Editing Baroque (section)

==Posterity==
===Transition to rococo===
{{Main|Rococo}}
{{See also|Louis XV style}}
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File:Meudon observatoire 2016 (15).jpg|Meudon Observatory, [[Château de Meudon]], Meudon, France, an example of an early Rococo building from the last years of [[Louis XIV]], unknown architect, 1706–1709<ref>{{cite book|last1=Martin|first1=Henry|title=Le Style Louis XIV|date=1927|publisher=Flammarion|isbn=|page=38|url=|language=fr}}</ref>

File:Charles Cressent, Chest of drawers, c. 1730 at Waddesdon Manor.jpg|Chest of drawers; by [[Charles Cressent]]; {{circa}}1730; various wood types; gilt-bronze mounts and a Brèche d'Aleps marble top; height: 91.1&nbsp;cm; [[Waddesdon Manor]], Waddesdon, UK

20230209 Amalienburg Nymphenburg.jpg|[[Amalienburg]], Nymphenburg Palace Park, Munich, Germany, by [[François de Cuvilliés]], 1734–1739{{sfn|Hodge|2019|p=95}}

File:Salon ovale de la princesse in the Hôtel de Soubise (11).jpg|Salon Oval de la Princesse of the [[Hôtel de Soubise]], Paris, by [[Germain Boffrand]], [[Charles-Joseph Natoire]] and [[Jean-Baptiste Lemoyne]], 1737–1739

File:The Triumph of Venus, by François Boucher.jpg|''[[The Triumph of Venus]]''; by [[François Boucher]]; 1740; oil on canvas; 130 × 162&nbsp;cm; [[Nationalmuseum]], Stockholm, Sweden

File:Vienna (124619801).jpeg|Vieux-Laque Room, [[Schönbrunn Palace]], Vienna, Austria, decorated with Chinese black [[lacquerware]] panels, by [[Nikolaus Pacassi]], 1743–1763{{sfn|Hopkins|2014|p=94}}

File:Gate - Residence Square Würzburg - DSC02894.JPG|Gate with two statues and elaborate wrought-iron grilles, [[Würzburg]], Germany, grilles by [[Johann Georg Oegg]], 1752

Chinese House Potsdam-, Germany.jpg|[[Chinese House (Potsdam)|Chinese House]], Sanssouci Park, Potsdam, Germany, an example of [[Chinoiserie]], by [[Johann Gottfried Büring]], 1755–1764{{sfn|Sund|2019|p=104}}

File:Coffeepot MET DP103144 (cropped),.jpg|Coffeepot, decorated with [[foliage]]; 1757; silver; height: 29.5&nbsp;cm; [[Metropolitan Museum of Art]], New York

The Music Lesson MET DP-14272-001 (cropped).jpg|''The Music Lesson''; by the [[Chelsea porcelain factory]]; {{circa}}1765; soft-paste porcelain; 39.1 × 31.1 × 22.2&nbsp;cm; Metropolitan Museum of Art

Nodding pagod, Meissen, Germany, c. 1760, porcelain, 1892.60.325 - Metropolitan Museum of Art - New York City - DSC07727.jpg|Pagod, based on Asian figures of [[Budai]], an example of Chinoiserie; by [[Johann Joachim Kändler]]; {{circa}}1765; hard paste porcelain; Metropolitan Museum of Art{{sfn|Sund|2019|p=99, 100}}

File:Cartouche bekroond met drietand Second livre de cartouches (serietitel op object), RP-P-2011-164-8.jpg|[[Cartouche (design)|Cartouche]] from the ''Second {{lang|fr|Livre de Cartouches|italic=unset}}'', an example of asymmetry; {{circa}}1710–1772; engraving on paper; 23 x 19.8&nbsp;cm; [[Rijksmuseum]], Amsterdam, the Netherlands
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The Rococo is the final stage of the Baroque, and in many ways took the Baroque's fundamental qualities of illusion and drama to their logical extremes. Beginning in France as a reaction against the heavy Baroque grandeur of [[Louis XIV]]'s court at the [[Palace of Versailles]], the rococo movement became associated particularly with the powerful {{lang|fr|[[Madame de Pompadour]]|italic=no}} (1721–1764), the mistress of the new king, [[Louis XV]] (1710–1774). Because of this, the style was also known as ''Pompadour''. Although it's highly associated with the reign of Louis XV, it didn't appear in this period. Multiple works from the last years of Louis XIV's reign are examples of early Rococo. The name of the movement derives from the French {{lang|fr|rocaille}}, or pebble, and refers to stones and shells that decorate the interiors of caves, as similar shell forms became a common feature in Rococo design. It began as a design and [[decorative arts]] style, and was characterized by elegant flowing shapes. Architecture followed and then painting and sculpture. The French painter with whom the term Rococo is most often associated is [[Jean-Antoine Watteau]], whose pastoral scenes, or {{lang|fr|[[Fête galante|fêtes galantes]]}}, dominate the early part of the 18th century.

