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巴洛克艺术TheBaroqueisaperiodofartisticstylethatusedexaggeratedmotionandclear,easilyinterpreteddetailtoproducedrama,tension,exuberance,andgrandeurinsculpture,painting,architecture,literature,dance,andmusic.Thestylestartedaround1600inRome,ItalyandspreadtomostofEurope.ThepopularityandsuccessoftheBaroquestylewasencouragedbytheRomanCatholicChurch,whichhaddecidedatthetimeoftheCouncilofTrent,inresponsetotheProtestantReformation,thattheartsshouldcommunicatereligiousthemesindirectandemotionalinvolvement.ThearistocracyalsosawthedramaticstyleofBaroquearchitectureandartasameansofimpressingvisitorsandexpressingtriumphantpowerandcontrol.Baroquepalacesarebuiltaroundanentranceofcourts,grandstaircasesandreceptionroomsofsequentiallyincreasingopulence.AccordingtotheOxfordEnglishDictionary,thewordbaroqueisderivedfromthePortuguesewordbarroco,Spanishbarroco,orFrenchbaroque,allofwhichrefertoaroughorimperfectpearl,thoughwhetheritenteredthoselanguagesviaLatin,Arabic,orsomeothersourceisuncertain.巴洛克艺术是指16世纪后期开始在欧洲流行的一种艺术风格,不仅在绘画方面,巴洛克艺术代表整个艺术领域,包括音乐、建筑、装饰艺术等。巴洛克(Baroque)此字源于西班牙语及葡萄牙语的变形的珍珠(barroco)。作为形容词,此字有俗丽凌乱之意。欧洲人最初用这个词指缺乏古典主义均衡特性的作品,它原是18世纪崇尚古典艺术的人们,对17世纪不同于文艺复兴风格的一个带贬义的称呼,现今这个词已失去了原有的贬义,仅指17世纪风行于欧洲的一种艺术风格。Adoration,byPeterPaulRubensTheBaroque is a period of artiAcenturyago,theEncyclopdiaBritannica11thedition,thoughtthetermwasderivedfromtheSpanishbarrueco,alarge,irregularly-shapedpearl,anditwasforatimeconfinedtothecraftofthejeweller.OthersderiveitfromthemnemonictermBarocodenoting,inlogicalScholastica,asupposedlylabouredformofsyllogism.Ininformalusage,thewordbaroquecansimplymeanthatsomethingiselaborate,withmanydetails,withoutreferencetotheBaroquestylesoftheseventeenthandeighteenthcenturies.ThewordBaroque,likemostperiodicorstylisticdesignations,wasinventedbylatercriticsratherthanpractitionersoftheartsinthe17thandearly18thcenturies.ItisaFrenchtransliterationofthePortuguesephraseprolabarroca,whichmeansirregularpearl,andnaturalpearlsthatdeviatefromtheusual,regularformssotheydonothaveanaxisofrotationareknownasbaroquepearls.ThetermBaroquewasinitiallyusedwithaderogatorymeaning,tounderlinetheexcessesofitsemphasis.Inparticular,thetermwasusedtodescribeitseccentricredundancyandnoisyabundanceofdetails,whichsharplycontrastedtheclearandsoberrationalityoftheRenaissance.Althoughitwaslongthoughtthatthewordasacriticaltermwasfirstappliedtoarchitecture,infactitappearsearlierinreferencetomusic,inananonymous,satiricalreviewofthepremireinOctober1733ofJean-PhilippeRameausHippolyteetAricie,printedintheMercuredeFranceinMay1734.Thecriticimpliedthatthenoveltyinthisoperawasdubarocque,complainingthatthemusiclackedcoherentmelody,wasfilledwithunremittingdissonances,constantlychangedkeyandmeter,andspeedilyranthrougheverycompositionaldevice.