巴洛克藝術

The Baroque is a period of artistic style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, architecture, literature, dance, and music. The style started around 1600 in Rome, Italy and spread to most of Europe. The popularity and success of the Baroque style was encouraged by the Roman Catholic Church, which had decided at the time of the Council of Trent, in response to the Protestant Reformation, that the arts should communicate religious themes in direct and emotional involvement. The aristocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and expressing triumphant power and control. Baroque palaces are built around an entrance of courts, grand staircases and reception rooms of sequentially increasing opulence. According to the Oxford English Dictionary, the word baroque is derived from the Portuguese word "barroco", Spanish "barroco", or French "baroque", all of which refer to a "rough or imperfect pearl", though whether it entered those languages via Latin, Arabic, or some other source is uncertain. 巴洛克藝術是指16世紀後期開始在歐洲流行的一種藝術風格，不僅在繪畫方面，巴洛克藝術代表整個藝術領域，包括音樂、建築、裝飾藝術等。 「巴洛克」（—Baroque）此字源於西班牙語及葡萄牙語的「變形的珍珠」(—barroco)。作為形容詞，此字有「俗麗凌亂」之意。歐洲人最初用這個詞指「缺乏古典主義均衡特性的作品」，它原是18世紀崇尚古典藝術的人們，對17世紀不同於文藝復興風格的一個帶貶義的稱呼，現今這個詞已失去了原有的貶義，僅指17世紀風行於歐洲的一種藝術風格。 Adoration, by Peter Paul Rubens

A century ago, the Encyclopædia Britannica 11th edition, thought the term was derived from the Spanish barrueco, a large, irregularly-shaped pearl, and it was for a time confined to the craft of the jeweller. Others derive it from the mnemonic term "Baroco" denoting, in logical Scholastica, a supposedly laboured form of syllogism. In informal usage, the word baroque can simply mean that something is "elaborate", with many details, without reference to the Baroque styles of the seventeenth and eighteenth centuries. The word "Baroque", like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th and early 18th centuries. It is a French transliteration of the Portuguese phrase "pérola barroca", which means "irregular pearl", and natural pearls that deviate from the usual, regular forms so they do not have an axis of rotation are known as "baroque pearls". The term "Baroque" was initially used with a derogatory meaning, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, which sharply contrasted the clear and sober rationality of the Renaissance. Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Jean-Philippe Rameau’s Hippolyte et Aricie, printed in the Mercure de France in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device. 雖然「巴洛克」直指缺乏古典均衡性的藝術作品，但其實巴洛克藝術家，與文藝復興的前輩相同，都很重視設計和效果的整體統一性，巴洛克風格以強調「運動」與「轉變」為特點，尤其是身體和情緒方面的，同時，巴洛克也是對矯飾主義的一種反動。 在歐洲文化史中，「巴洛克」慣指的時間是17世紀以及18世紀上半葉(約1600年 -1750年），但年份並不代表絕對的藝術風格，特別是建築與音樂。這一時期，上接文藝復興(1452年 -1600年)，下接古典主義、浪漫時期。

