巴洛克艺术

1. 巴洛克艺术

2. TheBaroque is a period of artisticstyle that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, architecture, literature, dance, and music. The style started around 1600 inRome,Italy and spread to most of Europe. • The popularity and success of the Baroque style was encouraged by theRoman Catholic Church, which had decided at the time of theCouncil of Trent, in response to the Protestant Reformation, that the arts should communicate religious themes in direct and emotional involvement. Thearistocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and expressing triumphant power and control. Baroque palaces are built around an entrance of courts, grand staircases and reception rooms of sequentially increasing opulence. • According to theOxford English Dictionary, the wordbaroque is derived from the Portuguese word "barroco", Spanish "barroco", or French "baroque", all of which refer to a "rough or imperfect pearl", though whether it entered those languages via Latin, Arabic, or some other source is uncertain. • 巴洛克艺术是指16世纪后期开始在欧洲流行的一种艺术风格，不仅在绘画方面，巴洛克艺术代表整个艺术领域，包括音乐、建筑、装饰艺术等。 • 「巴洛克」（—Baroque）此字源于西班牙语及葡萄牙语的「变形的珍珠」(—barroco)。作为形容词，此字有「俗丽凌乱」之意。欧洲人最初用这个词指「缺乏古典主义均衡特性的作品」，它原是18世纪崇尚古典艺术的人们，对17世纪不同于文艺复兴风格的一个带贬义的称呼，现今这个词已失去了原有的贬义，仅指17世纪风行于欧洲的一种艺术风格。 • Adoration, byPeter Paul Rubens

3. A century ago, theEncyclopædia Britannica 11th edition, thought the term was derived from the Spanishbarrueco, a large, irregularly-shaped pearl, and it was for a time confined to the craft of the jeweller.Others derive it from themnemonic term "Baroco" denoting, in logicalScholastica, a supposedly laboured form ofsyllogism. • In informal usage, the wordbaroque can simply mean that something is "elaborate", with many details, without reference to the Baroque styles of the seventeenth and eighteenth centuries. • The word "Baroque", like mostperiodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th and early 18th centuries. It is a French transliteration of thePortuguese phrase "pérola barroca", which means "irregularpearl", and natural pearls that deviate from the usual, regular forms so they do not have anaxis of rotation are known as "baroque pearls". • The term "Baroque" was initially used with a derogatory meaning, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, which sharply contrasted the clear and sober rationality of theRenaissance. Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 ofJean-Philippe Rameau’sHippolyte et Aricie, printed in theMercure de France in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device. • 虽然「巴洛克」直指缺乏古典均衡性的艺术作品，但其实巴洛克艺术家，与文艺复兴的前辈相同，都很重视设计和效果的整体统一性，巴洛克风格以强调「运动」与「转变」为特点，尤其是身体和情绪方面的，同时，巴洛克也是对矫饰主义的一种反动。 • 在欧洲文化史中，「巴洛克」惯指的时间是17世纪以及18世纪上半叶(约1600年-1750年），但年份并不代表绝对的艺术风格，特别是建筑与音乐。这一时期，上接文艺复兴(1452年-1600年)，下接古典主义、浪漫时期。

