.
Bernini materializes this by placing St. Theresa on a butt while
a Cupid figure holds a golden arrow made of metal and smiles
down at her. The angelic figure is not preparing to plunge the
arrow into her heartrather, he has withdrawn it. St. Theresa's
face reflects not the anticipation of ecstasy, but her current
fulfillment.
This work is widely considered a masterpiece of the Baroque,
although the mix of religious and erotic imagery (faithful to St
Teresa's own written account) may raise modern eyebrows.
However, Bernini was a devout Catholic and was not attempting
to satirize the experience of a chaste nun. Rather, he aimed to
portray religious experience as an intensely physical one.
Theresa described her bodily reaction to spiritual enlightenment
in a language of ecstasy used by many mystics, and Bernini's
depiction is earnest.

Bernini's Ecstasy of St. Teresa

The Cornaro family promotes itself discreetly in this chapel; they are represented visually, but are
placed on the sides of the chapel, witnessing the event from balconies. As in an opera house, the
Cornaro have a privileged position in respect to the viewer, in their private reserve, closer to the
saint; the viewer, however, has a better view from the front. They attach their name to the chapel,
but St. Theresa is the focus. It is a private chapel in the sense that no one could say mass on the
altar beneath the statue (in the 17th century and probably through the 19th) without permission
from the family, but the only thing that divides the viewer from the image is the altar rail. The
spectacle functions both as a demonstration of mysticism and as a piece of family pride.

Architecture
In Baroque architecture, new emphasis was placed on bold
massing, colonnades, domes, light-and-shade (chiaroscuro),
'painterly' color effects, and the bold play of volume and void.
In interiors, Baroque movement around and through a void
informed monumental staircases that had no parallel in previous
architecture. The other Baroque innovation in worldly interiors
was the state apartment, a sequence of increasingly rich
interiors that culminated in a presence chamber or throne room
or a state bedroom. The sequence of monumental stairs
followed by a state apartment was copied in smaller scale
everywhere in aristocratic dwellings of any pretensions.

The main altar of St. John's

Co-Cathedral, Malta

Baroque architecture was taken up with enthusiasm in central Germany (see, e.g., Ludwigsburg

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Palace and Zwinger, Dresden), Austria and Russia (see, e.g., Peterhof). In England the culmination
of Baroque architecture was embodied in work by Sir Christopher Wren, Sir John Vanbrugh and
Nicholas Hawksmoor, from ca. 1660 to ca. 1725. Many examples of Baroque architecture and town
planning are found in other European towns, and in Latin America. Town planning of this period
featured radiating avenues intersecting in squares, which took cues from Baroque garden plans. In
Sicily, Baroque developed new shapes and themes as in Noto, Ragusa and Acireale "Basilica di San
Sebastiano".
Another example of Baroque architecture is the Cathedral of Morelia, Michoacn in Mexico. Built
in the 17th century by Vincenzo Barrochio, it is one of the many Baroque cathedrals in Mexico.
Baroque churches built during the Spanish period are also seen in other former colonies of Spain.
Francis Ching described Baroque architecture as "a style of architecture originating in Italy in the
early 17th century and variously prevalent in Europe and the New World for a century and a half,
characterized by free and sculptural use of the classical orders and ornament, dynamic opposition
and interpenetration of spaces, and the dramatic combined effects of architecture, sculpture,
painting, and the decorative arts."[20]
Architecture

Trevi Fountain in Rome

Wilanw Palace in Warsaw

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Interior of the Cornaro Chapel,

Santa Maria della Vittoria church,
Rome including the Cornaro
portraits, but omitting the lower
parts of the chapel.

Peterhof Palace in Saint Petersburg

Theatre
In theatre, the elaborate conceits, multiplicity of plot turns and a
variety of situations characteristic of Mannerism, in Shakespeare's
tragedies for instance, were superseded by opera, which drew
together all the arts into a unified whole.

18th-century painting of the

Royal Theatre of Turin

Theatre evolved in the Baroque era and became a multimedia

experience, starting with the actual architectural space. In fact,
much of the technology used in current Broadway or commercial
plays was invented and developed during this era. The stage could
change from a romantic garden to the interior of a palace in a
matter of seconds. The entire space became a framed selected area
that only allows the users to see a specific action, hiding all the
machinery and technology mostly ropes and pulleys.

