Baroque of Versailles and Italian baroque - Essay Example

Number March 7, 2007 How and Why the Baroque of Versailles Differ from Italian Baroque Baroque relates to the style and architecture used throughout the 17th century and into the middle of the 18th century. (Blunt, A. 1993) This style was used heavily with the Italians and the style carried partially into France during this time. It was through the influence of the Roman Catholic Church to use themed styles, with very obvious, clearly defined portrayals that explained the theme. (Wikipedia Website. 2007) It was also about large, expansive, very beautiful art and architecture. In some cases, especially for the Italians, it meant nearly out of proportion. This is coming out of the era of the Renaissance, with more antique and traditional art techniques. Art and architecture for the Baroque period were simple and were very clear about the point being brought out in the designs. The style was adapted into the music and literature areas as well, but the style was most prominently displayed in the fabulous churches and palaces in the era. It was the Italians who began the style and later on the French used it in their own architecture. While the style was considered somewhat the same, there were variations between; there were a few variations between the two styles. For the Italians, this involved a number of very unique style buildings. One of the first to use this style was Carlo Manderno, whose famous designs include the Santa Susanna (1) and the Santa Maria della Vittoria. ( Wittkower, R. 1999) One of the finest examples of his work is in the design of the Santa Susanna. The building is just two stories tall. The lower part has a total of five tiers and the upper level has only three. The construction of all the elements are so designed so that everything points to the middle of the structure, pointing to a loggia - a simple gallery open to the air. Funny enough, he used the old Renaissance style inside the building. You can tell the difference when you cross the street into the Santa Maria della Vittoria (2), where construction was also completed by Carlo Manderno. The interior of the building reveals the expanse of the building, with three chapels separated only by arches and pillars. The style is clearly simple, very strait forward, and also a very enormous way of getting a point across. For example, inside is a statue depicting something from the Saint Teresa of Avila (3). (Wikipedia Website. 2007) The scene portrayed is of a dream she had about an angel peircing her heart with a long shaft, and filling herself with both joy and pain. She is said to be in a contorted posture and the flowing robes, very voluptous looks between -- it was the essense of the Barouque style for the Italians. The statue is larger than life, and purposefully done so. It isn't a complicated piece, just very big, very to the point. Hence the Roman Catholic Church's vision is realizes in such art and architecture -- art that should be very easy for the public to understand the meaning, and so big that it will be unforgettable and symbolizing religious themes. ( Wittkower, R. 1999) French Baroque, often called Classicism, was similar in style to the Italians as to the simplicity and more importantly, the idea that size does matter, and that grandness was to mean you had great power. (Wikipedia Website. 2007) Not all the styles transferred from Italy to France, as the openness and very frank displays of the art was not always in French taste. While the French had no problem getting on with the grandness of their architecture, they had a problem with the bluntness, and preferred slightly subdued style. There were also differences in the architectural structure, given that the French preferred mansard roofs and complex rooflines. During the reign of Louis XIV, new construction was happening to the Louvre. He invited a designer to look into completing the project, but rejected his two design ideas. Because of his focus on Versailles at the time, the Louvre construction was halted. It would remain exposed to the elements for nearly a century, but it was Louis the XIV who eventually came back to again take up the project. First, though, he wanted something created in Versailles and he hired Louis Le Vau for the job. He commissioned for Louis Le Vau to go to Versailles. His father had an old hunting lodge, small but opulent at the time. Louis XIV changed it with the help of the designs from Louis Le Vau. The hunting lodge soon became a grand palace, later called the Palace of Versailles. It is the largest palace ever built. Since the Baroque style was to imitate the perfection and enchantment perceived about royalty, it was the king's power that was signified throughout the castle. The style conceived in the palace was later dubbed the Louis XIV style. (Blunt, A. 1993) This style is readily recognized by the large brocades, usually of red and gold. There were also the plaster moldings, heavy with gold gilt work and lots of marble. As it was, the sun was conceived to be the symbol of the king. In each of his apartments, a theme of one of the seven known planets circling the sun created an out of world attraction. The Palace of Versaillies (4) consists of the Chataeu, grand apartments, five chapels, the L' Opra, the park and gardens and outbuildings. It seemed as if architecture was one way in with the king could flout his power. You see the Baroque style within the palace, as it is not as detailed. Things are plain, very big, but very simple designs. It was a true contrast to the previous, very comprehensive Renaissance era. There was a bit more modesty, though, in the statues within and without the palace. No big, often perverse picturesque art or statues. They were still very large, as was the Baroque style, but there's nothing out of French taste. There were more references to the king than to Rome and the Roman Catholic Church, which is also a difference between the two styles it seems. The palace itself had lots of reflections to the sun, which represented the king, and fewer religious references. After the completion of the palace, Louis XIV looked again to the long neglected Louve (5) and ordered Louis Le Vau to help completed the east wing, having laid dormant for some time who brought to the Lourve the classicizing design. Originally, it was Giovanni Berninis's suggestions that were submitted to Louis the XIV. The king rejected the circular, curved design of the east faade. When Louis Le Vau presented his design, it showed more Classicalist design popular with the time period. This was agreed to and construction was completed to the east faade to this design. You can tell from the style of the roof the traditional French taste in architecture. (Microsoft Encarta Online Encyclopedia. 2007) So clearly, there were differences in the two Baroque styles. The Italians, who began the style, use very forward styles, very opulent and big. The French followed suit, with the grandness but still used a bit of subtle in the style. The differences can be clearly bee seen in the example of the Palace of Versailles, which portrayed grandness in size of the gardens and grounds and in the sheer size of the palace, but not in the style of the art, which was a bit more demure than the Italians. On both sides it was believe that opulence and great buildings must equal to power. Still, both styles of architecture and art are great reflections on the history of the period. Bibliography ART AND ARCHITECTURE. [Internet.] 2007. Microsoft Encarta Online Encyclopedia 2007 http://encarta.msn.com 1997-2007 Microsoft Corporation. All Rights Reserved. Available from: http://encarta.msn.com/encnet/refpages/RefArticle.aspxrefid=761572212&pn=2 [Accessed 13 Mar 2007]. FRENCH BAROQUE AND CLASSICISM, [Internet.] 2007. Wikipedia Website. Available from: http://en.wikipedia.org/wiki/French_Baroque_and_Classicism [Accessed 13 Mar 2007]. BAROQUE ARCHITECTURE, [Internet]. 2007. Wikipedia Website. Available from: http://en.wikipedia.org/wiki/Baroque_architecture [Accessed 13 Mar 2007]. BAROQUE ART AND ARCHITECTURE, [Internet]. 2007. The History Channel website. Available from : http://www.history.com/encyclopedia.doarticleId=202283 [Accessed 11 Mar 2007]. Blunt, A. 1993, Art and Architecture in France 1500-1700, Yale University Books, Owl Books, Indiana. Wittkower, R. 1999, Art and Architecture in Italy 1600-1750, Vol. 1 Early Baroque, Yale University Press. Read More