There are multiple similarities between Rococo and Baroque. Both styles insist on monumental forms, and so use continuous spaces, [[coupled column|double columns]] or pilasters, and luxurious materials (including gilded elements). There also noticeable differences. Rococo designed freed themselves from the adherence to symmetry that had dominated architecture and design since the [[Renaissance]]. Many small objects, like ink pots or porcelain figures, but also some ornaments, are often asymmetrical. This goes hand in hand with the fact that most ornamentation consisted of interpretation of foliage and sea shells, not as many Classical ornaments inherited from the Renaissance like in Baroque. Another key difference is the fact that since the Baroque is the main cultural manifestation of the spirit of the [[Counter-Reformation]], it is most often associated with ecclesiastical architecture. In contrast, the Rococo is mainly associated with palaces and domestic architecture. In Paris, the popularity of the Rococo coincided with the emergence of the salon as a new type of social gathering, the venues for which were often decorated in this style. Rococo rooms were typically smaller than their Baroque counterparts, reflecting a movement towards domestic intimacy.{{sfn|Hopkins|2014|p=294}} Colours also match this change, from the earthy tones of [[Caravaggio]]'s paintings, and the interiors of red marble and gilded mounts of the reign of [[Louis XIV]], to the pastel and relaxed pale blue, Pompadour pink, and white of the Louis XV and Madame de Pompadour's France. Similarly to colours, there was also a transition from serious, dramatic and moralistic subjects in painting and sculpture, to lighthearted and joyful themes.

One last difference between Baroque and Rococo is the interest that 18th century aristocrats had for [[East Asia]]. [[Chinoiserie]] was a style in fine art, architecture and design, popular during the 18th century, that was heavily inspired by Chinese art, but also by Rococo at the same time. Because traveling to China or other Far Eastern countries was hard at that time and so remained mysterious to most Westerners, European imagination were fuelled by perceptions of Asia as a place of wealth and luxury, and consequently patrons from emperors to merchants vied with each other in adorning their living quarters with Asian goods and decorating them in Asian styles. Where Asian objects were hard to obtain, European craftsmen and painters stepped up to fill the demand, creating a blend of Rococo forms and Asian figures, motifs and techniques. Aside from European recreations of objects in East Asian style, Chinese [[lacquerware]] was reused in multiple ways. European aristocrats fully decorated a handful of rooms of palaces, with Chinese lacquer panels used as wall panels. Due to its aspect, black lacquer was popular for Western men's studies. Those panels used were usually glossy and black, made in the [[Henan province]] of China. They were made of multiple layers of lacquer, then incised with motifs in-filled with colour and gold. Chinese, but also [[Japanese lacquerware|Japanese lacquer]] panels were also used by some 18th century European carpenters for making furniture. In order to be produced, Asian screens were dismantled and used to veneer European-made furniture.