This technology affected the content of the narrated or performed

pieces, practicing at its best the Deus ex Machina solution. Gods were finally able to come down
literally from the heavens and rescue the hero in the most extreme and dangerous, even absurd
situations.
The term Theatrum Mundi the world is a stage was also created. The social and political realm
in the real world is manipulated in exactly the same way the actor and the machines are
presenting/limiting what is being presented on stage, hiding selectively all the machinery that
makes the actions happen.

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The films Vatel and Farinelli give a good idea of the style of productions of the Baroque period.
The American musician William Christie and Les Arts Florissants have performed extensive
research on all the French Baroque Opera, performing pieces from Charpentier and Lully, among
others that are extremely faithful to the original 17th-century creations.

England
The influence of the Renaissance was also very late in England, and Baroque theatre is only partly
a useful concept here, for example in discussing Restoration comedy. There was an 18-year break
when the London theatres were closed during the English Civil War and English Commonwealth
until the Restoration of Charles II in 1660.

Germany
German theatre in the 17th century lacked major contributions. The best known playwright was
Andreas Gryphius, who used the Jesuit model of the Dutch Joost van den Vondel and Cornielle.
There was also Johannes Velten who combined the traditions of the English comedians and the
commedia del'arte with the classic theater of Corneille and Moliere. His touring company was
perhaps the most significant and important of the 17th century.

Spain
The Baroque had a Catholic and conservative character in Spain,
following an Italian literary models during the Renaissance.[21]
The Hispanic Baroque theater aimed for a public content with an
ideal reality that manifested fundamental three sentiments:
Catholic religion, monarchist and national pride and honor
originating from the chivalric, knightly world.[22]
Two periods are known in the Barocan Spanish theater. The
separation between them was emphasized in 1630; the first period
consists of a principle representant who is Lope de Vega, and also
Tirso de Molina, Gaspar de Aguilar, Guilln de Castro, Antonio
Mira de Amescua, Luis Vlez de Guevara, Juan Ruiz de Alarcn,
Diego Jimnez de Enciso, Luis Belmonte Bermdez, Felipe
Lope de Vega
Godnez, Luis Quiones de Benavente or Juan Prez de
Montalbn; and in the second period Caldern de la Barca and the
other play writers Antonio Hurtado de Mendoza, lvaro Cubillo de Aragn, Jernimo de Cncer y
Velasco, Francisco de Rojas Zorrilla, Juan de Matos Fragoso, Antonio Coello y Ochoa, Agustn
Moreto or Francisco de Bances Candamo.[23] It is possible to speak about a loosely classification,
because each author had his own way and could occasionally adhere himself to the formula
established by Lope. Perhaps, the "manner" of Lope was more liberal and structured than
Calderon's.[24]

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Felix Lope de Vega y Carpio introduced through his Arte nuevo de hacer comedias en este tiempo
(1609) the new comedy. He established a new dramatic formula that broke the three Aristotle
unities of the Italian school of poetry (action, time and place) and a forth unity of Aristotle which is
about style, mixing of tragic and comic elements showing different types of verses and stanzas
upon what is represented.[25] Although Lope has a great knowledge of the plastic arts, he did not
use it during the major part of his career nor in theater or scenography. The Lope's comedy granted
a second role to the visual aspects of the theatrical representation.[26]
Tirso de Molina along with Lope de Vega and Caledron were of the most important play writers in
Spain during the golden era. Their works, known for its subtle intelligence and profound
comprehension of a person's humanity, could be considered a bridge between primitive Lope's
comedy and a more elaborate Calderon's comedy. Although part of the critics argued their writings
showing that Tirso de Molina was known for two flawless works, The convicted suspicions, The
Trickster of Seville, a principal sources of the Don Juan myth.[27]
Upon his arrival to Madrid, Cosimo Lotti brought to the Spanish court the most advanced theatrical
techniques of Europe. His techniques and mechanic knowledge were applied in palace exhibitions
called "Fiestas" and in lavish exhibitions of rivers or artificial fountains called "Naumaquias". He
was in charge of styling the Gardens of Buen Retiro, of Zarzuela and of Aranjuez and the
construction of the theatrical building of Coliseo del Buen Retiro. [28] Lope's formulas begins with a
verse that it unbefitting of the palace theater foundation and the birth of new concepts that begun
the careers of some play writers like Pedro Calderon de la Barca. Marking the principal innovations
of the New Lopesian Comedy, Calderon's style marked many differences, with a great deal of
constructive care and attention to his internal structure. Calderon's work is in formal perfection and
a very lyric and symbolic language. Liberty, vitality and openness of Lope gave a step to Calderon's
intellectual reflection and formal precision. In his comedy it reflected his ideological and doctrine
intentions in above the passion and the action, the work of Autos sacramentales achieved high
ranks.[29] The genre of Comedia is political, multi-artistic and in a sense hybrid. The poetic text
interweaved with Medias and resources originating from architecture, music and painting freeing
the deception that is in the Lopesian comedy was made up from the lack of scenery and engaging
the dialogue of action.[30]