虽然巴洛克直指缺乏古典均衡性的艺术作品,但其实巴洛克艺术家,与文艺复兴的前辈相同,都很重视设计和效果的整体统一性,巴洛克风格以强调运动与转变为特点,尤其是身体和情绪方面的,同时,巴洛克也是对矫饰主义的一种反动。在欧洲文化史中,巴洛克惯指的时间是17世纪以及18世纪上半叶(约1600年-1750年),但年份并不代表绝对的艺术风格,特别是建筑与音乐。这一时期,上接文艺复兴(1452年-1600年),下接古典主义、浪漫时期。A century ago,theEncyclopdiaTreviFountaininRomeTrevi Fountain in Rome欧洲文化除旧布新,在各方面都有重大的改变与成就。资产阶级兴起,君主政治渐独立于宗教之外(但民主思想萌芽)。科学在伽利略、牛顿等人的开创下展开。艺术上趋势是世俗化,精力充沛,勇于创新,甚至好大喜功。文艺上的名家如莎士比亚、塞万提斯;绘画上有鲁本斯,伦勃朗等,影响都极深远。也在这时期,欧洲向外扩张殖民,渐渐占据了世界文明的中心。油画巴洛克画家的典型代表是法兰德斯的鲁本斯、荷兰的伦勃朗、西班牙的委拉斯盖兹、英国的凡戴克、意大利的贝尼尼和卡拉瓦乔等。他们的画作人体动势生动大胆,色彩明快,强调光影变化,比文艺复兴时代画家还要更强调人文意识。鲁本斯的宗教画人体姿势动作激烈,色彩鲜明;伦勃朗的画作如同在舞台上,人物面部处于高光部位,与周围的阴影有强烈的对比;委拉斯开兹的宫女,背景中在窗外射入光线下工作的织女,曾经对后期浪漫主义画派画家产生很大的影响.巴洛克音乐指欧洲在文艺复兴之后开始兴起,且在古典主义音乐形成之前所流行的音乐类型,延续期间大约从1600年到1750年之间的150年。巴洛克(Baroque)一词来源于西班牙语和葡萄牙语Barocco,意指形态不够圆或不完美的珍珠,最初是建筑领域的术语,后逐渐用于艺术和音乐领域。在艺术领域方面,巴洛克风格的特征是精致细腻的装饰以及华丽的风格,造成这种现象的主因,是因为巴洛克时期是贵族掌权的时代,富丽堂皇的宫廷里奢华的排场正是新的文化以及艺术的发展中心,而这个大环境的改变也直接的影响到了音乐家的创作。十七、八世纪宫廷乐师所写的音乐作品,绝大部分是为上流社会的社交所需而做,为了炫耀贵族的权势以及财富,当时的宫廷音乐必定得呈现出炫耀的音乐以及不凡的气度,以营造愉悦气氛。欧洲文化除旧布新,在各方面都有重大的改变与成就。资产阶级卡拉瓦乔是意大利画家,跟米兰画家培德查诺SimonePeterzano学画,并受威尼斯画派的影响。他在早期创作四组壁画:圣礼的争辩神学、雅典学派哲学、巴那斯山文学、法律,运用历史画的方法处理这些带有象征性的主题,反映当时教会人士的要求。其代表作包括西斯廷圣母、自画像、教皇利奥十世像等。此外,还画了不少建筑设计图稿。他的早期作品多为静物画,另有一些戏剧化的小幅自画像,这些自画像混合有北方的明晰和威尼斯的朦胧感,对比强烈,描绘精细。晚年作品极其晦暗,某些作品已受损,但作品中直率的图像,朴实而深切,表现出一种新的,强烈的戏剧化情感。他革命性的表现技巧,使他卷入永无止境的论战里。这些非难,包括如祝卡洛Zuccaro等学院派后期矫饰主义画家对他的反对,主要在于他那生动的写实精神,采用时装及现实背景,排斥理想化,及繁复的内容等。圣马太蒙召唤TheCallingofSt.Matthew卡拉瓦乔是意大利画家,跟米兰画家培德查诺Simone Pe圣马太与天使TheInspirationofSt.Matthew圣马太殉教TheMartyrdomofSt.Matthew圣马太与天使The Inspiration of St.圣保罗的死难TheConversionofSt.Paul圣彼得被钉上十字架TheCrucifixionofSt.Peter圣保罗的死难The Conversion of St.P埋葬基督TheEntombment16021604年油彩画布,300 x203公分梵蒂冈美术馆,罗马Rome,意大利圣母之死部分TheDeathoftheVirgin16051606年油彩画布,369x245公分罗浮宫,巴黎Paris,法国埋葬基督The Entombment 1602 JudithBeheadingHolofernes15981599.GalleriaNazionaledArteAntica,RomeJudith Beheading Holofernes 15TheSevenWorksofMercy,16061607,PioMontedellaMisericordia,NaplesSupperatEmmaus,1601.Oiloncanvas,139195cm(5577in).NationalGallery,LondonThe Seven Works of Mercy,1606TheCardsharps(c.1595,shownleft)MichelangeloMerisidaCaravaggio-SupperatEmmaus(detail)The Cardsharps(c.1595,shown SirPeterPaulRubens(Dutchpronunciation:ryb(n)s;28June157730May1640),wasaFlemishBaroquepainter,andaproponentofanextravagantBaroquestylethatemphasizedmovement,colour,andsensuality.Heiswell-knownforhisCounter-Reformationaltarpieces,portraits,landscapes,andhistorypaintingsofmythologicalandallegoricalsubjects.InadditiontorunningalargestudioinAntwerpthatproducedpaintingspopularwithnobilityandartcollectorsthroughoutEurope,Rubenswasaclassicallyeducatedhumanistscholar,artcollector,anddiplomatwhowasknightedbybothPhilipIV,KingofSpain,andCharlesI,KingofEngland.