===Condemnation and academic rediscovery===
The pioneer German art historian and archeologist [[Johann Joachim Winckelmann]] also condemned the baroque style, and praised the superior values of classical art and architecture. By the 19th century, Baroque was a target for ridicule and criticism. The neoclassical critic Francesco Milizia wrote: "Borrominini in architecture, Bernini in sculpture, Pietro da Cortona in painting...are a plague on good taste, which infected a large number of artists."{{sfnp|Boucher|1998|p=9}} In the 19th century, criticism went even further; the British critic [[John Ruskin]] declared that baroque sculpture was not only bad, but also morally corrupt.{{sfnp|Boucher|1998|p=9}}

The Swiss-born art historian [[Heinrich Wölfflin]] (1864–1945) started the rehabilitation of the word Baroque in his ''Renaissance und Barock'' (1888); Wölfflin identified the Baroque as "movement imported into mass", an art antithetic to Renaissance art. He did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Baroque art and architecture became fashionable in the [[interwar period]], and has largely remained in critical favor. The term "Baroque" may still be used, often pejoratively, describing works of art, craft, or design that are thought to have excessive ornamentation or complexity of line.<ref>{{Cite web |last=asisbiz.com |date=2020-01-27 |title=Asisbiz article and photo's of 3 Zhongshan Road Shanghai China |url=https://www.asisbiz.com/China/3-Zhongshan-Rd.html |access-date=2022-10-24 |website=asisbiz |language=en}}</ref>  At the same time "baroque" has become an accepted terms for various trends in [[Roman art]] and [[Roman architecture]] in the 2nd and 3rd centuries AD, which display some of the same characteristics as the later Baroque.{{citation needed|date=May 2024}}

===Revivals and influence through eclecticism===
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File:Beauvais (Oise) - MUDO - "Cabaret à la manière de Boulle" (vers 1850-1870).jpg|Cabinet; {{circa}}1850–1870; [[Boulle work|Boulle marquetry]]; unknown dimensions; [[Musée départemental de l'Oise]], Beauvais, France

File:Decorative arts in the Louvre - Room 85 (01).jpg|Large console with central projection; by [[Benjamin Deguil]] and [[Benjamin-Paul Ramillon]]; 1850–1875; gilt wood and marble; 100 x 283 x 77&nbsp;cm; [[Napoleon III]] Apartments, [[Louvre Palace]], Paris<ref>{{cite web|url=https://collections.louvre.fr/ark:/53355/cl010114641|website=collections.louvre.fr|title=Grande console à ressaut central|access-date=20 September 2023}}</ref>

Napoleon III Apartments (44883695984).jpg|The Grand Salon of the apartments of the minister of state, currently known as the Napoleon III Apartments, designed by [[Hector Lefuel]] and decorated with paintings by [[Charles Raphaël Maréchal]], 1859–1860<ref>{{cite book|last1=Bresc-Bautier|first1=Geneviève|title=The Louvre, a Tale of a Palace|date=2008|publisher=Musée du Louvre Éditions|isbn=978-2-7572-0177-0|page=136|url=|language=en}}</ref>

File:Château de Compiègne-Serre bijoux de l'Impèratrice Eugènie-20150303.jpg|Jewelry toilet of [[Empress Eugénie]]; by [[Jules Fossey]]; {{circa}}1860; unknown materials; unknown dimensions; [[Château de Compiègne]], Compiègne, France

File:Decorative_arts_in_the_Louvre_-_Room_83_(07).jpg|Candelabrum with eleven lights; by [[Ferdinand Barbedienne]]; 1861; gilt bronze; height: 83.7&nbsp;cm, length: 49.4&nbsp;cm; Napoleon III Apartments<ref>{{cite web|url=https://collections.louvre.fr/en/ark:/53355/cl010103235|website=collections.louvre.fr|title=Candélabre à onze lumières|access-date=20 September 2023}}</ref>

Paris Palais Garnier 2010-04-06 16.55.07.jpg|Exterior of the [[Palais Garnier]], Paris, an example of [[Beaux Arts architecture]], by [[Charles Garnier (architect)|Charles Garnier]], 1860–1875{{sfn|Jones|2014|p=296}}

File:Foyer (51865286672).jpg|Grand foyer of the Palais Garnier, inspired by the [[Hall of Mirrors]] of the [[Palace of Versailles]], but with some ornaments taken from other historical styles, like the [[Renaissance Revival|neo-Renaissance]] column lower parts, or the [[Greek Revival architecture|Greek Revival]] lyres at the tops of windows, by [[Charles Garnier (architect)|Charles Garnier]], 1860–1875{{sfn|Jones|2014|p=296}}

File:Table, European workshop, second half of the 19th century.jpg|Table; 2nd half of the 19th century; Boulle marquetry; unknown dimensions; in a temporary exhibition called "Dress Code Parfum de Secol XIX" at the [[Suțu Palace]], [[Bucharest]], Romania

