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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
Q

St. Peter’s architect

A

Bernini

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26
Q

Balacchinoi

A

a canopy structure which designates the high altar. Located under the dome, it creates a focal point

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27
Q

St. Peter’s columns

A

twisted which gives them the illusion that they are active rather than static structural components

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28
Q

Scala Regia

A

Pope’s royal staircase

29
Q

Scala Regia architect

A

Bernini

30
Q

Scala Regia dates

A

1663

31
Q

What does Scala Regia do

A

Connects Vatican Palace to St. Peter’s Basilica

32
Q

Why does Scala Regia’s structure look weird

A

Has positive space to create negative space

33
Q

How does Scala Regia create drama

A

Use off small almost clerestory-like windows to create a glow
Intentional for drama

34
Q

Statue of Constantine

A

1663

35
Q

Statue of Constantine designer

A

Bernini

36
Q

Purpose of statue of Constantine

A

To solidify the importance of religion

37
Q

The Ecstasy of Saint Theresa

A

1647-1652

38
Q

The Ecstasy of Saint Theresa designer

A

Bernini

39
Q

Where is The Ecstasy of Saint Theresa

A

Cornaro Chapel / Santa Maria della Vitoria, Rome

40
Q

San Carlino Monastic Church

A

Rome 1634

41
Q

San Carlino Monastic Church architect

A

Borromini

42
Q

San Carlino Monastic Church design

A

Can’t define shape complex

43
Q

Abbey of Melk

A

Austria 1702-1738

44
Q

Abbey of Melk architect

A

Jacob Prandtauer

45
Q

San Carlino Monastic Church

A

Rome 1634

46
Q

San Carlino Monastic Church architect

A

Borromini

47
Q

Abbey of Melk changes since Renaissance

A

Prints = more books
Libraries still men only

48
Q

Monastery of St. Florian

A

Liz, Austria 1718-1724

49
Q

Monastery of St. Florian Architects

A

Jacob Prandtauer and Antonio Carlone

50
Q

Royal Hunting Lodge

A

Stupinigi, Turin 1729

51
Q

Royal Hunting Lodge architect

A

Filippo Juvarro Culinary

52
Q

Royal Hunting Lodge central space

A

Salon grand interior room is three stories high
gravity point of the interacting diagonal wings

53
Q

Filippo Juvarro Culinary design idea

A

interiors begin to organize the landscape

54
Q

Concetto is

A

Hunting

55
Q

Royal Hunting Lodge is from what design period

A

Still considered baroque, but is transitioning to Rococo

56
Q

Why is the Royal Hunting Lodge not Rococo

A

rococo was revitalization of existing buildings
didn’t have a lot of money
this project was huge and expensive

57
Q

Use of seashells

A

Rococo

58
Q

Figures carved more delicate

A

Rococo

59
Q

library of the Monastery at St. Gallen

A

Switzerland 1748-1770

60
Q

library of the Monastery at St. Gallen design features

A

Are a lot more delicate

61
Q

Italian Baroque furniture

A

Space specific but moveable

62
Q

Baroque furniture was designed as part of a composition including walls and ceiling…

A

Therefore, these pieces were not necessarily well proportioned when viewed separate from the space that they were intended.

63
Q

What furniture was required in Italian Baroque spaces

A

Formal Baroque interiors required wall furniture such as tall cabinets, console tables, and wall seats

64
Q

Italian Baroque chairs

A

Excessively carved and gilded chairs
Upholstered with large patterned velvets, silks, and stamped leather

65
Q

Italian Baroque Beds

A

Four posts beds were still in use

66
Q

Italian Baroque Wall Panels

A

larger panels to permit more painting area

67
Q

Italian Baroque SMALL TABLE

A

looks out of place and unproportional because it is not in its place
not stationary visually
symmetrical, but small differences
complex form

68
Q

Italian Baroque features

A

Uses s and c curves
Gilded elements
Subtractive
Still structured within walls

69
Q

Italian Baroque Furniture Details

A

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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