Compare and Contrastmannerism and Baroque Art Using a Venn Diagram
The Baroque movement began in Rome in the early on 1600s and spread throughout Europe by the 17th and 18th centuries. Rococo art dominated the French fine art scene mainly during the early 18th century.
Baroque Style
These styles may seem about indistinguishable just they take distinctive differences. Rococo, which relates to the French words, Rocaille (mussel) and Coque (seashell) is actually a deviation from the previous Baroque fashion. Bizarre comes from the Portugese word barroco which ways flawed pearl.
Though connected through their nautical give-and-take origins and general mode, their differences are notable and important. Whereas the Baroque manner exudes a masculine energy and presence, Rococo art has a more demure, very beautiful, feminine aureola.
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The origins of Bizarre and Rococo movements
The Catholic Church commissioned fine art in the Baroque style to retain followers during the Protestant Reformation. Baroque art was a drastic contrast to the austere, stark and boring Protestant religion. Catholic leaders hoped that the drama of this new art manner would stir awe and emotion, making Catholicism the better choice. With this in mind, Baroque art was a propaganda tool for the Catholic Church.
In French republic, the Baroque style is about fully realized in Peter Paul Rubens' Marie d'Medici Wheel. This series of 24 paintings is establish in the Luxembourg Palace. Its dramatic and elaborate panels demonstrate the pomp and circumstance associated with the reign of Louis XIV.
After Louis XV took the throne, the French elite moved away from these public displays of power to focus on privacy. Louis XV even modified Versailles to be a more than secluded private home.
At this time, living spaces became more defined. No longer was 1 room utilized for eating, sleeping, and entertaining. The upstairs rooms became private places for rest and the downstairs areas were designated for guests. The growing Nobel form would hold salons in these spaces where guests would socialize and discuss intellectual subjects.
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With this expanding group of people and new designations between public and individual space, a new type of decor was needed. Enter Rococo art, a more feminine, private and subtle version of the dramatic Baroque art of the previous reign. This change from public to individual focus was the exigence for the boom of Rococo art during the early on 18th century.
Stylistic differences between Rococo and Baroque fine art
Baroque art is known for its intensity. It is explosive and depicts dramatic motion, whirling visuals and tension that pulls on its compositions. At its beginning, Baroque was a sharp divergence from the serene, classical compositions of the previous Renaissance and Mannerist movements.
In the Bizarre era, paintings and architectural styles were contorted and illusionistic. Artists played with trompe 50'oeil and the fine art entered the viewer's space. Baroque paintings are famous for their use of chiaroscuro, which is characterized by an intense contrast between low-cal and dark with the lite coming from a specific point.
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Baroque decor is extremely ornamental with a great amount of bronze, gilding and marble. The architecture is monumental and everything points to a central axis. A church building's altar is usually the central focus in Baroque compages. The entire church is created effectually the chantry in a manner that draws awe-inspiring attending to this center point. This video here allows an inside view of a Baroque style church in Italy.
Every bit the Baroque period began to air current down, the Rococo period ushered in an era of soft, private, femininity that countered the intense masculinity of the previous era.
Rococo art is often found in private, interior spaces, virtually notably as salon decor. Like Baroque fine art, the Rococo style is also ornamental and very decorative but on a much more slender scale. Information technology also disregards the often rigid symmetry of Baroque décor and compages for a more at ease, natural feel. Rococo flourishes are often created using seashells and aureate metal in the form of twisting vines.
Rococo painters chose pastel colors over nighttime chiaroscuro, letting light wash over the entire scene. These works are very aesthetically cute and ethereal. The faces of the subjects pretty, with delicate features and their bodies adorned with beautiful flowing dresses and dashing suits. The scenes allow you to purely enjoy the playful, romantic visuals with a sense of ease.
Themes of Baroque and Rococo art
The subjects and themes of Rococo and Baroque art are nigh polar opposites. Bizarre art usually depicts religious themes while the Rococo period is deeply rooted in secular culture.
Bizarre art is mainly Christian in subject affair. Paintings and sculptures describe biblical figures and stories with intense accuracy. Public buildings such equally churches and other religious sanctuaries utilized this way to imbue a sense of wonder to the structures and entice followers.
On the other mitt, Rococo fine art focuses on secular themes and leisurely times. Paintings draw love stories, sexually charged escapades, and classical mythology. They are ofttimes set up in a lush landscape while beautifully dressed (or undressed) party goers galivant through the limerick. These party landscapes are often referred to as Fête Galantes and were very common themes in Rococo art.
Rococo ornament and architecture is also used for not-religious ways. The decoration can usually be institute in private residences and its architecture often associated with more than secular buildings.
Both Baroque and Rococo art have similarities in their styles. They are recognized by their opulent decoration and aesthetically pleasing visuals. That being said, there is a marked difference in the tone that each fashion creates. Rococo has a more private, soft, pleasing feel while Baroque fine art is dramatic and powerful.
Neither style is objectively amend than the other but their differences make them uniquely interesting in their own contexts.
By Jacqueline LewisBA Fine art History and Architecture Jacqueline Lewis is a History of Art & Architecture graduate. While studying art, she worked in the research department of The Chicago History Museum and wrote articles for Chicago Gallery News. At present, she is the Assistant Managing director of a long-standing, prestigious art gallery in Chicago. Throughout the year she works at major art events like the New York IFPDA Impress Fair, SOFA and EXPO Chicago. She also writes and publishes articles about the fine art scene and historical topics.
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