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[[Fail:Rubens Adoration.jpg|thumb|right|upright|''Adoration,'' oleh [[Peter Paul Rubens]]]]
Dalam bidang [[kesenian]], '''''Baroque''''' atau '''Barok''' (nama ini diterbitkan dari [[kata sifat]] dalam [[bahasa Perancis]] yang diambil dari [[kata benda]] [[bahasa Portugis]] "barroco") ialah istilah untuk suatu tempoh kesenian dan [[gaya]] seni yang mendominasinya. Gaya Baroque menggunakan gerak yang dilebih-lebihkan dan maklumat yang jelas dan mudah ditafsirkan untuk menghasilkan [[drama]], ketegangan, semangat yang hidup dan keagungan dalam [[seni patung]], [[lukisan]], [[sastera]], dan [[muzik]]. Gayanya telah dimulakan sekitar tahun [[1600]] di [[Rom]], [[Itali]] dan telah tersebar ke sebahagian besar wilayah [[Eropah]]. Dalam muzik, gaya Baroque dikenakan pada tempoh terakhir dari dominasi [[kontrapung]] yang imitatif.
(Nama ini diadaptasi dari [[kata sifat]] dalam [[bahasa Perancis]] yang diambil dari [[kata benda]] [[bahasa Portugis]] "barroco". <!--Some confusion can occur in using for the period and style the [[Minuscule|lower-cased]] version "baroque", which can instead mean merely "elaborate" [or especially "overly elaborate"] without implying connection to the period.)
The popularity and success of the "Baroque" was encouraged by the [[Roman Catholic Church]] when it decided that the drama of the Baroque artists' style could communicate religious themes in direct and emotional involvement. The secular aristocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and would-be competitors. Baroque palaces are built round an entrance sequence of courts, anterooms, grand staircases, and reception rooms of sequentially increasing magnificence. Many forms of art, music, architecture, and literature inspired each other in the "Baroque" [[cultural movement]].
==Evolution of the Baroque==
In recent history, western European civilizations have faced three critical questions (in chronological order): Which religion to follow; which government to uphold; and how to bring equality to everyone. The matter of religion was resolved after [[Martin Luther]], [[John Calvin]], and others initiated a [[Protestant Reformation]] that gave many European monarchs an excuse to become more independent from [[The Holy Roman Empire]]. This led to a [[Counter Reformation]] by the [[Roman Catholic Church]] which included a push for new forms of art that exalted the Church's holy position.
Beginning around the year 1600, the demands for new art resulted in what is now known as the Baroque. The canon promulgated at the [[Council of Trent]] (1545–63), by which the [[Roman Catholic Church]] addressed the representational arts by demanding that paintings and sculptures in church contexts should speak to the illiterate rather than to the well-informed, is customarily offered as an inspiration of the Baroque, which appeared, however, a generation later. This turn toward a populist conception of the function of ecclesiastical art is seen by many [[Art history|art historians]] as driving the innovations of [[Michelangelo Merisi|Caravaggio]] and the [[Carracci]] brothers, all of whom were working (and competing for commissions) in Rome at that time.
The appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th century [[Mannerism|Mannerist]] art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, and dramatic (''see the ''Prometheus'' sculpture below''). Baroque art drew on certain broad and heroic tendencies in [[Annibale Carracci]] and his circle, and found inspiration in other artists like [[Antonio da Correggio|Correggio]] and [[Michelangelo Merisi|Caravaggio]] and [[Federico Barocci]], nowadays sometimes termed 'proto-Baroque'.
[[Fail:Adampromethe.jpg|thumb|right|250px|''Prometheus'', by Nicolas-Sébastien Adam, 1737 ([[Louvre Museum|Louvre]]): a hectic tour-de-force of violent contrasts of stress, multiple angles and viewpoints, and extreme emotion.]]
Germinal ideas of the Baroque can also be found in the work of [[Michelangelo Buonarroti|Michelangelo]].
Some general parallels in music make the expression "Baroque music" useful. Contrasting phrase lengths, harmony and [[counterpoint]] ousted [[polyphony]], and orchestral color made a stronger appearance. (See [[Baroque music]].) Similar fascination with simple, strong, dramatic expression in poetry, where clear, broad syncopated rhythms replaced the enknotted elaborated metaphysical similes employed by [[Mannerism|Mannerists]] such as [[John Donne]] and imagery that was strongly influenced by visual developments in painting, can be sensed in [[John Milton]]'s ''[[Paradise Lost]],'' a Baroque epic.
