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1、,,巴洛克藝術(shù),TheBaroque is a period of artisticstyle that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, architecture, literature, danc

2、e, and music. The style started around 1600 inRome,Italy and spread to most of Europe.The popularity and success of the Baroque style was encouraged by theRoman Catholic Church, which had decided at the time of theCounc

3、il of Trent, in response to the Protestant Reformation, that the arts should communicate religious themes in direct and emotional involvement. Thearistocracy also saw the dramatic style of Baroque architecture and art as

4、 a means of impressing visitors and expressing triumphant power and control. Baroque palaces are built around an entrance of courts, grand staircases and reception rooms of sequentially increasing opulence.According to

5、theOxford English Dictionary, the wordbaroque is derived from the Portuguese word "barroco", Spanish "barroco", or French "baroque", all of which refer to a "rough or imperfect pearl&qu

6、ot;, though whether it entered those languages via Latin, Arabic, or some other source is uncertain.巴洛克藝術(shù)是指16世紀(jì)后期開始在歐洲流行的一種藝術(shù)風(fēng)格，不僅在繪畫方面，巴洛克藝術(shù)代表整個(gè)藝術(shù)領(lǐng)域，包括音樂、建筑、裝飾藝術(shù)等。「巴洛克」（—Baroque）此字源于西班牙語及葡萄牙語的「變形的珍珠」(—barroco)。作為形容詞，此

7、字有「俗麗凌亂」之意。歐洲人最初用這個(gè)詞指「缺乏古典主義均衡特性的作品」，它原是18世紀(jì)崇尚古典藝術(shù)的人們，對(duì)17世紀(jì)不同于文藝復(fù)興風(fēng)格的一個(gè)帶貶義的稱呼，現(xiàn)今這個(gè)詞已失去了原有的貶義，僅指17世紀(jì)風(fēng)行于歐洲的一種藝術(shù)風(fēng)格。Adoration, byPeter Paul Rubens,A century ago, theEncyclopædia Britannica 11th edition, thought the t

8、erm was derived from the Spanishbarrueco, a large, irregularly-shaped pearl, and it was for a time confined to the craft of the jeweller. Others derive it from themnemonic term "Baroco" denoting, in logicalScho

9、lastica, a supposedly laboured form ofsyllogism.In informal usage, the wordbaroque can simply mean that something is "elaborate", with many details, without reference to the Baroque styles of the seventeenth a

10、nd eighteenth centuries.The word "Baroque", like mostperiodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th and early 18th centuries. It is a French

11、 transliteration of thePortuguese phrase "pérola barroca", which means "irregularpearl", and natural pearls that deviate from the usual, regular forms so they do not have anaxis of rotation are k

12、nown as "baroque pearls".The term "Baroque" was initially used with a derogatory meaning, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redunda

13、ncy and noisy abundance of details, which sharply contrasted the clear and sober rationality of theRenaissance. Although it was long thought that the word as a critical term was first applied to architecture, in fact it

14、appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 ofJean-Philippe Rameau’sHippolyte et Aricie, printed in theMercure de France in May 1734. The critic implied t

15、hat the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every comp

16、ositional device.雖然「巴洛克」直指缺乏古典均衡性的藝術(shù)作品，但其實(shí)巴洛克藝術(shù)家，與文藝復(fù)興的前輩相同，都很重視設(shè)計(jì)和效果的整體統(tǒng)一性，巴洛克風(fēng)格以強(qiáng)調(diào)「運(yùn)動(dòng)」與「轉(zhuǎn)變」為特點(diǎn)，尤其是身體和情緒方面的，同時(shí)，巴洛克也是對(duì)矯飾主義的一種反動(dòng)。在歐洲文化史中，「巴洛克」慣指的時(shí)間是17世紀(jì)以及18世紀(jì)上半葉(約1600年 -1750年），但年份并不代表絕對(duì)的藝術(shù)風(fēng)格，特別是建筑與音樂。這一時(shí)期，上接文藝復(fù)興(1452年