Literature and philosophy

For German Baroque literature, see German literature of the Baroque period.

Music
The term Baroque is also used to designate the style of music composed during a period that
overlaps with that of Baroque art, but usually encompasses a slightly later period.
It is a still-debated question as to what extent Baroque music shares aesthetic principles with the
visual and literary arts of the Baroque period. A fairly clear, shared element is a love of

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ornamentation, and it is perhaps significant that the role of

ornament was greatly diminished in both music and architecture
as the Baroque gave way to the Classical period.
The application of the term "Baroque" to music is a relatively
recent development, although it has recently been pointed out
that the first use of the word "baroque" in criticism of any of the
arts related to music, in an anonymous, satirical review of the
premire in October 1733 of Rameau's Hippolyte et Aricie,
printed in the Mercure de France in May 1734. The critic
implied that the novelty in this opera was "du barocque,"
complaining that the music lacked coherent melody, was filled
with unremitting dissonances, constantly changed key and
meter, and speedily ran through every compositional device.[31]

George Frideric Handel, 1733

However this was an isolated reference, and consistent use of

the term as a period designator was only begun in 1919, by Curt
Sachs,[32] and it was not until 1940 that it was first used in
English (in an article published by Manfred Bukofzer).[31]
Many musical forms were born in that era, like the concerto and
sinfonia. Forms such as the sonata, cantata and oratorio
flourished. Also, opera was born out of the experimentation of
the Florentine Camerata, the creators of monody, who attempted
to recreate the theatrical arts of the Ancient Greeks. An
important technique used in baroque music was the use of
ground bass, a repeated bass line. Dido's Lament by Henry
Purcell is a famous example of this technique.[33]

Composers and examples

Johann Sebastian Bach, 1748

Giovanni Gabrieli (c. 1554/15571612) Sonata pian' e

forte (1597), In Ecclesiis (from Symphoniae sacrae book 2, 1615)
Claudio Monteverdi (15671643), L'Orfeo, favola in musica (1610)
Heinrich Schtz (15851672), Musikalische Exequien (1629, 1647, 1650)
Francesco Cavalli (16021676), L'Egisto (1643), Ercole amante (1662), Scipione affricano
(1664)
Jean-Baptiste Lully (16321687), Armide (1686)
Marc-Antoine Charpentier (16431704), Te Deum (16881698)
Heinrich Ignaz Franz Biber (16441704), Mystery Sonatas (1681)
John Blow (16491708), Venus and Adonis (16801687)
Johann Pachelbel (16531706), Canon in D (1680)
Arcangelo Corelli (16531713), 12 concerti grossi, Op. 6 (1714)
Marin Marais (16561728), Sonnerie de Ste-Genevive du Mont-de-Paris (1723)

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Henry Purcell (16591695), Dido and Aeneas (1688)

Alessandro Scarlatti (16601725), L'honest negli amori
(1680), Il Pompeo (1683), Mitridate Eupatore (1707)
Franois Couperin (16681733), Les barricades
mystrieuses (1717)
Tomaso Albinoni (16711751), Didone abbandonata
(1724)
Antonio Vivaldi (16781741), The Four Seasons (1723)
Jan Dismas Zelenka (16791745), Il Serpente di Bronzo
(1730), Missa Sanctissimae Trinitatis (1736)
Georg Philipp Telemann (16811767), Der Tag des
Gerichts (1762)
Johann David Heinichen (16831729)
Antonio Vivaldi, 1723
Jean-Philippe Rameau (16831764), Dardanus (1739)
George Frideric Handel (16851759), Water Music
(1717), Messiah (1741)
Domenico Scarlatti (16851757), Sonatas for harpsichord
Johann Sebastian Bach (16851750), Toccata and Fugue in D minor (17031707),
Brandenburg Concertos (1721), St Matthew Passion (1727)
Nicola Porpora (16861768), Semiramide riconosciuta (1729)
Giovanni Battista Pergolesi (17101736), Stabat Mater (1736)