Though Baroque was superseded in many centers by the [[Rococo]] style, beginning in France in the late 1720s, especially for interiors, paintings and the decorative arts, Baroque architecture remained a viable style until the advent of [[Neoclassicism]] in the later 18th century. See the Neapolitan [[Caserta Palace|palace of Caserta]], a Baroque palace (though in a chaste exterior) that was not even begun until 1752. Critics have given up talking about a "Baroque ''period''."
In paintings, Baroque gestures are broader than Mannerist gestures: less ambiguous, less arcane and mysterious, more like the stage gestures of [[opera]], a major Baroque artform. Baroque poses depend on ''[[contrapposto]]'' ("counterpoise"), the tension within the figures that moves the planes of shoulders and hips in counterdirections. See Bernini's ''David'' (''below, left''). [[Fail:Berndavi.JPG|thumb|left|200px|[[Gian Lorenzo Bernini]]'s ''David'' (1623–24): Baroque freeze-frame stopped action, ''contrapposto'' and theatrical emotion]]
The dryer, chastened, less dramatic and coloristic, later stages of 18th century Baroque architectural style are often seen as a separate '''Late Baroque''' manifestation. (See [[Claude Perrault]].) Academic characteristics in the neo-[[Palladian]] architectural style, epitomized by [[William Kent]], are a parallel development in Britain and the British colonies: within doors, Kent's furniture designs are vividly influenced by the Baroque furniture of Rome and Genoa, hieratic tectonic sculptural elements meant never to be moved from their positions completing the wall elevation. Baroque is a style of unity imposed upon rich and massy detail.
The Baroque was defined by [[Heinrich Wölfflin]] as the age where the oval replaced the circle as the center of composition, centralization replaced balance, and coloristic and "painterly" effects began to become more prominent. Art historians, often [[Protestant]] ones, have traditionally emphasized that the Baroque style evolved during a time in which the [[Roman Catholic Church]] had to react against the many revolutionary cultural movements that produced a new science and new forms of [[religion]]—the [[Reformation]]. It has been said that the monumental Baroque is a style that could give the [[Papacy]], like [[political absolutism|secular absolute monarchies]], a formal, imposing way of expression that could restore its prestige, at the point of becoming somehow symbolic of the [[Catholic Reformation]]. Whether this is the case or not, it was successfully developed in [[Rome]], where Baroque architecture widely renewed the central areas with perhaps the most important urbanistic revision during this period of time.
==Baroque visual art ==
{{utama|Seni Baroque}}
A defining statement of what ''Baroque'' signifies in painting is provided by the series of paintings executed by [[Peter Paul Rubens]] for [[Marie de Medici]] at the [[Luxembourg Palace]] in Paris (now at the [[Louvre]]) [http://www.students.sbc.edu/vandergriff04/mariedemedici.html], in which a Catholic painter satisfied a Catholic patron: Baroque-era conceptions of monarchy, iconography, handling of paint, and compositions as well as the depiction of space and movement. There were highly diverse strands of Italian baroque painting, from [[Caravaggio]] to [[Cortona]]; both approaching emotive dynamism with different styles. Another frequently cited work of Baroque art is [[Bernini]]'s ''[[Saint Theresa in Ecstasy]]'' for the Cornaro chapel in S. Maria della Vittoria, which brings together architecture, sculpture, and theater into one grand conceit [http://www.boglewood.com/cornaro/xteresa.html].
The later Baroque style gradually gave way to a more decorative [[Rococo]], which, through contrast, further defines Baroque.
==Baroque architecture==
[[Fail:Palacwwilanowie.jpg|300px|thumb|[[Wilanów]] palace in [[Poland]].]]
[[Fail:Residenzschloss Ludwigsburg.jpg|thumb|right|300px|Ludwigsburg Palace near Stuttgart, Germany's largest Baroque Palace]]
[[Fail:Stift melk 001 2004.jpg|thumb|right|300px|Melk, Wachau]]
{{utama|Seni bina Baroque}}
In Baroque architecture, new emphasis was placed on bold massing, [[colonnade]]s, [[dome]]s, light-and-shade (''[[chiaroscuro]]''), 'painterly' color effects, and the bold play of volume and void. In interiors, Baroque movement around and through a void informed monumental staircases that had no parallel in previous architecture. The other Baroque innovation in worldly interiors was the state apartment, a processional sequence of increasingly rich interiors that culminated in a presence chamber or throne room or a state bedroom. The sequence of monumental stair followed by state apartment was copied in smaller scale everywhere in aristocratic dwellings of any pretensions.
