Rome, 1630: The Horizon of the Early Baroque, Followed by Five Essays on Seventeenth-Century Art
Bernini, Poussin, Velázquez, Cortona, Borromini, Valentin: the list could go on and on. In 1630, despite their signal differences, the finest artists of the European Baroque converged on Rome, where Caravaggio was still a lingering influence. In response to the Protestant Reformation, the Catholic Church turned to masters such as these to celebrate the glories of heaven, while other patrons granted them commissions for secular works. With splendid monuments like Bernini’s Baldachin at St Peter’s, or profound canvases like the landscapes of Poussin, Rome became the crucible of major advances in seventeenth-century sculpture, painting and architecture.

In the title study of this book, Yves Bonnefoy focuses on the pivotal year in the development of the Baroque style. Richly illustrated, his Rome, 1630 reveals how a pan-European movement was born from the achievements of the Italian and foreign artists who congregated in the city during that seminal period. The five supplementary essays in the volume further explore the evolution of seventeenth-century painting, particularly in the works of Elsheimer, Caravaggio, Cortona and Poussin. In his afterword, Hoyt Rogers pays homage to the author, analysing the centrality of Baroque art to Bonnefoy’s poetry and aesthetics.
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Rome, 1630: The Horizon of the Early Baroque, Followed by Five Essays on Seventeenth-Century Art
Bernini, Poussin, Velázquez, Cortona, Borromini, Valentin: the list could go on and on. In 1630, despite their signal differences, the finest artists of the European Baroque converged on Rome, where Caravaggio was still a lingering influence. In response to the Protestant Reformation, the Catholic Church turned to masters such as these to celebrate the glories of heaven, while other patrons granted them commissions for secular works. With splendid monuments like Bernini’s Baldachin at St Peter’s, or profound canvases like the landscapes of Poussin, Rome became the crucible of major advances in seventeenth-century sculpture, painting and architecture.

In the title study of this book, Yves Bonnefoy focuses on the pivotal year in the development of the Baroque style. Richly illustrated, his Rome, 1630 reveals how a pan-European movement was born from the achievements of the Italian and foreign artists who congregated in the city during that seminal period. The five supplementary essays in the volume further explore the evolution of seventeenth-century painting, particularly in the works of Elsheimer, Caravaggio, Cortona and Poussin. In his afterword, Hoyt Rogers pays homage to the author, analysing the centrality of Baroque art to Bonnefoy’s poetry and aesthetics.
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Rome, 1630: The Horizon of the Early Baroque, Followed by Five Essays on Seventeenth-Century Art

Rome, 1630: The Horizon of the Early Baroque, Followed by Five Essays on Seventeenth-Century Art

Rome, 1630: The Horizon of the Early Baroque, Followed by Five Essays on Seventeenth-Century Art

Rome, 1630: The Horizon of the Early Baroque, Followed by Five Essays on Seventeenth-Century Art

Overview

Bernini, Poussin, Velázquez, Cortona, Borromini, Valentin: the list could go on and on. In 1630, despite their signal differences, the finest artists of the European Baroque converged on Rome, where Caravaggio was still a lingering influence. In response to the Protestant Reformation, the Catholic Church turned to masters such as these to celebrate the glories of heaven, while other patrons granted them commissions for secular works. With splendid monuments like Bernini’s Baldachin at St Peter’s, or profound canvases like the landscapes of Poussin, Rome became the crucible of major advances in seventeenth-century sculpture, painting and architecture.

In the title study of this book, Yves Bonnefoy focuses on the pivotal year in the development of the Baroque style. Richly illustrated, his Rome, 1630 reveals how a pan-European movement was born from the achievements of the Italian and foreign artists who congregated in the city during that seminal period. The five supplementary essays in the volume further explore the evolution of seventeenth-century painting, particularly in the works of Elsheimer, Caravaggio, Cortona and Poussin. In his afterword, Hoyt Rogers pays homage to the author, analysing the centrality of Baroque art to Bonnefoy’s poetry and aesthetics.

Product Details

ISBN-13: 9780857425966
Publisher: Seagull Books
Publication date: 11/14/2020
Series: The French List
Pages: 460
Product dimensions: 6.10(w) x 7.60(h) x 1.40(d)

About the Author

Yves Bonnefoy (1923-2016) is recognized as the greatest French poet of the past fifty years. By the time of his death,  he  had  published  eleven  major  collections  of  poetry  in  verse  and  prose,  several  books  of  tales,  and numerous studies of literature and art. Hoyt Rogers translates works from French, German, Italian, and Spanish.
 

Table of Contents

A Note on the 1994 Edition
A Note on the Present Edition
Rome, 1630: The Horizon of the Early Baroque
Notes and Supplements
Five Essays on Seventeenth-Century Art
1. One of the Centuries of the Cult of Images
2. Elsheimer and His Kindred
3. ‘A Ceres at Night, by Adam Elsheimer’
4. A Debate of 1630: 'The Plague at Ashdod' and 'The Abduction of the Sabine Women'
5. 'The Shepherds of Arcadia'
Bibliography
Translator’s Notes
Translator’s Afterword: ‘Ut poesis pictura’: Yves Bonnefoy and the Poetry of Art
A Supplementary Bibliography
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