Barok: Perbedaan antara revisi

[[Berkas:Peter_Paul_Rubens_Peter Paul Rubens -_The_Adoration_of_the_Magi_ The Adoration of the Magi -_WGA20244 WGA20244.jpg|thumb|right|250px|''Adoration,'' oleh [[Peter Paul Rubens]]: dynamic figures spiral down around a void: draperies blow: a whirl of movement lit in a shaft of light, rendered in a free bravura handling of paint.]]

Dalam [[seni]], '''Barok''' adalah istilah untuk suatu periode seni dan [[gaya]] seni yang mendominasinya. Gaya Barok menggunakan gerak yang dilebih-lebihkan dan detail yang jelas dan mudah ditafsirkan untuk menghasilkan drama, ketegangan, semangat yang hidup dan keagungan dalam [[seni patung]], [[lukisan]], [[sastra]], dan [[musik]]. Gayanya dimulai sekitar 1600 di [[Roma]], [[Italia]] dan menyebar ke sebagian besar wilayah [[Eropa]]. Dalam musik, gaya Barok dikenakan pada periode akhir dari dominasi [[kontrapung]] yang imitatif.

(Nama ini diadaptasi dari [[kata sifat]] dalam [[bahasa Perancis]] yang diambil dari [[kata benda]] [[bahasa Portugis]] "barroco". <!--Some confusion can occur in using for the period and style the [[Minuscule|lower-cased]] version "baroque", which can instead mean merely "elaborate" [or especially "overly elaborate"] without implying connection to the period.)

Germinal ideas of the Baroque can also be found in the work of [[Michelangelo Buonarroti|Michelangelo]].

Some general parallels in music make the expression "Baroque music" useful. Contrasting phrase lengths, harmony and [[counterpoint]] ousted [[polyphony]], and orchestral color made a stronger appearance. (See [[Baroque music]].) Similar fascination with simple, strong, dramatic expression in poetry, where clear, broad syncopated rhythms replaced the enknotted elaborated metaphysical similes employed by [[Mannerism|Mannerists]] such as [[John Donne]] and imagery that was strongly influenced by visual developments in painting, can be sensed in [[John Milton]]'s ''[[Paradise Lost]],'' a Baroque epic.

The dryer, chastened, less dramatic and coloristic, later stages of 18th century Baroque architectural style are often seen as a separate '''Late Baroque''' manifestation. (See [[Claude Perrault]].) Academic characteristics in the neo-[[Palladian]] architectural style, epitomized by [[William Kent]], are a parallel development in Britain and the British colonies: within doors, Kent's furniture designs are vividly influenced by the Baroque furniture of Rome and Genoa, hieratic tectonic sculptural elements meant never to be moved from their positions completing the wall elevation. Baroque is a style of unity imposed upon rich and massy detail.

In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms— they spiralled 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]].

The architecture, sculpture and fountains of [[Gian Lorenzo Bernini|Bernini]] (1598–1680) give highly-charged characteristics of Baroque style. Bernini was undoubtedly the most important sculptor of the Baroque period. He approached [[Michelangelo Buonarroti|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.

A good example of Bernini's work that helps us understand the Baroque is his ''[[Ecstasy of St Theresa|St. Theresa in Ecstasy]]'' (1645–52), 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.

He had, in essence, a brick box shaped something like a proscenium stage space with which to work. Saint Theresa, the focal point of the chapel, is a monochromatic marble statue (a soft white) surrounded by a polychromatic marble architectural framing concealing a window to light the statue from above. In shallow relief, sculpted figure-groups of the Cornaro family inhabit in opera boxes along 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 in detail and in an imaginary setting. St. [[Theresa of Avila]], a popular saint of the [[Catholic Reformation]], wrote narratives of her mystical experiences aimed at the nuns of her [[Carmelite Order]]; these writings had become popular reading among lay people interested in pursuing spirituality. She once described the love of God as piercing her heart like a burning arrow. Bernini literalizes this image by placing St. Theresa on a cloud in a reclining pose; what can only be described as a Cupid figure holds a golden arrow (the arrow is made of metal) and smiles down at her. The angelic figure is not preparing to plunge the arrow into her heart— rather, he has withdrawn it. St. Theresa's face reflects not the anticipation of ecstasy, but her current fulfillment, which can only be described as orgasmic.

In Baroque architecture, new emphasis was placed on bold massing, [[colonnade]]s, [[dome]]s, 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 processional sequence of increasingly rich interiors that culminated in a presence chamber or throne room or a state bedroom. The sequence of monumental stair followed by state apartment was copied in smaller scale everywhere in aristocratic dwellings of any pretensions.

Baroque architecture was taken up with enthusiasm in central [[Germany]] (see e.g. [[Ludwigsburg Palace]] and [[Zwinger]] Dresden), [[Austria]] and [[Poland]] (see e.g. [[Wilanow]] and [[Bialystok]] Palaces). 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 the Spanish Americas. Town planning of this period featured radiating avenues intersecting in squares, which took cues from [[History of gardening|Baroque garden plans]].

The word "Baroque", like most [[Periodization|period]] or stylistic designations, was invented by later [[critic]]s rather than practitioners of the arts in the 17th and early 18th centuries. It is a [[French language|French]] translation of the [[Portuguese language|Portuguese]] word "Barroco" (meaning an irregular [[pearl]], or false jewel—notably, an ancient similar word, "Barlocco" or "Brillocco", is used in [[Rome|Roman]] [[dialect]] for the same meaning—and natural pearls that deviate from the usual, regular forms so they do not have an [[axis of rotation]] are known as "baroque pearls"). Alternatively, it may derive from the now obsolete [[Italian language|Italian]] "Baroco" (meaning, in logical ''Scholastica'', a [[syllogism]] with weak content). A common definition, before the term ''Barocco'' was used, called this genre simply the style of '''The Flying Forms'''.

The term "Baroque" was initially used with a derogatory meaning, to underline the excesses of its emphasis, of its eccentric redundancy, its noisy abundance of details, as opposed to the clearer and sober rationality of the Renaissance. It was first rehabilitated by the [[Switzerland|Swiss-born]] [[Art History|art historian]], [[Heinrich Wölfflin]] (1864–1945) in his ''Renaissance und Barock'' (1888); Wölfflin 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. Writers in French and English did not begin to treat Baroque as a respectable study until Wölfflin's influence had made German scholarship pre-eminent.

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