Reflections on Baroque / Edition 1

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Overview

"In this reinterpretation of the Baroque, Robert Harbison offers new readings that stress its eccentric and tumultuous forms, in which a destabilized sense of reality is often projected onto the viewer. This strange, subjectively inclined world is manifested in such bizarre phenomena as the small stuccoed universe of Giacomo Serpotta, the Sacred Mounts of Piedmont and the grimacing heads of F. X. Messerschmidt." From its beginnings in the seventeenth century, the Baroque embraced the whole of Catholic Europe and infiltrated Protestant England, Orthodox Russia and even Muslim Turkey. Architecture, paintings, poetry, music, natural science and new forms of piety all have their places on the Baroque map. Harbison explores their metamorphoses into later styles, particularly the Rococo, and, in an unexpected twist, pursues the Baroque idea into the nineteenth and twentieth centuries, proposing provocative analyses of pastiches or imitations (in Der Rosenkavalier and the work of Aubrey Beardsley) or resemblances (deliberate or not) in Czech Cubism and Frank Gehry's architecture. Typical of Harbison's approach in the depth and breadth of its points of reference, Reflections on Baroque demonstrates that the Baroque impulse lives on in the 21st-century imagination.
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Product Details

  • ISBN-13: 9780226316017
  • Publisher: University of Chicago Press
  • Publication date: 9/15/2003
  • Edition description: 1
  • Edition number: 1
  • Pages: 256
  • Product dimensions: 6.63 (w) x 9.50 (h) x 0.90 (d)

Meet the Author

Robert Harbison is a professor of architecture and interior design at the University of North London. He is the author of Eccentric Spaces and Thirteen Ways: Theoretical Investigations in Architecture.

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Table of Contents

Foreword
I. THE CASE FOR DISRUPTION
Bernini, Borromini, Mattia Preti, Milton, St Ignatius, Monteverdi, Fischer von Erlach, Costanzo Michela, Juvarra, thoroughfares, staircases, Sacred Mounts, St Teresa, plague columns, ceilings (Pozzo, Maulbertsch, Tiepolo), Marvell, Crashaw
II. TORMENTED VISION
Maulbertsch, Handel, Rubens, Sacred Mounts, the sketch, Clérisseau, Soane, Sterne, Vittone, Borromini, convents, saints, the Sacred Heart, Messerschmidt, the cult of sensibility
III. THE VIEW FROM ABOVE
Wren, Ragusa, Palermo, Rubens, Milton, Dryden, Vanbrugh, Jesuit expansion, Defoe, Querétaro, Noto, Blandford Forum, Turin, Versailles, Schönbrunn, Bucharest, Pope
IV. THE END OF HEROISM
Mozart and opera (Idomeneo, Così fan tutte, La finta giardiniera), Asam brothers (Rohr, Weltenburg, Freising), Serpotta, Watteau
V. THE WORLD AS SCENERY
Congreve, Pope, the Bibiena family, Piranesi, Soane, the Gothic novel, Venice as scenery, Canaletto, Guardi, Longhena, Vanbrugh
VI. BAROQUE NATURE
Isola Bella, Giardino Buonacorsi, Versailles, Nymphenburg, Amalienburg, Veitshöschheim, graveyards, English landscape gardens, Die Wies, Vierzehnheiligen, new and exotic species, scientific drawings, encylopedias, the Academy of Lynxes, Rameau, Waldsassen, Pianta, Hogarth, Messerschmidt, Handel, Goya
VII. COLONIAL BAROQUE
Ocotlán, tile façades, backwaters, Sagrario Mexico City, Hindu temples, Goan Baroque, St Francis Xavier, Bolivian Jesuit sacred opera, Sant' Alessio, Santa Rosalia or The Wounded Dove, Stradella's oratorio erotico, Tepotzotlán, Salamanca, Querétaro
VIII. NEO AND PSEUDO BAROQUE
Russian Baroque, Turkish Baroque, Persian Rococo, Edwardian Baroque, Linderhof, porcelain knick-knacks, '50s American cars, Jeff Koons, Richard Strauss, Beardsley, Guimard, the National Trust, Bellotto and Warsaw, Baroque pearls, Japanese Baroque, Gothic Baroque, Chinese Baroque, Hellenistic Baroque, Wölfflin, Deleuze
IX. BAROQUE IN THE TWENTIETH CENTURY
Czech Cubists, Santini, T.S. Eliot, Gehry, Coop Himmeblau, Russian Constructivists, Scharoun, Ludwig Leo, Miralles
Notes
Acknowledgements
Photographic Acknowledgements
Index

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