Petit-Palais-Paris-02-2018.jpg|[[Petit Palais]], Paris, an example of Beaux Arts architecture, with Ionic columns very similar to those of the reign of [[Louis XIV]], by [[Charles Giraud]], 1900{{sfn|Jones|2014|p=294}}

File:Rue de Vaugirard, Paris 15 April 2017.jpg|[[Rue Guynemer (Paris)|Rue Guynemer]] no. 2, Paris, with a facade made up from a mix of detailed stone elements and big simple brick surfaces like what is in [[Place des Vosges]] from Paris, by [[Louis Périn]], 1914

File:Porte d'un immeuble, 2 rue Guynemer à Paris.jpg|Door of Rue Guynemer no. 2, Paris, with [[palmette]]s, shells, [[volute]]s, garlands, proportions and other elements seen on wrought iron, furniture, textiles and ceramics from the reign of Louis XIV
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Highly criticized, the Baroque would later be a source of inspiration for artists, architects and designers during the 19th century through [[Romanticism]], a movement that developed in the 18th century and that reached its peak in the 19th. It was characterized by its emphasis on emotion and [[individualism]], as well as glorification of the past and nature, preferring the medieval to the classical. A mix of literary, religious, and political factors prompted late-18th and 19th century British architects and designers to look back to the Middle Ages for inspiration. Romanticism is the reason the 19th century is best known as the century of [[Revivalism (architecture)|revivals]].<ref>{{cite book|last1=|first1=|title=The Architecture Book – Big Ideas Simply Explained|date=2023|publisher=DK|isbn=978-0-2414-1503-0|page=164|url=|language=en}}</ref> In France, Romanticism was not the key factor that led to the revival of Gothic architecture and design. Vandalism of monuments and buildings associated with the [[Ancien Régime]] (Old Regime) happened during the [[French Revolution]]. Because of this an archaeologist, [[Alexandre Lenoir]], was appointed curator of the Petits-Augustins depot, where sculptures, statues and tombs removed from churches, abbeys and convents had been transported. He organized the [[Musée des Monuments français (1795–1816)|Museum of French Monuments]] (1795–1816), and was the first to bring back the taste for the art of the Middle Ages, which progressed slowly to flourish a quarter of a century later.<ref>{{cite book|last1=M. Jallut|first1=C. Neuville|title=Histoire des Styles Décoratifs|date=1966|publisher=Larousse|isbn=|page=37|url=|language=fr}}</ref>

This taste and revival of medieval art led to the revival of other periods, including the Baroque and Rococo. Revivalism started with themes first from the Middle Ages, then, towards the end of the reign of [[Louis Philippe I]] (1830–1848), from the [[Renaissance]]. Baroque and Rococo inspiration was more popular during the reign of [[Napoleon III]] (1852–1870), and continued later, after the fall of the [[Second French Empire]].<ref>{{cite book|last1=Sylvie|first1=Chadenet|title=French Furniture • From Louis XIII to Art Deco|date=2001|publisher=Little, Brown and Company|pages=128, 141|language=en}}</ref>

Compared to how in England architects and designers saw the [[Gothic architecture|Gothic]] as a national style, Rococo was seen as one of the most representative movements for France. The French felt much more connected to the styles of the [[Ancien Régime]] and [[First French Empire|Napoleon's Empire]], than to the medieval or Renaissance past, although Gothic architecture appeared in France, not in England.

The revivalism of the 19th century led in time to [[eclecticism]] (mix of elements of different styles). Because architects often revived Classical styles, most Eclectic buildings and designs have a distinctive look. Besides pure revivals, the Baroque was also one of the main sources of inspiration for eclecticism. The [[coupled column]] and the [[giant order]], two elements widely used in Baroque, are often present in this kind of 19th and early 20th century buildings. Eclecticism was not limited only to architecture. Many designs from the [[Second Empire style]] (1848–1870) have elements taken from different styles. Little furniture from the period escaped its three most prevalent historicist influences, which are sometimes kept distinct and sometimes combined: the Renaissance, [[Louis XV style|Louis XV]] (Rococo), and [[Louis XVI style]]s. Revivals and inspiration also came sometimes from Baroque, like in the case of remakes and [[arabesque]]s that imitate [[Boulle work|Boulle marquetry]], and from other styles, like Gothic, Renaissance, or [[Regency era|English Regency]].<ref>{{cite book|last1=Sylvie|first1=Chadenet|title=French Furniture • From Louis XIII to Art Deco|date=2001|publisher=Little, Brown and Company|pages=141, 143|language=en}}</ref>