4. Trevi Fountain in Rome

5. 欧洲文化「除旧布新」，在各方面都有重大的改变与成就。资产阶级兴起，君主政治渐独立于宗教之外（但民主思想萌芽）。科学在伽利略、牛顿等人的开创下展开。艺术上趋势是「世俗化」，精力充沛，勇于创新，甚至好大喜功。文艺上的名家如莎士比亚、塞万提斯；绘画上有鲁本斯，伦勃朗等，影响都极深远。也在这时期，欧洲向外扩张殖民，渐渐占据了世界文明的中心。欧洲文化「除旧布新」，在各方面都有重大的改变与成就。资产阶级兴起，君主政治渐独立于宗教之外（但民主思想萌芽）。科学在伽利略、牛顿等人的开创下展开。艺术上趋势是「世俗化」，精力充沛，勇于创新，甚至好大喜功。文艺上的名家如莎士比亚、塞万提斯；绘画上有鲁本斯，伦勃朗等，影响都极深远。也在这时期，欧洲向外扩张殖民，渐渐占据了世界文明的中心。 • 油画 • 巴洛克画家的典型代表是法兰德斯的鲁本斯、荷兰的伦勃朗、西班牙的委拉斯盖兹、英国的凡·戴克、意大利的贝尼尼和卡拉瓦乔等。他们的画作人体动势生动大胆，色彩明快，强调光影变化，比文艺复兴时代画家还要更强调人文意识。 • 鲁本斯的宗教画人体姿势动作激烈，色彩鲜明；伦勃朗的画作如同在舞台上，人物面部处于高光部位，与周围的阴影有强烈的对比；委拉斯开兹的「宫女」，背景中在窗外射入光线下工作的织女，曾经对后期浪漫主义画派画家产生很大的影响. • 巴洛克音乐指欧洲在文艺复兴之后开始兴起，且在古典主义音乐形成之前所流行的音乐类型，延续期间大约从1600年到1750年之间的150年。 • 巴洛克（Baroque）一词来源于西班牙语和葡萄牙语「Barocco」，意指形态不够圆或不完美的珍珠，最初是建筑领域的术语，后逐渐用于艺术和音乐领域。在艺术领域方面，巴洛克风格的特征是精致细腻的装饰以及华丽的风格，造成这种现象的主因，是因为巴洛克时期是贵族掌权的时代，富丽堂皇的宫廷里奢华的排场正是新的文化以及艺术的发展中心，而这个大环境的改变也直接的影响到了音乐家的创作。十七、八世纪宫廷乐师所写的音乐作品，绝大部分是为上流社会的社交所需而做，为了炫耀贵族的权势以及财富，当时的宫廷音乐必定得呈现出炫耀的音乐以及不凡的气度，以营造愉悦气氛。

6. 卡拉瓦乔是意大利画家，跟米兰画家培德查诺﹝Simone Peterzano﹞学画，并受威尼斯画派的影响。 • 他在早期创作四组壁画：《圣礼的争辩》﹝神学﹞、《雅典学派》﹝哲学﹞、《巴那斯山》﹝文学﹞、《法律》，运用历史画的方法处理这些带有象征性的主题，反映当时教会人士的要求。其代表作包括《西斯廷圣母》、《自画像》、《教皇利奥十世像》等。此外，还画了不少建筑设计图稿。 • 他的早期作品多为静物画，另有一些戏剧化的小幅自画像，这些自画像混合有北方的明晰和威尼斯的朦胧感，对比强烈，描绘精细。晚年作品极其晦暗，某些作品已受损，但作品中直率的图像，朴实而深切，表现出一种新的，强烈的戏剧化情感。 • 他革命性的表现技巧，使他卷入永无止境的论战里。这些非难，包括如祝卡洛﹝Zuccaro﹞等学院派后期矫饰主义画家对他的反对，主要在于他那生动的写实精神，采用时装及现实背景，排斥理想化，及繁复的内容等。 • 圣马太蒙召唤﹝The Calling of St. Matthew﹞

7. 圣马太殉教﹝The Martyrdom of St. Matthew﹞ 圣马太与天使﹝The Inspiration of St. Matthew﹞

8. 圣彼得被钉上十字架﹝The Crucifixion of St. Peter﹞ 圣保罗的死难﹝The Conversion of St. Paul﹞

9. 圣母之死部分﹝The Death of the Virgin ﹞ 1605 ~ 1606年 油彩‧画布，369 x 245公分 罗浮宫，巴黎﹝Paris﹞，法国 埋葬基督﹝The Entombment﹞1602 ~ 1604年 油彩‧画布，300 x 203公分 梵蒂冈美术馆，罗马﹝Rome﹞，意大利

10. Judith Beheading Holofernes 1598–1599.Galleria Nazionale d'Arte Antica, Rome

11. Supper at Emmaus, 1601. Oil on canvas, 139 × 195 cm (55 × 77 in).National Gallery, London The Seven Works of Mercy, 1606–1607,Pio Monte della Misericordia,Naples

