I'm one of those I-know-what-I-like-but-can't-quite-tell-you-why kinds of writers, but it seems to me that if I am going to have a blog devoted to one style of art I should try to articulate in some way why I want one--and why for Baroque art, a whole ocean and 300 years removed from my degree-conferred area of expertise (20th-century American literature). So, it seems appropriate to post some apologias here from time to time until I can whip up my own manifesto. What follows appears to me a very good way to begin that collection of apologias.
Richard John Neuhaus, in this brief review of R.A. Scotti's book Basilica: The Splendor and the Scandal of Building St. Peter's, quotes the following passage from that book: The Baroque is to art what opera is to music–the elevation of pathos; a spectacle of color, emotion, and drama; fantasy rising to frenzied ecstasy. Bernini’s Baroque was art designed to serve religion, and more specifically to serve the needs of the Counter-Reformation.
Whether it was contrived to meet a clear purpose or whether it was a spontaneous expression, it fulfilled the mandate of the resurgent Church. The static perfection of the Renaissance was the art of the elite. The hot, intense Baroque was art to move the masses. It was popular art in the truest sense–cinematic special effects without a camera lens.
The (in)applicability of this observation to the Dutch and Flemish Baroque artists is a topic for another day, but it's hard not to agree with its rightness when applied to the Italians. Equally spot-on is the notion of the (Italian) Baroque's intent to inspire religious fervor in the viewer.
Comments welcome, of course.
Sunday, April 15, 2007
Why the Baroque? One response
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5 comments:
I think that observation, i.e. art in service to religion, is apropos to the Germans, as well. Perhaps for the Germans, the style was a long held "exhale" after the Thirty Years War. One need only look at the onion-domed Catholic Churches to see the sheer joy in what's being created.
Cheers.
And I would say that in some ways the observation does apply to the Dutch/Flemish painters in the sense that it served religion by communicating moralistic values to the masses. And there was the spectacle of color (light!), emotion, and drama. But I would not at all describe it as "hot" or "intense." Quite the opposite there. ;-)
A belated thanks to both of you for dropping by and commenting.
Randall, please consider this a standing invitation to contribute a little something on German Baroque poets and/or other art forms. I simply don't know about the Germans except for Bach, and he not very much at all.
Gwynne, as I read your comment, I found myself thinking about the Vermeer you mentioned as your favorite, Woman Holding a Balance, the woman's calm reserve contrasting with the Last Judgment on the wall behind her. Vermeer himself, a Protestant-turned-Catholic, surely must have reflected on those contrasts. And now, here's your invitation to post something here on that painting, if you'd like.
John, I'm flattered that you would extend the invitation. I'm afraid I couldn't say anything more comprehensive or brilliant than what Janson has written over at Essential Vermeer, other than to say that yes, I agree Woman Holding A Balance is the perfect example of what I was referring to in communicating a moralistic message, of justice and temperance in this case. But perhaps I could work up something of a non-scholarly nature. ;-)
Gwynne, "non-scholarly" is the operational middle name of this blog.
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