The [[Belle Époque]] was a period that begun around 1871–1880 and that ended with the outbreak of World War I in 1914. It was characterized by optimism, regional peace, economic prosperity, colonial expansion, and technological, scientific, and cultural innovations. Eclecticism reached its peak in this period, with [[Beaux Arts architecture]]. The style takes its name from the [[École des Beaux-Arts]] in Paris, where it developed and where many of the main exponents of the style studied. Buildings in this style often feature [[Ionic order|Ionic columns]] with their [[volue]]s on the corner (like those found in French Baroque), a rusticated basement level, overall simplicity but with some really detailed parts, arched doors, and an arch above the entrance like the one of the [[Petit Palais]] in Paris. The style aimed for a Baroque opulence through lavishly decorated monumental structures that evoked [[Louis XIV]]'s [[Versailles]]. When it comes to the design of the [[Belle Époque]], all furniture from the past was admired, including, perhaps, contrary to expectations, the Second Empire style (the style of the proceeding period), which remained popular until 1900. In the years around 1900, there was a gigantic recapitulation of styles of all countries in all preceding periods. Everything from Chinese to Spanish models, from Boulle to Gothic, found its way into furniture production, but some styles were more appreciated than others. The [[High Middle Ages]] and the early Renaissance were especially prized. [[Exoticism]] of every stripe and exuberant Rococo designs were also favoured.<ref>{{cite book|last1=Sylvie|first1=Chadenet|title=French Furniture • From Louis XIII to Art Deco|date=2001|publisher=Little, Brown and Company|page=157|language=en}}</ref>

Revivals and influence of the Baroque faded away and disappeared with [[Art Deco]], a style created as a collective effort of multiple French designers to make a new modern style around 1910. It was obscure before WW1, but became very popular during the [[interwar period]], being heavily associated with the 1920s and the 1930s. The movement was a blend of multiple characteristics taken from [[Modern art|Modernist]] currents from the 1900s and the 1910s, like the [[Vienna Secession]], [[Cubism]], [[Fauvism]], [[Primitivism]], [[Suprematism]], [[Constructivism (art)|Constructivism]], [[Futurism]], [[De Stijl]], and [[Expressionism]]. Besides Modernism, elements taken from styles popular during the Belle Époque, like [[Rococo Revival]], [[Neoclassicism]], or the neo-[[Louis XVI style]], are also present in Art Deco. The proportions, volumes and structure of Beaux Arts architecture before WW1 is present in early Art Deco buildings of the 1910s and 1920s. Elements taken from Baroque are quite rare, architects and designers preferring the Louis XVI style.

At the end of the interwar period, with the rise in popularity of the [[International Style]], characterized by the complete lack of any ornamentation led to the complete abandonment of influence and revivals of the Baroque. Multiple International Style architects and designers, but also [[Modern art|Modernist]] artists criticized Baroque for its extravagance and what they saw as "excess".  Ironically this was just at the same time as the critical appreciation of the original Baroque was reviving strongly.

===Postmodern appreciation and reinterpretations===
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File:Notre dame de la paix yamoussoukro by felix krohn.jpg|[[Basilica of Our Lady of Peace]], Yamoussoukro, Ivory Coast, by [[Pierre Fakhoury]], 1985–1990

File:Via della Conciliazione at dawn.JPG|[[St. Peter's Basilica]], Rome, by [[Donato Bramante]], [[Michelangelo]], [[Carlo Maderno]] and others, completed in 1615{{sfn|Bailey|2012|p=211}}