12. Michelangelo Merisi da Caravaggio - Supper at Emmaus (detail) The Cardsharps(c. 1595, shown left)

13. Sir Peter Paul Rubens (Dutch pronunciation: [ˈrybə(n)s]; 28 June 1577 – 30 May 1640), was aFlemish Baroque painter, and a proponent of an extravagantBaroque style that emphasized movement, colour, and sensuality. He is well-known for hisCounter-Reformationaltarpieces,portraits,landscapes, andhistory paintings of mythological and allegorical subjects. • In addition to running a large studio inAntwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educatedhumanist scholar, art collector, and diplomat who wasknighted by bothPhilip IV, King of Spain, andCharles I, King of England. • 鲁本斯是法兰德斯派画家、版画家。他擅长神话、历史、宗教及风俗画，同时，也精于肖像画及风景画。1600年，鲁本斯远赴意大利，在威尼斯，他临摹了提香﹝Tiziano Vecellio﹞、丁多列托﹝Jacopo Robusti Tintoretto﹞及维洛内些﹝Paolo Veronese﹞的作品，将大师的造形与构图观念消化后，纳入个人风格之中。 • 1608年，鲁本斯母病危，他立刻赶回安特卫普，从此鲁本斯即留居于法兰德斯，并受法兰德斯大公封为宫廷画家，并成为罗马风格画家公会之一员。一直到1612年止的一段时期可谓为鲁本斯的「狂飙运动」时期。在此期间，画中的造形极度夸张，而尺寸亦放大。 • Self-portrait, 1623,National Gallery of Australia,

14. Equestrian Portrait of the Duke of Lerma, 1603,Museo del Prado, Madrid. Painted during Rubens's first trip to Spain in 1603 Rubens andIsabella Brant in theHoneysuckle Bower, 1609–10.Alte Pinakothek, Munich

15. The Elevation of the Cross, 1610–11. Central panel.Cathedral of Our Lady, Antwerp The Virgin and Child Adored by Angels, 1608, oil on slate and copper. This is the central panel depictingThe Virgin and Child Adored by Angels above the High Altar,Santa Maria in Vallicella, Rome

16. The Exchange of Princesses, from the Marie de' Medici Cycle. Louvre, Paris Peter Paul Rubens andFrans Snyders,Prometheus Bound, 1611–12. Philadelphia Museum of Art

17. Hippopotamus Hunt (1616). Rubens is known for the frenetic energy and lusty ebullience of his paintings 四位哲学家﹝The Four Philosophers﹞ 1611 ~ 1612年 油彩‧画布，164 x l39公分 皮蒂宫，佛罗伦萨﹝Florence﹞，意大利

18. 爱的花园 Garden of Love 1633年 油彩‧画布 198 x 283公分 普拉多美术馆，马德里﹝Madrid﹞ 西班牙

19. 范戴克﹝Sir Anthony Van Dyck﹞﹝1599 ~ 1641﹞ • Sir Anthony van Dyck (Dutch pronunciation: [vɑn ˈdɛˑɪ̯k], many variant spellings;[2] 22 March 1599 – 9 December 1641) was aFlemish Baroque artist who became the leadingcourt painter inEngland. He is most famous for his portraits ofCharles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence onEnglish portrait-painting for the next 150 years. He also paintedbiblical andmythological subjects, displayed outstanding facility as a draftsman, and was an important innovator inwatercolour andetching. • 范戴克是法兰德斯画家，巴洛克宫庭肖像画的创造者。当他在14岁时便当上鲁本斯﹝Rubens﹞的首席助理。在大师的影响之下，他修改了早期羞涩、粗犷的风格，而开始使用细致的色调。1621年，他前往意大利，在热那亚和罗马停留了极长的时间，并且创作了许多出色的肖像画，它们在个性的刻划上虽不如鲁本斯来得有力量，但对被画者的特性有敏锐的掌握，他表现了一种永恒的格调，反应出他内在的忧郁。 • 1627年，范戴克回到安特卫普﹝Antwerp﹞，1630年被布鲁塞尔的西班牙皇室封为宫廷画家，并且画了许多肖像，又完成了多建教堂所委托的杰作。