Trevi Fountain in Rome

歐洲文化「除舊佈新」，在各方面都有重大的改變與成就。資產階級興起，君主政治漸獨立於宗教之外（但民主思想萌芽）。科學在伽利略、牛頓等人的開創下展開。藝術上趨勢是「世俗化」，精力充沛，勇於創新，甚至好大喜功。文藝上的名家如莎士比亞、塞萬提斯；繪畫上有魯本斯，倫勃朗等，影響都極深遠。也在這時期，歐洲向外擴張殖民，漸漸佔據了世界文明的中心。 油畫 巴洛克畫家的典型代表是法蘭德斯的魯本斯、荷蘭的倫勃朗、西班牙的委拉斯蓋茲、英國的凡·戴克、義大利的貝尼尼和卡拉瓦喬等。他們的畫作人體動勢生動大膽，色彩明快，強調光影變化，比文藝復興時代畫家還要更強調人文意識。 魯本斯的宗教畫人體姿勢動作激烈，色彩鮮明；倫勃朗的畫作如同在舞台上，人物面部處於高光部位，與周圍的陰影有強烈的對比；委拉斯開茲的「宮女」，背景中在窗外射入光線下工作的織女，曾經對後期浪漫主義畫派畫家產生很大的影響. 巴洛克音樂指歐洲在文藝復興之後開始興起，且在古典主義音樂形成之前所流行的音樂類型，延續期間大約從1600年到1750年之間的150年。 巴洛克（Baroque）一詞來源於西班牙語和葡萄牙語「Barocco」，意指形態不夠圓或不完美的珍珠，最初是建築領域的術語，後逐漸用於藝術和音樂領域。在藝術領域方面，巴洛克風格的特徵是精緻細膩的裝飾以及華麗的風格，造成這種現象的主因，是因為巴洛克時期是貴族掌權的時代，富麗堂皇的宮廷裡奢華的排場正是新的文化以及藝術的發展中心，而這個大環境的改變也直接的影響到了音樂家的創作。十七、八世紀宮廷樂師所寫的音樂作品，絕大部分是為上流社會的社交所需而做，為了炫燿貴族的權勢以及財富，當時的宮廷音樂必定得呈現出炫燿的音樂以及不凡的氣度，以營造愉悅氣氛。

卡拉瓦喬是義大利畫家，跟米蘭畫家培德查諾﹝Simone Peterzano﹞學畫，並受威尼斯畫派的影響。 他在早期創作四組壁畫：《聖禮的爭辯》﹝神學﹞、《雅典學派》﹝哲學﹞、《巴那斯山》﹝文學﹞、《法律》，運用歷史畫的方法處理這些帶有象徵性的主題，反映當時教會人士的要求。其代表作包括《西斯廷聖母》、《自畫像》、《教皇利奧十世像》等。此外，還畫了不少建築設計圖稿。 他的早期作品多為靜物畫，另有一些戲劇化的小幅自畫像，這些自畫像混合有北方的明晰和威尼斯的朦朧感，對比強烈，描繪精細。晚年作品極其晦暗，某些作品已受損，但作品中直率的圖像，樸實而深切，表現出一種新的，強烈的戲劇化情感。 他革命性的表現技巧，使他捲入永無止境的論戰裡。這些非難，包括如祝卡洛﹝Zuccaro﹞等學院派後期矯飾主義畫家對他的反對，主要在於他那生動的寫實精神，採用時裝及現實背景，排斥理想化，及繁複的內容等。 聖馬太蒙召喚﹝The Calling of St. Matthew﹞

聖馬太殉教﹝The Martyrdom of St. Matthew﹞ 聖馬太與天使﹝The Inspiration of St. Matthew﹞

聖彼得被釘上十字架﹝The Crucifixion of St. Peter﹞ 聖保羅的死難﹝The Conversion of St. Paul﹞

聖母之死部分﹝The Death of the Virgin ﹞ 1605 ~ 1606 年 油彩‧畫布，369 x 245 公分 羅浮宮，巴黎﹝Paris﹞，法國 埋葬基督﹝The Entombment﹞ 1602 ~ 1604 年 油彩‧畫布，300 x 203 公分 梵蒂岡美術館，羅馬﹝Rome﹞，義大利

Judith Beheading Holofernes 1598–1599 Judith Beheading Holofernes 1598–1599. Galleria Nazionale d'Arte Antica, Rome

Supper at Emmaus, 1601. Oil on canvas, 139 × 195 cm (55 × 77 in) Supper at Emmaus, 1601. Oil on canvas, 139 × 195 cm (55 × 77 in). National Gallery, London The Seven Works of Mercy, 1606–1607, Pio Monte della Misericordia, Naples

The Cardsharps (c. 1595, shown left) Michelangelo Merisi da Caravaggio - Supper at Emmaus (detail) The Cardsharps (c. 1595, shown left)