17、-1600年)，下接古典主義、浪漫時(shí)期。,,,Trevi Fountain in Rome,歐洲文化「除舊布新」，在各方面都有重大的改變與成就。資產(chǎn)階級(jí)興起，君主政治漸獨(dú)立于宗教之外（但民主思想萌芽）?？茖W(xué)在伽利略、牛頓等人的開創(chuàng)下展開。藝術(shù)上趨勢是「世俗化」，精力充沛，勇于創(chuàng)新，甚至好大喜功。文藝上的名家如莎士比亞、塞萬提斯；繪畫上有魯本斯，倫勃朗等，影響都極深遠(yuǎn)。也在這時(shí)期，歐洲向外擴(kuò)張殖民，漸漸占據(jù)了世界文明的中心。油畫巴洛克

18、畫家的典型代表是法蘭德斯的魯本斯、荷蘭的倫勃朗、西班牙的委拉斯蓋茲、英國的凡·戴克、意大利的貝尼尼和卡拉瓦喬等。他們的畫作人體動(dòng)勢生動(dòng)大膽，色彩明快，強(qiáng)調(diào)光影變化，比文藝復(fù)興時(shí)代畫家還要更強(qiáng)調(diào)人文意識(shí)。魯本斯的宗教畫人體姿勢動(dòng)作激烈，色彩鮮明；倫勃朗的畫作如同在舞臺(tái)上，人物面部處于高光部位，與周圍的陰影有強(qiáng)烈的對(duì)比；委拉斯開茲的「宮女」，背景中在窗外射入光線下工作的織女，曾經(jīng)對(duì)后期浪漫主義畫派畫家產(chǎn)生很大的影響.巴洛克音樂

19、指歐洲在文藝復(fù)興之后開始興起，且在古典主義音樂形成之前所流行的音樂類型，延續(xù)期間大約從1600年到1750年之間的150年。巴洛克（Baroque）一詞來源于西班牙語和葡萄牙語「Barocco」，意指形態(tài)不夠圓或不完美的珍珠，最初是建筑領(lǐng)域的術(shù)語，后逐漸用于藝術(shù)和音樂領(lǐng)域。在藝術(shù)領(lǐng)域方面，巴洛克風(fēng)格的特征是精致細(xì)膩的裝飾以及華麗的風(fēng)格，造成這種現(xiàn)象的主因，是因?yàn)榘吐蹇藭r(shí)期是貴族掌權(quán)的時(shí)代，富麗堂皇的宮廷里奢華的排場正是新的文化以及藝術(shù)

20、的發(fā)展中心，而這個(gè)大環(huán)境的改變也直接的影響到了音樂家的創(chuàng)作。十七、八世紀(jì)宮廷樂師所寫的音樂作品，絕大部分是為上流社會(huì)的社交所需而做，為了炫耀貴族的權(quán)勢以及財(cái)富，當(dāng)時(shí)的宮廷音樂必定得呈現(xiàn)出炫耀的音樂以及不凡的氣度，以營造愉悅氣氛。,卡拉瓦喬是意大利畫家，跟米蘭畫家培德查諾﹝Simone Peterzano﹞學(xué)畫，并受威尼斯畫派的影響。他在早期創(chuàng)作四組壁畫：《圣禮的爭辯》﹝神學(xué)﹞、《雅典學(xué)派》﹝哲學(xué)﹞、《巴那斯山》﹝文學(xué)﹞、《法律》，運(yùn)用

21、歷史畫的方法處理這些帶有象征性的主題，反映當(dāng)時(shí)教會(huì)人士的要求。其代表作包括《西斯廷圣母》、《自畫像》、《教皇利奧十世像》等。此外，還畫了不少建筑設(shè)計(jì)圖稿。他的早期作品多為靜物畫，另有一些戲劇化的小幅自畫像，這些自畫像混合有北方的明晰和威尼斯的朦朧感，對(duì)比強(qiáng)烈，描繪精細(xì)。晚年作品極其晦暗，某些作品已受損，但作品中直率的圖像，樸實(shí)而深切，表現(xiàn)出一種新的，強(qiáng)烈的戲劇化情感。他革命性的表現(xiàn)技巧，使他卷入永無止境的論戰(zhàn)里。這些非難，包括如?？?/p>

22、洛﹝Zuccaro﹞等學(xué)院派后期矯飾主義畫家對(duì)他的反對(duì)，主要在于他那生動(dòng)的寫實(shí)精神，采用時(shí)裝及現(xiàn)實(shí)背景，排斥理想化，及繁復(fù)的內(nèi)容等。圣馬太蒙召喚﹝The Calling of St. Matthew﹞,,,圣馬太與天使﹝The Inspiration of St. Matthew﹞,圣馬太殉教﹝The Martyrdom of St. Matthew﹞,,,圣保羅的死難﹝The Conversion of St. Paul﹞,圣彼得