鲁本斯是法兰德斯派画家、版画家。他擅长神话、历史、宗教及风俗画,同时,也精于肖像画及风景画。1600年,鲁本斯远赴意大利,在威尼斯,他临摹了提香TizianoVecellio、丁多列托JacopoRobustiTintoretto及维洛内些PaoloVeronese的作品,将大师的造形与构图观念消化后,纳入个人风格之中。1608年,鲁本斯母病危,他立刻赶回安特卫普,从此鲁本斯即留居于法兰德斯,并受法兰德斯大公封为宫廷画家,并成为罗马风格画家公会之一员。一直到1612年止的一段时期可谓为鲁本斯的狂飙运动时期。在此期间,画中的造形极度夸张,而尺寸亦放大。Self-portrait,1623,NationalGalleryofAustralia,Sir Peter Paul Rubens(Dutch pRubensandIsabellaBrantintheHoneysuckleBower,160910.AltePinakothek,MunichEquestrianPortraitoftheDukeofLerma,1603,MuseodelPrado,Madrid.PaintedduringRubenssfirsttriptoSpainin1603Rubens andIsabella Brant in thTheVirginandChildAdoredbyAngels,1608,oilonslateandcopper.ThisisthecentralpaneldepictingTheVirginandChildAdoredbyAngelsabovetheHighAltar,SantaMariainVallicella,RomeTheElevationoftheCross,161011.Centralpanel.CathedralofOurLady,AntwerpThe Virgin and Child Adored byPeterPaulRubensandFransSnyders,PrometheusBound,161112.PhiladelphiaMuseumofArtTheExchangeofPrincesses,fromtheMariedeMediciCycle.Louvre,ParisPeter Paul Rubens andFrans Sny四位哲学家TheFourPhilosophers16111612年油彩画布,164xl39公分皮蒂宫,佛罗伦萨Florence,意大利HippopotamusHunt(1616).Rubensisknownforthefreneticenergyandlustyebullienceofhispaintings四位哲学家The Four PhilosophersHi爱的花园GardenofLove1633年油彩画布198x283公分普拉多美术馆,马德里Madrid西班牙爱的花园SirAnthonyvanDyck(Dutchpronunciation:vndk,manyvariantspellings;222March15999December1641)wasaFlemishBaroqueartistwhobecametheleadingcourtpainterinEngland.HeismostfamousforhisportraitsofCharlesIofEnglandandhisfamilyandcourt,paintedwitharelaxedelegancethatwastobethedominantinfluenceonEnglishportrait-paintingforthenext150years.Healsopaintedbiblicalandmythologicalsubjects,displayedoutstandingfacilityasadraftsman,andwasanimportantinnovatorinwatercolourandetching.范戴克是法兰德斯画家,巴洛克宫庭肖像画的创造者。当他在14岁时便当上鲁本斯Rubens的首席助理。在大师的影响之下,他修改了早期羞涩、粗犷的风格,而开始使用细致的色调。1621年,他前往意大利,在热那亚和罗马停留了极长的时间,并且创作了许多出色的肖像画,它们在个性的刻划上虽不如鲁本斯来得有力量,但对被画者的特性有敏锐的掌握,他表现了一种永恒的格调,反应出他内在的忧郁。1627年,范戴克回到安特卫普Antwerp,1630年被布鲁塞尔的西班牙皇室封为宫廷画家,并且画了许多肖像,又完成了多建教堂所委托的杰作。范戴克SirAnthonyVanDyck15991641Sir Anthony van Dyck(Dutch pr1932年,范戴克迁至伦敦,被英王查理一世封为爵士,命为首席画家。他在英国九年间的肖像画作品相当不少,其中最为有名的是国王查理一世的三幅肖像画、查理一世的三个孩子TheThreeEldestChildrenofCharlesI等,这些作品为英国肖像画的伟大传统创设了一个典范。