Baroque architecture was taken up with enthusiasm in central [[Germany]] (see e.g. [[Ludwigsburg Palace]] and [[Zwinger]] Dresden), [[Austria]] and [[Poland]] (see e.g. [[Wilanow]] and [[Bialystok]] Palaces). In [[England]] the culmination of Baroque architecture was embodied in work by Sir [[Christopher Wren]], Sir [[John Vanbrugh]] and [[Nicholas Hawksmoor]], from ca. 1660 to ca. 1725. Many examples of Baroque architecture and town planning are found in other European towns, and in the Spanish Americas. Town planning of this period featured radiating avenues intersecting in squares, which took cues from [[History of gardening|Baroque garden plans]].
For examples see: [[List of examples of typical Baroque architecture]]
==Baroque theater and dance==
In theater, the elaborate conceits, multiplicity of plot turns, and variety of situations characteristic of [[Mannerism]] ([[William Shakespeare|Shakespeare's tragedies]], for instance) are superseded by [[opera]], which drew together all the arts in a unified whole.
[[Baroque dance|Dance]] was popular in the Baroque era.
==Baroque literature and philosophy==
Baroque actually expressed new values, which often are summarized in the use of [[metaphor]] and [[allegory]], widely found in Baroque literature, and in the research for the "maraviglia" (wonder, astonishment — as in [[Marinism]]), the use of artifices. If Mannerism was a first breach with Renaissance, Baroque was an opposed language. The ''psychological pain of Man'' -- a theme disbanded after the [[Nicolaus Copernicus|Copernican]] and the [[Martin Luther|Lutheran]] revolutions in search of solid anchors, a proof of an "ultimate human power" -- was to be found in both the art and architecture of the Baroque period. A relevant part of works was made on religious themes, since the Roman Church was the main "customer."
Virtuosity was researched by artists (and the [[virtuoso]] became a common figure in any art) together with [[realism (arts)|realism]] and care for details (some talk of a typical "intricacy").
The privilege given to external forms had to compensate and balance the lack of content that has been observed in many Baroque works: [[Marino]]'s "[[Maraviglia]]", for example, is practically made of the pure, mere form. Fantasy and imagination should be evoked in the spectator, in the reader, in the listener. All was focused around the individual Man, as a straight relationship between the artist, or directly the art and its user, its client. Art is then less distant from user, more directly approaching him, solving the cultural gap that used to keep art and user reciprocally far, by Maraviglia. But the increased attention to the individual, also created in these schemes some important genres like the ''Romanzo'' ([[novel]]) and let popular or local forms of art, especially dialectal literature, to be put into evidence. In [[Italy]] this movement toward the single individual (that some define a "cultural descent", while others indicate it was a possible cause for the classical opposition to Baroque) caused [[Latin]] to be definitely replaced by Italian.
In [[English literature]], the [[metaphysical poets]] represent a closely related movement; their poetry likewise sought unusual metaphors, which they then examined in often extensive detail. Their verse also manifests a taste for paradox, and deliberately inventive and unusual turns of phrase.
==The term "Baroque"==
The word "Baroque", like most [[Periodization|period]] or stylistic designations, was invented by later [[critic]]s rather than practitioners of the arts in the 17th and early 18th centuries. It is a [[French language|French]] translation of the [[Portuguese language|Portuguese]] word "Barroco" (meaning an irregular [[pearl]], or false jewel—notably, an ancient similar word, "Barlocco" or "Brillocco", is used in [[Rome|Roman]] [[dialect]] for the same meaning—and natural pearls that deviate from the usual, regular forms so they do not have an [[axis of rotation]] are known as "baroque pearls"). Alternatively, it may derive from the now obsolete [[Italian language|Italian]] "Baroco" (meaning, in logical ''Scholastica'', a [[syllogism]] with weak content). A common definition, before the term ''Barocco'' was used, called this genre simply the style of '''The Flying Forms'''.
The term "Baroque" was initially used with a derogatory meaning, to underline the excesses of its emphasis, of its eccentric redundancy, its noisy abundance of details, as opposed to the clearer and sober rationality of the Renaissance. It was first rehabilitated by the [[Switzerland|Swiss-born]] [[Art History|art historian]], [[Heinrich Wölfflin]] (1864–1945) 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. Writers in French and English did not begin to treat Baroque as a respectable study until Wölfflin's influence had made German scholarship pre-eminent.
In modern usage, the term "Baroque" may still be used, usually pejoratively, to describe works of art, craft, or design that are thought to have excessive ornamentation or complexity of line, or, as a [[synonym]] for "[[Derogatory use of 'Byzantine'|Byzantine]]", to describe literature, computer programs, contracts, or laws that are thought to be excessively complex, indirect, or obscure in language, to the extent of concealing or confusing their meaning. A "Baroque fear" is deeply felt, but utterly beyond daily reality.
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== Lihat juga ==
* [[Catur Baroque]]
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