See also
List of Baroque architecture
Baroque in Brazil
Czech Baroque architecture
Dutch Baroque architecture
English Baroque
French Baroque architecture
Italian Baroque
Sicilian Baroque
New Spanish Baroque
Neoclassicism (music)
Andean Baroque
Polish Baroque
Baroque architecture in Portugal
Naryshkin Baroque
Petrine Baroque
Siberian Baroque
Spanish Baroque
Ukrainian Baroque

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Notes
1. Fargis, Paul (1998). The New York Public Library Desk Reference (third ed.). New York: Macmillan
General Reference. p. 262. ISBN 0-02-862169-7.
2. Hughes, J. Quentin (1953). The Influence of Italian Mannerism Upon Maltese Archtecture
(http://melitensiawth.com/incoming/Index/Melita%20Historica/MH.01(1952-55)/MH.1(1953)2
/orig05.pdf). Melitensiawath. Retrieved 8 July 2016. p. 104-110.
3. Helen Gardner, Fred S. Kleiner, and Christin J. Mamiya, Gardner's Art Through the Ages (Belmont, CA:
Thomson/Wadsworth, 2005), p. 516.
4. Helen Hills (ed), Rethinking the Baroque (Farnham (Surrey) and Burlington (Vermont): Ashgate
Publishing, 2011):.
5. OED Online. Accessed 6 June 2008.
6. "Baroque". Encyclopdia Britannica 1911. Retrieved 20 April 2011.
7. Panofsky, Erwin (1995). "Three Essays on Style". The MIT Press: 19. |contribution= ignored (help)
8. "Baroque". Vocabolario Etimologico della Lingua Italiana di Ottorino Pianigiani. Retrieved 26 July
2012.
9. Diogo Mayo (1967-09-15). "Scale Regia". Scalaregia.blogspot.ca. Retrieved 2013-04-20.
10. 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).
11. Boardman, John ed., The Oxford History of Classical Art, 1993, OUP, ISBN 0-19-814386-9
12. Watson W. (1974), Style in the Arts of China, p. 34, 1974, Penguin, ISBN 0-14-021863-7
13. The Columbia Encyclopedia, 6th ed. 2011
14. "Encyclopdia Britannica: Western painting". Britannica.com. Retrieved 2013-04-20.
15. Shearer West (ed.) The Bulfinch Guide to Art History: A Comprehensive Survey and Dictionary of
Western Art and Architecture. Bullfinch 1996. ISBN 0-8212-2137-X
16. Peter Paul Rubens The Life of Marie de' Medici (http://www.students.sbc.edu/vandergriff04
/mariedemedici.html).
17. Hunt, Martin, Rosenwein, and Smith (2010). The Making of the West (third ed.). Boston: Bedford/ St.
Martin's. pp. 469
18. Gonzlez de Zarate, J. M. (1985). Las claves emblemticas en la lectura del retrato barroco. Goya:
Revista de Arte, (187-188), 53-62.
19. "Cornaro Chapel" at Bogelwood.com (http://www.boglewood.com/cornaro/xteresa.html).
20. Francis DK Ching, A Visual Dictionary of Architecture, p. 133
21. Gonzlez Mas , Ezequiel (1980). Historia de la literatura espaola: (Siglo XVII). Barroco, Volumen 3.
La Editorial, UPR, pp. 12
22. Gonzlez Mas , Ezequiel (1980). Historia de la literatura espaola: (Siglo XVII). Barroco, Volumen 3.
La Editorial, UPR, p. 8.
23. Gonzlez Mas , Ezequiel (1980). Historia de la literatura espaola: (Siglo XVII). Barroco, Volumen 3.
La Editorial, UPR, p. 13
24. Gonzlez Mas , Ezequiel (1980). Historia de la literatura espaola: (Siglo XVII). Barroco, Volumen 3.
La Editorial, UPR, p. 91
25. Lope de Vega, 2010, Comedias: El Remedio en la Desdicha. El Mejor Alcalde El Rey, pp. 446447
26. Amadei-Pulice, 1990, Mara Alicia (1990). Caldern y el barroco: exaltacin y engao de los sentidos.
John Benjamins Publishing Company, p. 6
27. Wilson, Edward M.; Moir, Duncan (1992). Historia de la literatura espaola: Siglo De Oro: Teatro
(14921700). Editorial Ariel, pp. 155158