GenoanhauteurfromtheLomellifamily,1623Self-portrait,1613-141932年,范戴克迁至伦敦,被英王查理一世封为爵士,命为Themoreintimate,butstillelegantstylehedevelopedinEngland,ca1638KingCharlesI,ca.1635Louvre-seetextThe more intimate,but still eHenriettaMariaandthedwarf,SirJeffreyHudson,1633ThistripleportraitofKingCharlesIwassenttoRomeforBerninitomodelabustonHenrietta Maria and thedwarf,SElenaGrimaldi,Genoa1623RestoftheHolyFamilyduringtheFlightintoEgypt(around1630)AltePinakothek,MunichElena Grimaldi,Genoa 1623RestQueenHenriettaMaria,London1632CharlesIwithM.deStAntoine(1633)Queen Henrietta Maria,London EquestrianPortraitofCharlesI,c.1637-8AmorandPsyche,1638Equestrian Portrait of Charles查理一世狩猎像CharlesIofEnglandattheHunt1635年油彩画布,266x207公分罗浮宫,巴黎Paris,法国查理一世的三个孩子TheThreeEldestChildrenofCharlesI1635年油彩画布,151x154公分莎芭达画廊,杜林Torino,意大利查理一世狩猎像Charles I of England aAFamilyGroup,c.1634-35,oiloncanvas,TheDetroitInstituteofArtsJamesStuart,DukeofRichmond,ca.1637A Family Group,c.1634-35,oiGeorgesdeLaTour(March13,1593January30,1652)wasaFrenchBaroquepainter,whospentmostofhisworkinglifeintheDuchyofLorraine,whichwastemporarilyabsorbedintoFrancebetween1641and1648.Hepaintedmostlyreligiouschiaroscurosceneslitbycandlelight.拉突尔是法国传统画家,他最著名的是以烛光作为光源所画出来的景。他的作品深受意大利画家卡拉瓦乔Caravaggio的影响,尤其是有关光影的部分;另外,他也受到了荷兰画家HendrickTerbrugghen和GerritvanHonthorst的影响。他的夜景通常只用一盏烛光为光源,因此强烈的表现出亮度和阴影的差距。他晚年的作品演变出一种人像风格,画里的人体都简约成最单纯的几何造型,并且安置得详静平和,是法国古典主义的表现。Heoftenpaintedseveralvariationsonthesamesubjects,andhissurvivingoutputisrelativelysmall.Hissontiennewashispupil,anddistinguishingbetweentheirworkinversionsofLaTourscompositionsisdifficult.TheversionoftheEducationoftheVirgin,intheFrickCollectioninNewYorkisanexample,astheMuseumitselfadmits.Anothergroupofpaintings(exampleleft),ofgreatskillbutclaimedtobedifferentinstyletothoseofLaTour,havebeenattributedtoanunknownHurdy-gurdyMaster.Allshowoldermalefigures(onegroupinMalibuincludesafemale),mostlysolitary,eitherbeggarsorsaints.StJoseph,1642,LouvreGeorges de La Tour(March 13,TheHurdy-GurdyPlayer,c.1631-1636,MusedesBeaux-ArtsdeNantesDice-players,ca.1651,probablyhislastwork.PrestonHallMuseum,Stockton-on-Tees,UKTheHurdy-Gurdy Player,c.1631-TheCheatwiththeAceofClubs,c.late1620s,KimbellArtMuseum,FortWorth,Texas.AnotherversionisintheLouvre.The Cheat with the Ace of Club巴洛克艺术课件MagdalenwiththeSmokingFlame,c.1640,LosAngelesCountyMuseumofArtTheFortuneTeller,1633-1639,MetropolitanMuseumofArtMagdalen with the Smoking FlamTheDreamofSt.Joseph,c.1628-1645,MusedesBeaux-ArtsdeNantesNativity,1644,LouvreThe Dream of St.Joseph,c.16StSebastiantendedbyStIrene,1649,ParishBroglieFranceTheNewbornChrist,c.1645-1648,MuseumofFineArtsofRennesSt Sebastian tended by St Iren圣母受教育TheEducationoftheVirgin1650年油彩画布,84x100公分弗立克美术图书馆,纽约NewYork,美国StJerome(Hurdy-gurdygroup),c.1624-1650,Nationalmuseum,Stockholm圣母受教育The Education of the Vir李常生EddieLeeTaipeiR.O.C数据源:视觉素养学习网、FromWikipedia,thefreeencyclopedia、谨向历史上所有的画家致敬。Ihavethehonortopaytributetoallthepaintersinthehistory.谨向全世界得画家致敬。THETHEENDEND李常生Eddie Lee Taipei R.O.C l
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