Baroque

Scholars often use the term baroque to refer to the art, music, and literature of the 1600s, a period of great social and political upheaval. During this time many writers and artists moved away from the orderly, classical* principles of the Renaissance and adopted a more dramatic and expressive style in their work.

The word baroque was first used in the 1700s to describe the style that emerged toward the end of the Renaissance. A negative term—possibly derived from the Spanish barrueco (a misshapen pearl), it was applied to works considered distorted or excessive. In the late 1800s scholars began to refer to Baroque art in a more positive way, identifying it as a distinct movement and noting its grandeur, exuberance, and vitality.

Baroque architecture conveys a sense of movement and emotion through the use of massive forms, soaring heights, and rich interior decorations. Prominent baroque architects include Francesco Borromini and Giovanni Lorenzo Bernini, who was also a noted sculptor.

Artists who worked in the baroque style include the Italian painter Pietro da Cortona and the Flemish* painter Peter Paul RUBENS. Pietro da Cortona created magnificent ceiling frescoes* that seem to open up to the sky. Rubens portrayed groups of figures displaying deep emotion or energy but finished with the intricate details typical of northern European painting.

A similar move toward a dramatic style appeared in baroque music. OPERA, which developed around 1600, provides a prime example of this trend toward the dramatic. Italian composer Claudio MONTEVERDI took the form to a new level. Over time opera productions became increasingly elaborate, captivating audiences in many parts of Europe. At the same time, writers such as the Spaniard Lope Félix de VEGA CARPIO produced plays in the baroque style, ranging from light comedies to dramas about history, religion, love, and honor.