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28. Amadei-Pulice, 1990, Mara Alicia (1990). Caldern y el barroco: exaltacin y engao de los sentidos.
John Benjamins Publishing Company, pp. 2627
29. Molina Jimnez, Mara Beln (2008). El teatro musical de Caldern de la Barca: Anlisis textual.
EDITUM, p. 56
30. Amadei-Pulice, 1990, Mara Alicia (1990). Caldern y el barroco: exaltacin y engao de los sentidos.
John Benjamins Publishing Company, pp. 69
31. Palisca 2001.
32. Sachs, Curt (1919). Barockmusik [Baroque Music]. Jahrbuch der Musikbibliothek Peters (in German).
26. Leipzig: Edition Peters. pp. 715.
33. http://www.classicfm.com/composers/purcell/guides/trevor-pinnock-didos-lament/

References
Andersen, Liselotte. 1969. "Baroque and Rococo Art", New York: H. N. Abrams.
Buci-Glucksmann, Christine. 1994. Baroque Reason: The Aesthetics of Modernity. Sage.
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)
Palisca, Claude V. (1991) [1961]. Baroque Music. Prentice Hall History of Music (3rd ed.). Englewood
Cliffs, N.J.: Prentice Hall. ISBN 0-13-058496-7. OCLC 318382784.
Palisca, Claude V. (2001), Missing or empty |title= (help)
Wakefield, Steve. 2004. Carpentier's Baroque Fiction: Returning Medusa's Gaze. Coleccin Tmesis.
Serie A, Monografas 208. Rochester, NY: Tamesis. ISBN 1-85566-107-1.

Further reading
Bazin, Germain, 1964. Baroque and Rococo. Praeger World of Art Series. New York: Praeger.
(Originally published in French, as Classique, baroque et rococo. Paris: Larousse. English edition
reprinted as Baroque and Rococo Art, New York: Praeger, 1974)
Hills, Helen (ed.). 2011. Rethinking the Baroque. Farnham, Surrey; Burlington, VT: Ashgate. ISBN
978-0-7546-6685-1.
Hortol, Policarp, 2013, The Aesthetics of Haemotaphonomy. Sant Vicent del Raspeig: ECU. ISBN
978-84-9948-991-9.
Kitson, Michael. 1966. The Age of Baroque. Landmarks of the World's Art. London: Hamlyn; New
York: McGraw-Hill.
Lambert, Gregg, 2004. Return of the Baroque in Modern Culture. Continuum. ISBN
978-0-8264-6648-8.
Martin, John Rupert. 1977. Baroque. Icon Editions. New York: Harper and Rowe. ISBN 0-06-435332-X
(cloth); ISBN 0-06-430077-3 (pbk.)
Wlfflin, Heinrich. 1964. Renaissance and Baroque (Reprinted 1984; originally published in German,
1888) The classic study. ISBN 0-8014-9046-4
Vuillemin, Jean-Claude, 2013. Episteme baroque: le mot et la chose. Hermann. ISBN
978-2-7056-8448-8.

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External links
"Baroque". Encyclopdia Britannica. 3 (11th ed.). 1911.
Wikimedia Commons
The baroque and rococo culture
has media related to
(http://www.baroquelife.org)
Baroque art.
Webmuseum Paris (http://www.ibiblio.org/wm/paint
/glo/baroque/)
barocke in Val di Noto Sizilien (http://www.sentieridelbarocco.it/)
Baroque in the "History of Art" (http://www.all-art.org
/history252_contents_Baroque_Rococo.html)
The Baroque style and Luis XIV influence (http://www.antiquestopic.com/the-baroque-style1620-1700/)
Melvyn Bragg's BBC Radio 4 program In Our Time: The Baroque (http://www.bbc.co.uk
/radio4/history/inourtime/inourtime.shtml)
"Baroque Style Guide". British Galleries. Victoria and Albert Museum. Archived from the
original on 19 August 2007. Retrieved 16 July 2007.

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