From Renaissance To Baroque Essays On Literature And Art

Cultural Anthropologists have made many extraordinary discoveries throughout history. Many of these discoveries are emblematic of the contents that might comprise time capsules from various periods of recorded human history. Although various forms of art, philosophy, and literature were produced during each era, there are distinct differences between the ordinary and those that represent or capture the essence of each respective period. With regard to the arts, philosophy, and literature, The Renaissance and The Age of Baroque share similarities, but also exemplify the effects of humanism and how The Humanities influenced change from one period to the next. The Renaissance

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Baroque art style in the renaissance period was inspired by the ..

A conception of the baroque as an aesthetic of high rhetoric, magnificence, and splendor is still strong in continental scholarship, as is evident in a steady appearance of publications in Germany, France, and Italy that are aimed at both specialists and the general reader. Works by scholars in the English-speaking world, including , tend to resist a notion of a single unifying baroque aesthetic or style, using the term sparingly and in a restricted manner to suggest a chronological period stretching from the late 16th century to the end of the 17th century. examines the intellectual union of the arts, literature, rhetoric, and collecting within the context of the aesthetic of the marvelous from the end of the 16th century into the 17th century. associates the baroque with the Counter-Reformation, while both this work and link it as well to court culture and to theater. identifies the baroque most closely with Roman cultural production in the 17th century. , by contrast, identifies the baroque most closely with an innovative aesthetic and with developments in literature and rhetoric that represent a decisive break with the past. In opposition to prevailing opinion that associates the baroque with stylistic qualities evident in the visual arts, argues that these media betray less novelty, energy, and innovation and, in their close link to Renaissance culture, they are less truly representative of the baroque. associates the baroque with the artifice and dissimulation of courtly culture and with , while examines the aesthetic character of the baroque thematically, considering movement, distortion, surprise, the momentary, illusionism, and grandeur.

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Although the term is most often applied to the visual arts, on which this article will concentrate, and it is most closely associated with Italian art of the 17th century, little agreement exists among scholars about the term’s value and significance. Moreover, resistance is still found among scholars in the English-speaking world to applying this term to 17th-century art because the term was never used in the period. Applied to music by Denis Diderot and to the architecture of Borromini in the 18th century to connote excess, the bizarre, deformity, and deviation from the rule, baroque was subsequently used, still pejoratively, in criticism of 17th-century architecture and art. German art historians in the 19th century introduced it to refer to the production of painting and sculpture in the period between the Renaissance and the rise of neoclassicism. The art of this period of the 16th through early 18th centuries was associated with decadence. By the 20th century the term baroque had come to be applied to other areas of cultural production, including literature. Taking a cue from Heinrich Wölfflin, who cast the baroque as a reaction to the Renaissance, Eugene Ors argued that the baroque exists in every epoch, though in historically unique iterations. On the one hand, baroque art is associated with artistic production emblematizing the rhetoric of a triumphalist Roman Catholic Church and thus was produced in response to the patronage of the papacy and religious orders. It is often associated with 17th-century Roman art, which will inevitably represent a central focus here. On the other, the term has been retained in the English-speaking world since the 1970s as a convenient period label, though a largely empty one. Recently, has been reintroduced in English scholarship to allude to the dramatic, rhetorical, and affective character of much 17th-century cultural production. Disagreement concerning the duration of the baroque continues. Does this period terminate at 1700, 1725, or 1750 or even as late as 1800? The term has also found success in artistic theory as a recurring and metahistorical counterpoint to the classical. Scholars who identify the baroque as a unified aesthetic—one outside any single artistic domain—argue that it is one of movement, drama, innovation, and high rhetoric. Many other formal characteristics have been associated with it as well, including high contrast, detail, artifice, and monumentality. It is sometimes thought to have issued from, or to have appeared in sync with, political crisis, corruption, and absolutism. Some scholars deploy the term to refer to period-specific formal characteristics in the visual arts; others use it to describe a universal aesthetic uniting literature, rhetoric, theater, music, and the arts.

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