Sir Peter Paul Rubens (Dutch pronunciation: [ˈrybə(n)s]; 28 June 1577 – 30 May 1640), was a Flemish Baroque painter, and a proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar, art collector, and diplomat who was knighted by both Philip IV, King of Spain, and Charles I, King of England. 魯本斯是法蘭德斯派畫家、版畫家。他擅長神話、歷史、宗教及風俗畫，同時，也精於肖像畫及風景畫。 1600 年，魯本斯遠赴義大利，在威尼斯，他臨摹了提香﹝Tiziano Vecellio﹞、丁多列托﹝Jacopo Robusti Tintoretto﹞及維洛內些﹝Paolo Veronese﹞的作品，將大師的造形與構圖觀念消化後，納入個人風格之中。 1608 年，魯本斯母病危，他立刻趕回安特衛普，從此魯本斯即留居於法蘭德斯，並受法蘭德斯大公封為宮廷畫家，並成為羅馬風格畫家公會之一員。一直到 1612 年止的一段時期可謂為魯本斯的「狂飆運動」時期。在此期間，畫中的造形極度誇張，而尺寸亦放大。 Self-portrait, 1623, National Gallery of Australia,

Equestrian Portrait of the Duke of Lerma, 1603, Museo del Prado, Madrid. Painted during Rubens's first trip to Spain in 1603 Rubens and Isabella Brant in the Honeysuckle Bower, 1609–10. Alte Pinakothek, Munich

The Elevation of the Cross, 1610–11. Central panel The Elevation of the Cross, 1610–11. Central panel. Cathedral of Our Lady, Antwerp The Virgin and Child Adored by Angels, 1608, oil on slate and copper. This is the central panel depicting The Virgin and Child Adored by Angels above the High Altar, Santa Maria in Vallicella, Rome

The Exchange of Princesses, from the Marie de' Medici Cycle The Exchange of Princesses, from the Marie de' Medici Cycle. Louvre, Paris Peter Paul Rubens and Frans Snyders, Prometheus Bound, 1611–12. Philadelphia Museum of Art

Hippopotamus Hunt (1616). Rubens is known for the frenetic energy and lusty ebullience of his paintings 四位哲學家﹝The Four Philosophers﹞ 1611 ~ 1612 年 油彩‧畫布，164 x l39 公分 皮蒂宮，佛羅倫斯﹝Florence﹞，義大利

愛的花園 Garden of Love 1633 年 油彩‧畫布 198 x 283 公分 普拉多美術館，馬德里﹝Madrid﹞ 西班牙

范戴克﹝Sir Anthony Van Dyck﹞﹝1599 ~ 1641﹞ Sir Anthony van Dyck (Dutch pronunciation: [vɑn ˈdɛˑɪ̯k], many variant spellings;[2] 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draftsman, and was an important innovator in watercolour and etching. 范戴克是法蘭德斯畫家，巴洛克宮庭肖像畫的創造者。當他在 14 歲時便當上魯本斯﹝Rubens﹞的首席助理。在大師的影響之下，他修改了早期羞澀、粗獷的風格，而開始使用細緻的色調。1621 年，他前往義大利，在熱那亞和羅馬停留了極長的時間，並且創作了許多出色的肖像畫，它們在個性的刻劃上雖不如魯本斯來得有力量，但對被畫者的特性有敏銳的掌握，他表現了一種永恆的格調，反應出他內在的憂鬱。 1627 年，范戴克回到安特衛普﹝Antwerp﹞，1630 年被布魯塞爾的西班牙皇室封為宮廷畫家，並且畫了許多肖像，又完成了多建教堂所委託的傑作。

1932 年，范戴克遷至倫敦，被英王查理一世封為爵士，，命為「首席畫家」。他在英國九年間的肖像畫作品相當不少，其中最為有名的是國王查理一世的三幅肖像畫、《查理一世的三個孩子》﹝The Three Eldest Children of Charles I ﹞等，這些作品為英國肖像畫的偉大傳統創設了一個典範。 Self-portrait, 1613-14 Genoan hauteur from the Lomelli family, 1623