20. 1932年，范戴克迁至伦敦，被英王查理一世封为爵士，，命为「首席画家」。他在英国九年间的肖像画作品相当不少，其中最为有名的是国王查理一世的三幅肖像画、《查理一世的三个孩子》﹝The Three Eldest Children of Charles I ﹞等，这些作品为英国肖像画的伟大传统创设了一个典范。 Self-portrait, 1613-14 Genoan hauteur from the Lomelli family, 1623

21. King Charles I, ca. 1635 Louvre - see text The more intimate, but still elegant style he developed in England, ca 1638

22. This triple portrait of King Charles I was sent to Rome forBernini to model a bust on Henrietta Maria and thedwarf,Sir Jeffrey Hudson, 1633

23. Rest of the Holy Family during theFlight into Egypt (around 1630)Alte Pinakothek,Munich Elena Grimaldi, Genoa 1623

24. Charles I with M. de St Antoine (1633) Queen Henrietta Maria, London 1632

25. Amor and Psyche, 1638 Equestrian Portrait of Charles I, c.1637-8

26. 查理一世的三个孩子﹝The Three Eldest Children of Charles I﹞ 1635年 油彩‧画布，151 x 154公分 莎芭达画廊，杜林﹝Torino﹞，意大利 查理一世狩猎像﹝Charles I of England at the Hunt﹞ 1635年 油彩‧画布，266 x 207公分 罗浮宫，巴黎﹝Paris﹞，法国

27. A Family Group, c. 1634-35, oil on canvas,The Detroit Institute of Arts James Stuart, Duke of Richmond, ca. 1637

28. Georges de La Tour (March 13, 1593 – January 30, 1652) was a French Baroque painter, who spent most of his working life in theDuchy of Lorraine, which was temporarily absorbed into France between 1641 and 1648. He painted mostly religiouschiaroscuro scenes lit by candlelight. • 拉突尔是法国传统画家，他最著名的是以烛光作为光源所画出来的景。 • 他的作品深受意大利画家卡拉瓦乔﹝Caravaggio﹞的影响，尤其是有关光影的部分；另外，他也受到了荷兰画家Hendrick Terbrugghen和Gerrit van Honthorst的影响。他的夜景通常只用一盏烛光为光源，因此强烈的表现出亮度和阴影的差距。 • 他晚年的作品演变出一种人像风格，画里的人体都简约成最单纯的几何造型，并且安置得详静平和，是法国古典主义的表现。 • He often painted several variations on the same subjects, and his surviving output is relatively small. His son Étienne was his pupil, and distinguishing between their work in versions of La Tour's compositions is difficult. The version of theEducation of the Virgin, in theFrick Collection in New York is an example, as the Museum itself admits. Another group of paintings (example left), of great skill but claimed to be different in style to those of La Tour, have been attributed to an unknown "Hurdy-gurdy Master". All show older male figures (one group in Malibu includes a female), mostly solitary, either beggars or saints. • St Joseph, 1642,Louvre

29. TheHurdy-Gurdy Player, c.1631-1636,Musée des Beaux-Arts de Nantes Dice-players, ca. 1651, probably his last work. Preston Hall Museum,Stockton-on-Tees, UK

30. The Cheat with the Ace of Clubs, c. late 1620s,Kimbell Art Museum,Fort Worth, Texas. Another version is in the Louvre.

32. Magdalen with the Smoking Flame, c. 1640,Los Angeles County Museum of Art The Fortune Teller, 1633-1639,Metropolitan Museum of Art

33. Nativity, 1644,Louvre The Dream of St. Joseph, c. 1628-1645,Musée des Beaux-Arts de Nantes

34. St Sebastian tended by St Irene, 1649, ParishBroglie France The Newborn Christ, c. 1645-1648,Museum of Fine Arts of Rennes

35. 圣母受教育﹝The Education of the Virgin﹞ 1650年 油彩‧画布，84 x 100公分 弗立克美术图书馆，纽约﹝New York﹞，美国 St Jerome (Hurdy-gurdy group), c. 1624-1650,Nationalmuseum,Stockholm

36. 李常生Eddie Lee Taipei R.O.C leechangsheng5555@gmail.com 数据源：视觉素养学习网、From Wikipedia, the free encyclopedia、 谨向历史上所有的画家致敬。 I have the honor to pay tribute to all the painters in the history. 谨向全世界得画家致敬。 THE END