{The Baroque Period [continued (20)] (Late Baroque and Rococo [continued (3)]}[7th May 1991]

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(France)

‘Even more Baroque are formal portraits by Hyacinthe Rigaud and Nicolas de Largillière, in which the strong contraposto (twisting of the figure so that one half is in opposition to the other), rich settings, & floating masses of drapery reflect the pomp & swagger of the grande époque (era of Louis XIV).

*

* – ibid [Encyclopaedia Britannica 25:] 356

[Immediately followed in source text by extract in next ts entry]

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{The Baroque Period [continued (19)] (Late Baroque and Rococo [continued]}[7th May 1991]

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‘Spain & Portugal.

Two fundamental and ostensibly opposed streams permeate Spanish art & literature — ecstatic mysticism and* sober rationalism — and it is those peculiar qualities that give Spanish and its special character and at the same time separate it from the art of the rest of Europe. These qualities are essentially Gothic** in spirit, and the Iberian peninsula is remarkable for the tenacity with which these Gothic ideas were retained throughout the period and for the relatively small influence that Renaissance humanist ideas ever had there. At the beginning of the 17th century, still-life paintings by Sánchez Cotán, with strong realism and harsh, mysterious lighting, illustrate admirably these contrasts….’

***

*

**{NB}

cf VIII: [[Redbook8:314][19910307:1718]{Gothic Art}[7th March 1991],] 314ff

(- [[Redbook8:350][19910315:1000tt][Gothic Art (3) [continued (22):]] European art in the 15^th century [ce] [continued (9)][15th March 1991],] 350)

*** – ibid [Encyclopaedia Britannica 25: 354]

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{The Baroque Period [continued (18)] (Late Baroque and Rococo}[7th May 1991]

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‘(Late Baroque and Rococo)

[….]

‘Late Baroque Classicism, as represented in Rome by Carlo Maratti, was slowly transformed into a sweet, and elegant 18th-century style by his pupil Benedetto Luti, while Francesco Trevisani abandoned the dramatic lighting of his early paintings in favour of a glossy Rococo classicism.’

*

* – ibid [Encyclopaedia Britannica 25:] 354

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{The Baroque Period [continued (17)]}[7th May 1991]

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This* looks like a pattern of advancing diffusion** typical*** of the early final quarter of Outer Circle.

*[See last previous journal ts entry/entries (presumably)]

**[sic]

***{typical!}

[sic]

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{The Baroque Period [continued (16)]}[7th May 1991]

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‘The essential characteristics of late Baroque art can be identified first in the frescoes of Mattia Preti at the Palazzo Pamphili, Valmontone (1661[ce]);* but the transition between the High Baroque and the late Baroque was a continuous process and occurred at different dates with different artists. At Valmontone the sense of dynamic structure characteristic of the High Baroque frescoes of Pietro de Cortona give away to a more decorative scheme in which the figures are scattered across the ceiling, giving an overall unity but without any focal point. Francesco Cozza used this scheme in the Pamphili Library, Rome (1667-73[ce]),** but among the finest late Baroque decorations of the type are ceilings painted in Genoa by Gregorio de’Ferrari and Domenico Piola. while Luca Giordano took the style to Spain.

The breakdown of the directionality of the composition is paralleled by the loosening in design of the individual figures and once again the unity is decorative rather than structural.’

***

*2048G~R~|64C1664[ce]

**64S1672[ce]

*** – ibid [Encyclopaedia Britannica 25: 354]

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