King Charles I, ca. 1635 Louvre - see text The more intimate, but still elegant style he developed in England, ca 1638

This triple portrait of King Charles I was sent to Rome for Bernini to model a bust on Henrietta Maria and the dwarf, Sir Jeffrey Hudson, 1633

Rest of the Holy Family during the Flight into Egypt (around 1630) Alte Pinakothek, Munich Elena Grimaldi, Genoa 1623

Charles I with M. de St Antoine (1633) Queen Henrietta Maria, London 1632

Amor and Psyche, 1638 Equestrian Portrait of Charles I, c.1637-8

查理一世的三個孩子 ﹝The Three Eldest Children of Charles I﹞ 1635 年 油彩‧畫布， 151 x 154 公分 莎芭達畫廊，杜林﹝Torino﹞，義大利 查理一世狩獵像 ﹝Charles I of England at the Hunt﹞ 1635 年 油彩‧畫布， 266 x 207 公分 羅浮宮，巴黎﹝Paris﹞，法國

A Family Group, c. 1634-35, oil on canvas, The Detroit Institute of Arts James Stuart, Duke of Richmond, ca. 1637

Georges de La Tour (March 13, 1593 – January 30, 1652) was a French Baroque painter, who spent most of his working life in the Duchy of Lorraine, which was temporarily absorbed into France between 1641 and 1648. He painted mostly religious chiaroscuro scenes lit by candlelight. 拉突爾是法國傳統畫家，他最著名的是以燭光作為光源所畫出來的景。 他的作品深受義大利畫家卡拉瓦喬﹝Caravaggio﹞的影響，尤其是有關光影的部分；另外，他也受到了荷蘭畫家 Hendrick Terbrugghen 和 Gerrit van Honthorst 的影響。他的夜景通常只用一盞燭光為光源，因此強烈的表現出亮度和陰影的差距。 他晚年的作品演變出一種人像風格，畫裡的人體都簡約成最單純的幾何造型，並且安置得詳靜平和，是法國古典主義的表現。 He often painted several variations on the same subjects, and his surviving output is relatively small. His son Étienne was his pupil, and distinguishing between their work in versions of La Tour's compositions is difficult. The version of the Education of the Virgin, in the Frick Collection in New York is an example, as the Museum itself admits. Another group of paintings (example left), of great skill but claimed to be different in style to those of La Tour, have been attributed to an unknown "Hurdy-gurdy Master". All show older male figures (one group in Malibu includes a female), mostly solitary, either beggars or saints. St Joseph, 1642, Louvre

The Hurdy-Gurdy Player, c.1631-1636, Musée des Beaux-Arts de Nantes Dice-players, ca. 1651, probably his last work. Preston Hall Museum, Stockton-on-Tees, UK

The Cheat with the Ace of Clubs, c The Cheat with the Ace of Clubs, c. late 1620s, Kimbell Art Museum, Fort Worth, Texas. Another version is in the Louvre.

Magdalen with the Smoking Flame, c Magdalen with the Smoking Flame, c. 1640, Los Angeles County Museum of Art The Fortune Teller, 1633-1639, Metropolitan Museum of Art

Nativity, 1644, Louvre The Dream of St. Joseph, c. 1628-1645, Musée des Beaux-Arts de Nantes

St Sebastian tended by St Irene, 1649, Parish Broglie France The Newborn Christ, c. 1645-1648, Museum of Fine Arts of Rennes

聖母受教育﹝The Education of the Virgin﹞ 1650 年 油彩‧畫布，84 x 100 公分 弗立克美術圖書館，紐約﹝New York﹞，美國 St Jerome (Hurdy-gurdy group), c. 1624-1650, Nationalmuseum, Stockholm

THE END 李常生 Eddie Lee Taipei R.O.C leechangsheng5555@gmail.com 資料來源：視覺素養學習網、 From Wikipedia, the free encyclopedia、 謹向歷史上所有的畫家致敬。 I have the honor to pay tribute to all the painters in the history. 謹向全世界得畫家致敬。 THE END