B
ROQUE
RTS
Baroque art refers to the visual
arts and architecture that
emerged in the history of Western
art during the 17th century.
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Kn ow n for its grandeur,
emotional intensity, and ornate
designs, it was a response to the
changing cultural and religious
dynamics in Europe at the time.
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KEYPO NT TO
REMEMBER
Baroque art refers to the visual arts and architecture that emerged
during the 17th century in Western history. K n o w n for its grandeur,
emotional intensity, and elaborate details, Baroque art reflected the
cultural and religious changes o f the time. Originating in Europe,
particularly in Italy, the m o v e m e n t quickly spread to other regions,
including colonial S o u t h America. It b e c a m e s y n o ny m o u s with ornate,
dramatic fo rms, blending art and architecture in a way that
emphasiz ed m o v e m e n t and emotional depth
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Ch r c t e r st
cs O f
B rOque r t s
Dramatic Expression
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Baroque art focuses o n evoking emotional intensity and conveying
deep feelings through vivid expressions, bold gestures, and theatrical
compositions. Artists a i m e d to involve the viewer in the scene
emotionally.
T h e Calling o f Saint Matthew
Caravaggio (1571–1610)
T h e use o f light (chiaroscuro)
heightens the d ra m a o f the
m o m e n t wh e n Christ calls
Matthew, focusing o n facial
expressions an d gestures.
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Movement and Dynamism
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Baroque artists were k n ow n for creating the illusion o f m o v e m e n t in
their works. Figures are often caught in m i d - action, with flowing
drapery and swirling compositions, m a k i n g scenes feel alive.
T h e Ecstasy o f Saint Teresa
G i a n L o re n z o Bernini (1598–1680)
T h e dy n a m i c positioning of
Teresa an d the angel captures a
sense o f divine m o t i o n and
passion.
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Use of Light and Shadow
(Chiaroscuro)
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Baroque artists were masters at manipulating light to create contrast
and emphasiz e particular elements o f their work. Thi s technique
(chiaroscuro) added d ra m a and depth to scenes b y casting s o m e areas
in shadow and highlighting others.
Judith Behead ing Holofernes
Artemisia Gentileschi (1593–1656)
T h e dramatic interplay o f light
an d shadow draws attention to the
violent act, heightening the
intensity o f the m o m e n t .
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Grandeur and Opulence
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Baroque art is often characterized b y its grandeur and opulent style.
Thi s is especially true in Baroque architecture, where buildings were
designed with elaborate details, lavish decorations, and a m o n u m e n t a l
scale.
T h e Palace o f Versailles
L ou i s L e Va u , Jules H a rd o u i n - Mansart, A n d ré L e Nôtre
T h e architecture, with its intricate
gol d decorations, vast spaces, and
elaborate gardens, is a perfect
representation o f Baroque
grandeur.
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Emotional Realism
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Unl ike the idealized fo r m s o f the Renaissance, Baroque art focuses o n
real, emotional experiences. Figures often express intense, raw
e m o t i o n , and scenes are designed to evoke e m p a t hy or a strong
emotional reaction f r o m viewers.
T h e Elevation o f the Cross
Peter Paul Ru be ns (1577–1640)
T h e figures’ struggle an d exertion
in raising the cross are depicted
with powerful realism and
emotional intensity.
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Religious Themes and Tension
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Religious i m a g e r y was a d o m i n a n t subject in Baroque art, reflecting
the influence o f the Catholic C h u r c h during the C o u n t e r - Reformation.
T h e art was often used to inspire faith and c o nvey divine power or
religious ecstasy.
T h e Tr i u m p h o f the N a m e o f Jesus
G i ova n n i Battista Gau l li (1639–1709)
T h i s ceiling fresco in the C h u r c h
o f the G e s ù is filled with divine
light an d figures that s eem to spill
out into the viewer’s space,
creating a sense o f religious awe.
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Blurring of Artistic Boundaries
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Baroque art often blurred the lines between different art forms.
Architecture, painting, and sculpture would m e r g e together in a single
work, creating i m m e rs ive experiences for the viewer.
T h e Trevi Fountain in R o m e , Italy
N i c c o l ò Salvi (1697-1751)
T h e fountain features a dramatic and
elaborate sculptural group o f figures,
including N e p t une , and is integrated
into the architecture o f the Palazzo Poli.
T h e dy n a m i c flow o f water, grand scale,
and intricate details create a visually
stunning experience, blurring the
boundaries between the functional (as
a water source) and the artistic.
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ORIGIN OF TERMS
The term "Baroque" likely originates from the Italian word "barocco,"
which medieval philosophers used to describe obstacles in schematic logic,
eventually referring to any contorted idea or complex thought process.
Another possible source is the Portuguese word "barroco" (Spanish
"barrueco"), which describes irregular or imperfectly shaped pearls—
a meaning that continues in the term "baroque pearl" used in jewelry.
Another possible source is the Portuguese word "barroco" (Spanish
"barrueco"), which describes irregular or imperfectly shaped pearls—
a meaning that continues in the term "baroque pearl" used in jewelry.
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ROCOC
O ART
Rococo painting, which originated in
early 18th century Paris, is
characterized by soft colors and curvy
lines and depicts scenes of love, nature,
amorousencounters,light-hearted
entertainment and yought.
Rocaille refers to the shell-
work in garden grottoes
and is used as a descriptive
word for the serpentine
patterns seen in decorative
arts of the rococo period.
06 Jean Honoré Fragonard
(French, 1732-1806) was
one such painter who
attempted to adapt his style
to the artistic changes of the
period; unlike Watteau,
Jean Honore
Fragonard