File:Downtown Disney 05.JPG|Dolphin Hotel, [[Orlando, Florida]], US, with [[urn]] tops that are reminiscent of urns that decorate corners, tops and roof railings of buildings and furniture from the reign of [[Louis XIV]], by [[Michael Graves]], 1989<ref>{{cite book|last1=Hopkins|first1=Owen|title=Postmodern Architecture – Less is a Bore|date=2020|publisher=Phaidon|isbn=978-0-7148-7812-6|page=198|url=|language=en}}</ref>

File:Versailles roof details dormer windows.jpg|Urns that decorate the roof railing of the Marble Court of the [[Palace of Versailles]], Versailles, France, by [[Louis Le Vau]] and [[Jules Hardouin-Mansart]], {{c.|1660}}–1715{{sfn|Hodge|2019|p=102}}

File:Catanzaro - Teatro Politeama02.jpg|Concave facade of the [[Teatro Politeama (Catanzaro)|Teatro Politeama]], [[Catanzaro]], Italy, by [[Paolo Portoghesi]], 2002

File:Oratorio dei Filippini in Rome (1).jpg|Rounded facade of the [[Oratorio dei Filippini]], Rome, by [[Francesco Borromini]], 1637–1650

Bourgie lamp, by Ferruccio Laviani for Kartell, 2004, polycarbonate, sold at Kartell Milano on Via Carlo Porta in Milan.jpg|''Bourgie'' lamp, by [[Ferruccio Laviani]] for [[Kartell]], 2004, [[polycarbonate]], sold at Kartell Milano (Via Carlo Porta no. 1), [[Milan]], Italy

File:Coppia di candelabri in argento, 1681, 02.JPG|Church candlestick, 1681, silver, Museum of the [[Kotor Cathedral]], [[Kotor]], [[Montenegro]]

File:Zaanstad Inntel Hotel 15.jpg|Hotel Zaandam, [[Amsterdam]], the [[Netherlands]], inspired by Dutch 16th and 17th century canal houses, by [[Wam Architecten]], 2010<ref>{{cite book|last1=Hopkins|first1=Owen|title=Postmodern Architecture – Less is a Bore|date=2020|publisher=Phaidon|isbn=978-0-7148-7812-6|page=57|url=|language=en}}</ref>

File:WLM2011 - Amsterdam - Herengracht 120.JPG|[[Herengracht]] no. 120, Amsterdam, unknown architect, {{circa}}1625<ref>{{cite web|url=https://monumentenregister.cultureelerfgoed.nl/monumenten/1743|website=monumentenregister.cultureelerfgoed.nl|title=Woonhuis, Herengracht 120, 1015 BT te Amsterdam|access-date=22 September 2023}}</ref>

File:Rosenthal Porzellandose 018.jpg|Box, part of the Le Jardin de Versace collection, with complex [[rinceaux]] that are reminiscent of the Baroque ones from the 17th and very early 18th centuries, but also similar to the ones from the reign of Napoleon; designed by [[Versace]] and produced by [[Rosenthal (company)|Rosenthal]]; unknown date; porcelain; unknown dimensions or location

File:Hôtel Colbert de Villacerf 3.jpg|Baroque rinceaux with [[putti]] painted on the [[boiserie]] of a room from the [[Hôtel Colbert de Villacerf]], now in the [[Musée Carnavalet]], Paris, unknown architect, sculptor and painter, {{circa}}1650<ref>{{cite web|url=https://www.carnavalet.paris.fr/collections/lambris-du-cabinet-de-lhotel-colbert-de-villacerf|website=carnavalet.paris.fr|title=Lambris du Cabinet de L'Hôtel Colbert de Villacerf |author=|access-date=31 August 2023}}</ref>
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Appreciation for the Baroque reappeared with the rise of [[Postmodernism]], a movement that questioned [[Modernism]] (the [[status quo]] after WW2), and which promoted the inclusion of elements of historic styles in new designs, and appreciation for the pre-Modernist past. Specific references to Baroque are rare, since Postmodernism often included highly simplified elements that were 'quotations' of Classicism in general, like pediments or columns.

More references to Baroque are found in [[Versace]] ceramic ware and fashion, decorated with maximalist [[acanthus (ornament)|acanthus]] [[rinceau]]x, very similar to the ones found in Italian Baroque ornament plates and in [[Boulle work]], but also similar to the ones found on [[Empire style|Empire]] objects, especially textiles, from the reign of [[Napoleon I]].