Baroque and rococo

Fülszöveg

About- this ^^^ Baroque and Rococó art has
Q ¦ lacked critical attention during the last fifty years.
DOOK Detailed research has been carried out in a bewildering variety of fields. New light has been thrown on Caravaggio, Domenichino, the Caracci and their followers; Baroque sculpture has been re-evaluated; architects like Borromini, Pietro da Cortona and Guarini have at last received due recognition, and their influence on South German Rococo—itself a recent revelation to the British and American public— has been carefully documented. The relation of Spain, Russia and England to the art-centres of Italy and France is now better understood. The time seems ripe for a synthesis, and no scholar is better fitted for this than Germain Bazin. Instead of simplifying the material by imposing an artificial unity upon it, he emphasizes its almost infinite richness: Gothic (which persisted all through this period, though its contribution is often ignored); Mannerism; Classicism—the... Tovább

Fülszöveg

About- this ^^^ Baroque and Rococó art has
Q ¦ lacked critical attention during the last fifty years.
DOOK Detailed research has been carried out in a bewildering variety of fields. New light has been thrown on Caravaggio, Domenichino, the Caracci and their followers; Baroque sculpture has been re-evaluated; architects like Borromini, Pietro da Cortona and Guarini have at last received due recognition, and their influence on South German Rococo—itself a recent revelation to the British and American public— has been carefully documented. The relation of Spain, Russia and England to the art-centres of Italy and France is now better understood. The time seems ripe for a synthesis, and no scholar is better fitted for this than Germain Bazin. Instead of simplifying the material by imposing an artificial unity upon it, he emphasizes its almost infinite richness: Gothic (which persisted all through this period, though its contribution is often ignored); Mannerism; Classicism—the academic aftermath of the High Renaissance; Baroque and Realism—'the two new styles'; and finally Romanticism, the product of so many diverse causes, of which Baroque was not the least important. As a conclusion he traces the long-term influences and remote effects' of Baroque—exoticism, neo-Classicism and even certain aspects of Art Nouveau and beyond.
Germain Bazin became Conservateur-en-Chef of the Louvre in 1950.
After graduating as a Doctor of Letters in 1934, he was a lecturer at the University of Brussels. In 1937 he was appointed Curator of the Department of Paintings, X)rawings and Chalcography at the Louvre and in 1941 was Professor of theoretical and practical muscology in the Ecole du Louvre. Above all M. Bazin is a meticulous scholar who succeeds in presenting his always original thought with a clarity and liveliness of expression which makes him one of the leading art historians of his generation. His publications include: The l^oom of Art, A Concise History of Art, The Louvre, Impressionist Paintings in the Louvre and A Gallery of Flowers all of which are published by Vissza