Baroque Period
The Baroque movement originated in Italy in the late1500’s (spanning through to the 1700’s) and was later accepted by France, Germany, Netherlands and Spain. This art period was a reaction against the formulaic Mannerist style, which was the dominant form during the late Renaissance. Baroque style is more realistic and emotional than the complex Mannerist style. The movement was greatly encouraged by the Catholic Church because it marked a return to tradition and spirituality.
Bold, curving forms, elaborate ornamentation, conspicuous use of decoration, sculpture, and color and overall balance of disparate parts characterize Baroque. The Aristocratic Baroque centered around three ideas: absolutism, academicism, and rationalism, and what are they?
Absolutism
Absolute monarchy or absolutism meant that the sovereign power or ultimate authority in the state rested in the hands of a king who claimed to rule by divine right. Late sixteenth century political theorists believed that sovereign power consisted of the authority to make laws, tax, administer justice, control the state's administrative system, and determine foreign policy. These powers made a ruler sovereign.
Absolutism argues that government was divinely ordained so that humans could live in an organized society. Of all forms of government, monarchy was the most general, most ancient, most natural, and the best, since God established kings and through them reigned over all the people of the world. Since kings received their power from God, their authority was absolute. They were responsible to no one (including parliaments) except God.
Academicism
The seventeenth century was a seminal period in the development of French culture Louis XIV acquired exclusive rights to a first painter who was a match for the grandeur of his aspirations. Charles LeBrun became the all-powerful, peerless master of seventeenth century French art. Le Brun certainly influenced French art, directing it toward the Grand Manner so favored by King Louis XIV. Le Brun was appointed the director of the reorganized Académie for what art historians call academicism or the control of artistic expression by an established academy. The Royal Academy became a system for insuring that the visual arts glorified the king. Its authority extended beyond just funding of the arts, and it educated artists only in the officially approved 'royal' style. A rigid set of rules dictated the instruction of practice and theory, with a strong emphasis on Classicism. Most important French artists of the next generation trained in his studio under the influence of Académie. This was in part because Le Brun appreciated talent and in part because there was little future for French artists who did not submit to the authority of Le Brun and the Académie. Le Brun proceeded in making the Académie an instrument for imposing his views and judgments onto French artists--largely theories based on Poussin, which had so influenced him. He codified a system of art and discouraged innovation and experiment. He promoted discussions over the relative merits of Rubensisme and Poussinisme and of course Poussin emerged the victor. Le Brun's lectures came to be accepted as providing the official standards of artistic expression. This was important because the crown was such an important element of patronage and so influential. Thus if an artist wanted to obtain lucrative commissions, he needed to conform to Le Brun's standards. Le Brun for his part was quite willing to conform to the King's tastes. He also strongly believed that artistic expression could be reduced to a series of rules and teachable elements.
Rationalism
Understanding the various forms of baroque art requires knowledge of its historical context. The 17th century could be called the first modern age. Human awareness of the world was continuously expanding. Many scientific discoveries influenced art; Galileo's investigations of the planets, for example, account for astronomical accuracy in many paintings of the time. The assertion of the Polish astronomer Copernicus that the planets did not revolve around the earth was only fully accepted after 1600. The realization that the earth was not at the center of the universe coincided in art with the rise of pure landscape painting devoid of human figures. The active trade and colonization policies of many European nations accounted for numerous portrayals of exotic places and peoples.
http://www.alifetimeofcolor.com/study/g_baroque.html
http://www.aspectart.com/movements/baroque.php
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