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1Baroque And Rococo Art

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2Baroque And Rococo In Latin America

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3Baroque And Rococo Art

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4Late Baroque And Rococo Architecture

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5Late Baroque And Rococo Architecture

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6Baroque And Rococo Art

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7Baroque And Rococo In Latin America

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8From Baroque To Rococo An Introduction To Austrian And German Architecture From 1580-1790

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9Baroque And Rococo Pictorial Imagery. The 1758-60 Hertel Edition Of Ripa's 'Iconologia.'

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10Baroque And Rococo Pictorial Imagery: The 1758-60 Hertel Edition Of Ripa's 'Iconologia' With 200 Engraved Illustrations

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11Baroque And Rococo In Latin America / Vol. 2: Illustrations

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12Baroque And Rococo

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13Baroque And Rococo Art

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14Baroque And Rococo : Architecture And Decoration

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15Baroque And Rococo Architecture

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16Late Baroque And Rococo Architecture

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17Baroque And Rococo

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Includes bibliographical references (p. 72)

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18Baroque And Rococo In Latin America

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19Baroque And Rococo

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Includes bibliographical references (p. 72)

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20Baroque And Rococo

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21Baroque And Rococo

Includes bibliographical references (p. 72)

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22Baroque And Rococo - Architecture And Decoration By Anthony Blunt Wordsworth

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T HE spirit of the Counter-Reformation and the Catholic . Revival that followed it found expression in a new style of architecture that was dynamic, emotional and dramatic. It is only in recent years that this style has begun to be appreciated and understood by the layman as well as the scholar. By bringing together in one comprehensive volume the whole subject of Baroque in its historical context and illustrating it with the brilliant photographs ofWim Swaan, Anthony Blunt has produced a wide-ranging and authoritative study, fresh for the specialist and a sure guide for the general reader to its complex and powerful features. Anthony Blunt starts by tracing the origin of Baroque architecture in Rome during the first half of the 17th century through the genius of Bernini, Borromini and Pietro da Cortona. These artists invented designs in architecture and decoration — bold movement in space, dramatic illusionism in paint, stucco and marble — to express the revival of the Roman church. From Rome the Baroque spread to Northern Italy where it produced the fantasies of Guarini and the theatrical splendour ofJuvarra, and to the South to Naples and Sicily, where it developed special forms conditioned by the love of the southerner for rich colour. A major section is devoted to the architecture, and its decoration, of Central Europe, the centre of the second great flowering of the Baroque. In Vienna and lower Austria a fever of building, both secular and ecclesiastical, took place and the period saw the erection of great Viennese palaces by Fischer von Eriach and Hildebrandt, and the splendid masterpieces of Melk and Altenburg. In Bohemia and Franconia a different style employing complex structures was established by the Dietzenhofer family and Balthasar Neumann, and in Southern Germany Cuvillies and Dominikus Zimmerman produced work in the true Rococo spirit. French Baroque architecture owes much to Rome. The grand-scale planning of Francois Mansart's chateaux, the whole conception of Versailles, and the last public buildings of Louis XIV's reign, the Invalides, the chapel of Versailles and the Place Vendome, are firmly Baroque in expression. In the Protestant countries of Northern Europe the style met with a more limited welcome. In ecclesiastical architecture there are individual Baroque features, such as Wren's west towers of St Paul's, but it was in secular architecture, in Castle Howard, Chatsworth and Blenheim in particular, that Baroque ideas were more suited to expressing the power ofsovereigns or wealthy individuals. The volume concludes with a discussion of the architecture of the period in Spain and Spanish America, which has something in common with the true Baroque of Rome, and in Portugal and Brazil whose most significant buildings, particularly in their decoration, were a real development from Italian Baroque. Each part of the text is illustrated by magnificent photographs taken specially by Wim Swaan, whose work is well known from his many books, or by engravings, plans and photographs selected to complement his work. Sir Anthony Blunt was Surveyor of the Queen's pictures from 1952 to 1972 and until 1974 was Director of the Courtauld Institute of Art in London. The author of numerous books on art and architecture, his main work was in the field of French and halian art of the seventeenth century. He wrote the major portion of this study and was joined by Aiastair Laing, an authority on German Baroque and Rococo, Kerry Downs, lecturer in art history at Reading University, on England, and Christopher Tadgell, lecturer at the School of Architecture. Canterbury, on France.

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23Baroque And Rococo In Latin America

