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History of Interiors > Italian Baroque > Flashcards

Italian Baroque Flashcards

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1
Q

Italian Baroque years

A

17th century Italy and 18th century northern Europe

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2
Q

How did Italian Baroque develop

A

in Italy following the mannerist transition from the High Renaissance of the 16th century
Flourished in Italy, Austria, and France and parts of south Germany.

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3
Q

What does the word Baroque mean

A

Portuguese barocco: Pearls that are distorted or irregular in shape

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4
Q

What is the word Rococo mean

A

French & Spanish: shell like

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5
Q

Renaissance was an attempt to overlay Christianity on humanistic understanding of the ancients. Humanism was scientific and secular. By the 17th century the church was losing ground.

A

They wanted to recapture the ground they lost and promoted Baroque which originated from belief, faith, and emotion. It was religious art.

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6
Q

Influences of the Baroque period were visible in various scales

A

urban planing / They wanted to make Rome a tourist attraction. They drilled into the old fabric of the city. They connected important buildings with roads. Irregular masses of medieval urban spaces were scoped out to place open spaces.

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7
Q

Not much city planning in medieval times, Baroque was more modern

A

Massive public open spaces
Significant roads

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8
Q

Baroque was important for many scales

A

Urban
Architecture
Interior design
Furniture

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9
Q

Rococo was more of a small scale

A

Interior design
Furniture
ideas

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10
Q

Baroque Interiors

A

ACTIVE SPACE AS GENERATOR OF FORM
SYNTHESIS OF ARTS (PAINTING, SCULPTURE, AND ARCHITECTURE)

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11
Q

CONCETTO

A

THE IDEA AROUND WHICH THE BAROQUE INTERIORS WERE DESIGNED, GENERALLY BIBLICAL THEMES.

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12
Q

Baroque interiors were

A

Very complex
Thought about interiors in section and plan
Better visualized the spaces
Drama
Uses natural light and sculpture

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13
Q

Space became a highly active element with

A

surfaces that give the illusion that they move and shift.

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14
Q

Preference for what shapes?

A

Oval and elliptical

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15
Q

All surfaces are in baroque are highly articulated; nothing is solid. Opposite of….

A

modernism

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16
Q

With the use of biblical stories (sculptures, paintings which depict them) space becomes…

A

Like a stage / dramatic

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17
Q

Interior spaces sculpturally

A

Define the structure

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18
Q

Synthesis of arts with architecture and interior design…

A

all forms of art were fused to make a psychological impact.

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19
Q

What is different about Italian baroque furniture

A

Furniture is site specific
Scaled to space and its function

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20
Q

Rooms in Italian Baroque

A

had themes and everything in the space was integrated to the theme. In Italian Renaissance themes were used for novelty whereas Baroque utilized it to make propaganda of Christianity.

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21
Q

Sala del Senato, Doge’s Palace

A

Venice after 1574

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22
Q

Sala del Senato, Doge’s Palace design

A

Material and color selection is very big

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23
Q

St. Peter’s design type

A

Renaissance

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24
Q

St. Peter’s

A

Rome 1624

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25
St. Peter’s architect
Bernini
26
Balacchinoi
a canopy structure which designates the high altar. Located under the dome, it creates a focal point
27
St. Peter’s columns
twisted which gives them the illusion that they are active rather than static structural components
28
Scala Regia
Pope’s royal staircase
29
Scala Regia architect
Bernini
30
Scala Regia dates
1663
31
What does Scala Regia do
Connects Vatican Palace to St. Peter’s Basilica
32
Why does Scala Regia’s structure look weird
Has positive space to create negative space
33
How does Scala Regia create drama
Use off small almost clerestory-like windows to create a glow Intentional for drama
34
Statue of Constantine
1663
35
Statue of Constantine designer
Bernini
36
Purpose of statue of Constantine
To solidify the importance of religion
37
The Ecstasy of Saint Theresa
1647-1652
38
The Ecstasy of Saint Theresa designer
Bernini
39
Where is The Ecstasy of Saint Theresa
Cornaro Chapel / Santa Maria della Vitoria, Rome
40
San Carlino Monastic Church
Rome 1634
41
San Carlino Monastic Church architect
Borromini
42
San Carlino Monastic Church design
Can’t define shape complex
43
Abbey of Melk
Austria 1702-1738
44
Abbey of Melk architect
Jacob Prandtauer
45
San Carlino Monastic Church
Rome 1634
46
San Carlino Monastic Church architect
Borromini
47
Abbey of Melk changes since Renaissance
Prints = more books Libraries still men only
48
Monastery of St. Florian
Liz, Austria 1718-1724
49
Monastery of St. Florian Architects
Jacob Prandtauer and Antonio Carlone
50
Royal Hunting Lodge
Stupinigi, Turin 1729
51
Royal Hunting Lodge architect
Filippo Juvarro Culinary
52
Royal Hunting Lodge central space
Salon grand interior room is three stories high gravity point of the interacting diagonal wings
53
Filippo Juvarro Culinary design idea
interiors begin to organize the landscape
54
Concetto is
Hunting
55
Royal Hunting Lodge is from what design period
Still considered baroque, but is transitioning to Rococo
56
Why is the Royal Hunting Lodge not Rococo
rococo was revitalization of existing buildings didn’t have a lot of money this project was huge and expensive
57
Use of seashells
Rococo
58
Figures carved more delicate
Rococo
59
library of the Monastery at St. Gallen
Switzerland 1748-1770
60
library of the Monastery at St. Gallen design features
Are a lot more delicate
61
Italian Baroque furniture
Space specific but moveable
62
Baroque furniture was designed as part of a composition including walls and ceiling…
Therefore, these pieces were not necessarily well proportioned when viewed separate from the space that they were intended.
63
What furniture was required in Italian Baroque spaces
Formal Baroque interiors required wall furniture such as tall cabinets, console tables, and wall seats
64
Italian Baroque chairs
Excessively carved and gilded chairs Upholstered with large patterned velvets, silks, and stamped leather
65
Italian Baroque Beds
Four posts beds were still in use
66
Italian Baroque Wall Panels
larger panels to permit more painting area
67
Italian Baroque SMALL TABLE
looks out of place and unproportional because it is not in its place not stationary visually symmetrical, but small differences complex form
68
Italian Baroque features
Uses s and c curves Gilded elements Subtractive Still structured within walls
69
Italian Baroque Furniture Details
Three-dimensional carvings * Allegorical topic and/or figurative carvings * Overload of gilded surfaces * Bottom-heavy: Visually heavy and out of proportion * A preference for asymmetry * A preference for curves (top and side views have curvilinear lines) * Dynamic against the fact that the piece is visually heavy

History of Interiors (16 decks)

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