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History of Furnishings: Italian Baroque
Terms in this set (24)
Is a word that originated from the Portuguese Barocco which means misshapen, irregular, or ugly
Italian Baroque: Architecture
Although still based upon the classical orders, interpreted them far more freely than before.
Characteristics: Use of curved form, flowing surface forms; enguleting curve → movement and drama, power, sense of projection and recession
Italian Baroque: Interiors
Interiors in which naturalistic painting and sculpture were cleverly blended with the architectural forms to suggest grandiose. Idea of unity among all the pieces (art).
Other Baroque features included pilasters with gilt Corinthian capitals flanking wall niches that are articulated with classical moldings
Italian Baroque: Ceilings
Most upper walls and ceilings were covered with paintings compartmentalized by plaster moldings; Barrel vaulted ceilings.
Theatricalism and Scenic effect
Gold gilding; Quality was sacrificed during this period
Honesty of Materials: Italian
Honesty of materials: if you have brick, you use brick. This was disregarded during this period; if you cant afford marble, they would use wood and paint it to look like marble
St. Peter's (1606)
Earliest evidence of Italian Baroque is St. Peter's in Rome. Baroque reached its height in Italy about 1650 and then evolved into Rococo
Marble used here is from the Coliseum.
St. Peter's itself is Renaissance, the colinade/courtyard is Baroque.
Façade is in Renaissance/classical elements present; what makes its Baroque is the rounded shape
Italian Baroque Architects
The most celebrated artist and architect of the Italian Baroque style was Gian Lorenzo Bernini
Baldachin by Bernini
Baldachin: canopy resting on columns used over altars or thrones.
Made out of bronze (Material recycled; bronze from the pantheon is used inside St. Peter's); took classical idea of a column and twisted it (uniquely Baroque). Incorporation of gilding
Throne of St. Peter
Work by Bernini 1657-66. Located in San Pietro (Rome). Use of marble, bronze, white, and gold stucco
Il Gesu Offices :are oval, not a direct circle. See the use of curve, projecting and receding objects on the façade
Sta. Susanna (1597-1603)
Designed by Carlo Maderno; See use of curved line
Sta. Maria Della Salute
Designed 1631-32; Located in Venice
Octagon shaped space, use of curved line; use of oval form
Italian Baroque Furniture
Cassones were eliminated; furniture was large and heavy. Furniture woods, if of an inferior grade, showed painted surfaces and decorations to help conceal the inferior construction
Italian Baroque Accessories
Most important accessory was majolica ware (large earthenware plates). Venice was the center for ornamental glass and tableware industry. In the 16th century, mirrors increased in size, and the convex mirror increased in popularity
Use of barley twist on leg supports. Use of bell turning on stretchers; Upholstery and use of fringe
Twisting of the furniture; like in Bernini columns
inverted cup turning
Venetian Center Table
Use of "C" scrolls and "S" scrolls; Large foliated scrolls; Paw feet
Made of walnut; Use of "S" and "C" scrolls; Style is loose and free
Demi-lune console table
Made of walnut; half oval shape/circle shape (sits against the wall). Most innovative piece of the Baroque period; has relatively little functional use, there for decorative reasons.
Most likely used with a mirror (hung above); Large mirror was also an innovation of this time period
Had practical use; much more practical reason is that it reflects light/adds light.
Could reflect light at night and gave the sense of added space .
Use of gilding; wall and ceiling acting as one.
Headboard: not a four post bed, no tester, fabric hangings.
use of Putti (Italian form of the Cherub without wings)
What furniture terminates in; utilizes curved forms, but ends flat
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OTHER SETS BY THIS CREATOR
History of Furnishings: English Baroque
History of Furnishings: French Baroque
Blur: Chapter 8
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