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T HE spirit of the Counter-Reformation and the Catholic . Revival that followed it found expression in a new style of architecture that was dynamic, emotional and dramatic. It is only in recent years that this style has begun to be appreciated and understood by the layman as well as the scholar. By bringing together in one comprehensive volume the whole subject of Baroque in its historical context and illustrating it with the brilliant photographs ofWim Swaan, Anthony Blunt has produced a wide-ranging and authoritative study, fresh for the specialist and a sure guide for the general reader to its complex and powerful features. Anthony Blunt starts by tracing the origin of Baroque architecture in Rome during the first half of the 17th century through the genius of Bernini, Borromini and Pietro da Cortona. These artists invented designs in architecture and decoration — bold movement in space, dramatic illusionism in paint, stucco and marble — to express the revival of the Roman church. From Rome the Baroque spread to Northern Italy where it produced the fantasies of Guarini and the theatrical splendour ofJuvarra, and to the South to Naples and Sicily, where it developed special forms conditioned by the love of the southerner for rich colour. A major section is devoted to the architecture, and its decoration, of Central Europe, the centre of the second great flowering of the Baroque. In Vienna and lower Austria a fever of building, both secular and ecclesiastical, took place and the period saw the erection of great Viennese palaces by Fischer von Eriach and Hildebrandt, and the splendid masterpieces of Melk and Altenburg. In Bohemia and Franconia a different style employing complex structures was established by the Dietzenhofer family and Balthasar Neumann, and in Southern Germany Cuvillies and Dominikus Zimmerman produced work in the true Rococo spirit. French Baroque architecture owes much to Rome. The grand-scale planning of Francois Mansart's chateaux, the whole conception of Versailles, and the last public buildings of Louis XIV's reign, the Invalides, the chapel of Versailles and the Place Vendome, are firmly Baroque in expression. In the Protestant countries of Northern Europe the style met with a more limited welcome. In ecclesiastical architecture there are individual Baroque features, such as Wren's west towers of St Paul's, but it was in secular architecture, in Castle Howard, Chatsworth and Blenheim in particular, that Baroque ideas were more suited to expressing the power ofsovereigns or wealthy individuals. The volume concludes with a discussion of the architecture of the period in Spain and Spanish America, which has something in common with the true Baroque of Rome, and in Portugal and Brazil whose most significant buildings, particularly in their decoration, were a real development from Italian Baroque. Each part of the text is illustrated by magnificent photographs taken specially by Wim Swaan, whose work is well known from his many books, or by engravings, plans and photographs selected to complement his work. Sir Anthony Blunt was Surveyor of the Queen's pictures from 1952 to 1972 and until 1974 was Director of the Courtauld Institute of Art in London. The author of numerous books on art and architecture, his main work was in the field of French and halian art of the seventeenth century. He wrote the major portion of this study and was joined by Aiastair Laing, an authority on German Baroque and Rococo, Kerry Downs, lecturer in art history at Reading University, on England, and Christopher Tadgell, lecturer at the School of Architecture. Canterbury, on France.

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24Baroque Into Rococo : Seventeenth And Eighteenth Century Italian Paintings

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T HE spirit of the Counter-Reformation and the Catholic . Revival that followed it found expression in a new style of architecture that was dynamic, emotional and dramatic. It is only in recent years that this style has begun to be appreciated and understood by the layman as well as the scholar. By bringing together in one comprehensive volume the whole subject of Baroque in its historical context and illustrating it with the brilliant photographs ofWim Swaan, Anthony Blunt has produced a wide-ranging and authoritative study, fresh for the specialist and a sure guide for the general reader to its complex and powerful features. Anthony Blunt starts by tracing the origin of Baroque architecture in Rome during the first half of the 17th century through the genius of Bernini, Borromini and Pietro da Cortona. These artists invented designs in architecture and decoration — bold movement in space, dramatic illusionism in paint, stucco and marble — to express the revival of the Roman church. From Rome the Baroque spread to Northern Italy where it produced the fantasies of Guarini and the theatrical splendour ofJuvarra, and to the South to Naples and Sicily, where it developed special forms conditioned by the love of the southerner for rich colour. A major section is devoted to the architecture, and its decoration, of Central Europe, the centre of the second great flowering of the Baroque. In Vienna and lower Austria a fever of building, both secular and ecclesiastical, took place and the period saw the erection of great Viennese palaces by Fischer von Eriach and Hildebrandt, and the splendid masterpieces of Melk and Altenburg. In Bohemia and Franconia a different style employing complex structures was established by the Dietzenhofer family and Balthasar Neumann, and in Southern Germany Cuvillies and Dominikus Zimmerman produced work in the true Rococo spirit. French Baroque architecture owes much to Rome. The grand-scale planning of Francois Mansart's chateaux, the whole conception of Versailles, and the last public buildings of Louis XIV's reign, the Invalides, the chapel of Versailles and the Place Vendome, are firmly Baroque in expression. In the Protestant countries of Northern Europe the style met with a more limited welcome. In ecclesiastical architecture there are individual Baroque features, such as Wren's west towers of St Paul's, but it was in secular architecture, in Castle Howard, Chatsworth and Blenheim in particular, that Baroque ideas were more suited to expressing the power ofsovereigns or wealthy individuals. The volume concludes with a discussion of the architecture of the period in Spain and Spanish America, which has something in common with the true Baroque of Rome, and in Portugal and Brazil whose most significant buildings, particularly in their decoration, were a real development from Italian Baroque. Each part of the text is illustrated by magnificent photographs taken specially by Wim Swaan, whose work is well known from his many books, or by engravings, plans and photographs selected to complement his work. Sir Anthony Blunt was Surveyor of the Queen's pictures from 1952 to 1972 and until 1974 was Director of the Courtauld Institute of Art in London. The author of numerous books on art and architecture, his main work was in the field of French and halian art of the seventeenth century. He wrote the major portion of this study and was joined by Aiastair Laing, an authority on German Baroque and Rococo, Kerry Downs, lecturer in art history at Reading University, on England, and Christopher Tadgell, lecturer at the School of Architecture. Canterbury, on France.

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25Baroque And Rococo

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xiii, 306 p. 26 cm

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26Baroque And Rococo Art Germain Bazin

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Translated from French by Jonathan Griffin, a comprehensive textbook on the Baroque and Rococo movements across Europe 

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27Baroque And Rococo

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Bibliography: p. 218-221

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28Baroque And Rococo Architecture

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Bibliography: p. 218-221

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29Baroque And Rococo In Latin America

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Bibliography: p. 218-221

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30Great Baroque And Rococo Sculpture

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Bibliography: p. 218-221

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31Baroque And Rococo Art

Bibliography: p. 218-221

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32Lecture - Munich Revisited, Variations On Baroque And Rococo By S. Lane Faison

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Bibliography: p. 218-221

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33Italian Baroque And Rococo Architecture

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Bibliography: p. 218-221

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34Baroque And Rococo

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Bibliography: p. 218-221

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