[Redbook9:303][19910508:0903r]{Baroque Sculpture [continued (18)]}[8th May 1991]
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(France: Baroque and Rococo)
**
*[Marginal note:] NB? An expression of the balance of G~ & M~?
** – ibid [Encyclopaedia Britannica 27:] 101
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[Redbook9:303][19910508:0903q]{Baroque Sculpture [continued (17)]}[8th May 1991]
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*
**
***
*[“The Annunciation”, painted wood sculpture by Ignaz Günther, 1764ce; in the Abbey church at Weyarn, Bavaris, Germany.]
{ – ibid: [[Encyclopaedia Britannica 27:]] 103}
[This illustration is from another source]
**{cf [[Redbook9:321][19910511:1000#]{‘The Baroque’ [continued (#)]}[11th May 1991],] 321}
***2048G~1536|R~1792[ce]
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[Redbook9:302][19910508:0903p]{Baroque Sculpture [continued (16)]}[8th May 1991]
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‘Flanders. In comparison with painting, the sculpture of the 17th century [ce] in the southern provinces is extremely disappointing.
‘… Eighteenth century [ce] painting & sculpture became increasingly weak & provincial, though fantastic pulpits carved by Hendrik Frans Verbruggen, Michel Vervoort, & Theodor Verhaegen provide a remarkable parallel to those in central Europe.’
*
* – ibid [Encyclopaedia Britannica 27:] 101
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[Redbook9:302][19910508:0903o]{Baroque Sculpture [continued (15)]}[8th May 1991]
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‘Gregorio Hernández in sculptures like the “Pietà”* (1617[ce], Museo Nacional de Esculturas, Valladolid, Spain) revealed an emotional realism more Gothic than Baroque (Figure 65)*....
In general the 18th century [ce] saw a sad decline in Spanish sculpture.’
**
*See illustration, ibid;**
this does remind me of those
Nazi & particularly Communist
officially-sponsored arts,
in the emphasis on ‘realism’ and
the idealisation not so much
of its ‘form’, but of its
‘content’ – the ‘idealisation’
or formulaisation [sic] of emotions.{↓}
{ibid [Encyclopaedia Britannica 27:] 100}
** – ibid [Encyclopaedia Britannica 27:] 101
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[Redbook9:302][19910508:0903n]{Baroque Sculpture [continued (14)]}[8th May 1991]
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‘Spain. Spanish sculpture of the 17th & 18th centuries [ce] exhibits a greater continuity with the late Gothic and the Counter-Reformation than does the painting; and the demands for realism and an emotional stimulus led to sculpture with glass eyes, human hair, & even real fabric costumes. Italian Renaissance sculpture had made a very limited impact in Spain, and with few exceptions this was in court ambience only, while Spanish Baroque sculpture is almost entirely religious and of a fundamentally popular nature.
**
*[See next ts journal entry]
**– ibid [Encyclopaedia Britannica 27:] 101
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[Redbook9:301][19910508:0903m]{Baroque Sculpture [continued (13)]}[8th May 1991]
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And at the same time* of course one has still to follow the turning of the larger cycle – or cycles, although the sheer complexity of the possibilities leads me to restrict my ‘analysis’ to just two main cycles, with only hints of others.
*[See last three previous ts journal entries, [Redbook9:301][19910508:0903j]{Baroque Sculpture [continued (10)]}[8th May 1991]]
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[Redbook9:301][19910508:0903l]{Baroque Sculpture [continued (12)]}[8th May 1991]
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Then again, life being what it is, it's probably all three of these,* and more....
I expect a lot of this to become much clearer when I reach ‘modern’ art, i.e. c. late 19th century [ce] onwards.**
*[See last two previous ts journal entries, [Redbook9:301][19910508:0903j]{Baroque Sculpture [continued (10)]}[8th May 1991]]
**{Yes. See eg X:[] 3,
[] 63}
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[Redbook9:301][19910508:0903k]{Baroque Sculpture [continued (11)]}[8th May 1991]
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Otherwise,* the only explanation for the overrun of ‘dissolute’** or diffuse expressions of art beyond C at the same time as more 'classical' forms (as well as doctrinal commissions) appear may be e.g.
(a) the habit of clinging to established customs – which as the later stages of an artistic cycle might be expected to be superficial anyway, would not be easily distinguishable from these late stages; or
(b) just possibly, the influence of a complete turn-around at C back towards r~, manifesting itself in that total letting-go, self-sacrifice, abnegation of the self-will (even in design), in short, Surrender, which is not (as in the case of the Outer Circle) the end but the beginning of a new turn of *** cycle, the inner circle, of integration.****
#
*[See last previous ts journal entry]
**ref [[Redbook9:300][19910508:0903g]{Baroque Sculpture [continued (7)]}[8th May 1991],] 300
***[sic – ‘the’?]
****At this stage there is an acute danger of so much ‘spread’ that the whole analysis collapses into chaos (as an o[uter] c[ircle] would....)
#[& see next ts journal entry]
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[Redbook9:301][19910508:0903j]{Baroque Sculpture [continued (10)]}[8th May 1991]
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I suppose that when considering a 64-year cycle one has to expect rather more chronological over-run* than in longer cycles – especially in sculpture, where commission to completion may be a matter of years for a complex (eg Baroque) work (and even more in the case of architecture[)].**
*[proportionally, presumably]
**[But see next ts journal entry]
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[Redbook9:300][19910508:0903i]{Baroque Sculpture [continued (9)]}[8th May 1991]
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‘The latter half of the [18th] century [ce]* saw the emergence of a much lighter, more theatrical manner** in the works of Agostino Cornacchini and of Pietro Bracci, whose allegorical figure “Ocean” on the Fontana di Trevi by Niccolò Salvi (completed 1762[ce])*** is almost a parody of Bernini's sculpture. Filippo della Valle worked in a classicizing**** style of almost French sensibility, but the majority of Italian sculpture of the mid-18th century [ce]# became increasingly #* picturesque with a strong tendency towards technical virtuosity.’
#**
*64A~1760|G~1776|C1792[ce]
↑
**G~?
***64A~1760
****M~?
↓
#64C1728|M~1744|A~1760[ce]
1760[ce]ff??
#*(my emph[asis])
#** – [From] Encyclopaedia Britannica 27:98-100
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[Redbook9:300][19910508:0903h]{Baroque Sculpture [continued (8)]}[8th May 1991]
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‘A more or less classical* late Baroque style, best exemplified by the heroic works of Camillo Rusconi in Rome, was dominant in central Italy through the middle of the 18th century.** Rusconi's work had considerable influence outside Italy as well.
***
*M~?
↓
**64C1728|M~1744|A~1760[ce]
2048R~1792[ce]
** – [From] Encyclopaedia Britannica 27:98-100
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