23、被釘上十字架﹝The Crucifixion of St. Peter﹞,埋葬基督﹝The Entombment﹞ 1602 ~ 1604年油彩?畫布，300 x 203公分梵蒂岡美術(shù)館，羅馬﹝Rome﹞，意大利,圣母之死部分﹝The Death of the Virgin ﹞1605 ~ 1606年油彩?畫布，369 x 245公分羅浮宮，巴黎﹝Paris﹞，法國,Judith Beheading Holofernes

24、1598–1599.Galleria Nazionale d'Arte Antica, Rome,,,The Seven Works of Mercy, 1606–1607,Pio Monte della Misericordia,Naples,Supper at Emmaus, 1601. Oil on canvas, 139 × 195 cm (55 × 

25、77 in).National Gallery, London,The Cardsharps(c. 1595, shown left),Michelangelo Merisi da Caravaggio - Supper at Emmaus (detail),Sir Peter Paul Rubens (Dutch pronunciation: [?ryb?(n)s]; 28 June 1577 – 30 May 1

26、640), was aFlemish Baroque painter, and a proponent of an extravagantBaroque style that emphasized movement, colour, and sensuality. He is well-known for hisCounter-Reformation altarpieces,portraits,landscapes, andhistor

27、y paintings of mythological and allegorical subjects.In addition to running a large studio inAntwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educatedh

28、umanist scholar, art collector, and diplomat who wasknighted by bothPhilip IV, King of Spain, andCharles I, King of England.魯本斯是法蘭德斯派畫家、版畫家。他擅長神話、歷史、宗教及風(fēng)俗畫，同時(shí)，也精于肖像畫及風(fēng)景畫。1600年，魯本斯遠(yuǎn)赴意大利，在威尼斯，他臨摹了提香﹝Tiziano Vece

29、llio﹞、丁多列托﹝Jacopo Robusti Tintoretto﹞及維洛內(nèi)些﹝Paolo Veronese﹞的作品，將大師的造形與構(gòu)圖觀念消化后，納入個(gè)人風(fēng)格之中。1608年，魯本斯母病危，他立刻趕回安特衛(wèi)普，從此魯本斯即留居于法蘭德斯，并受法蘭德斯大公封為宮廷畫家，并成為羅馬風(fēng)格畫家公會(huì)之一員。一直到1612年止的一段時(shí)期可謂為魯本斯的「狂飆運(yùn)動(dòng)」時(shí)期。在此期間，畫中的造形極度夸張，而尺寸亦放大。Self-portrai

30、t, 1623,National Gallery of Australia,,Rubens andIsabella Brant in theHoneysuckle Bower, 1609–10.Alte Pinakothek, Munich,Equestrian Portrait of the Duke of Lerma, 1603,Museo del Prado, Madrid. Painted during Rubens's

31、 first trip to Spain in 1603,,,The Virgin and Child Adored by Angels, 1608, oil on slate and copper. This is the central panel depictingThe Virgin and Child Adored by Angels above the High Altar,Santa Maria in Vallicella

32、, Rome,The Elevation of the Cross, 1610–11. Central panel.Cathedral of Our Lady, Antwerp,Peter Paul Rubens andFrans Snyders,Prometheus Bound, 1611–12. Philadelphia Museum of Art,The Exchange of Princesses, from the Marie

33、 de' Medici Cycle. Louvre, Paris,,四位哲學(xué)家﹝The Four Philosophers﹞1611 ~ 1612年油彩?畫布，164 x l39公分皮蒂宮，佛羅倫薩﹝Florence﹞，意大利,Hippopotamus Hunt (1616). Rubens is known for the frenetic energy and lusty ebullience of his paint

34、ings,,,愛的花園Garden of Love1633年油彩?畫布198 x 283公分普拉多美術(shù)館，馬德里﹝Madrid﹞西班牙,Sir Anthony van Dyck (Dutch pronunciation: [vɑn ?d????k], many variant spellings;[2] 22 March 1599 – 9 December 1641) was aFlemish Baroque ar

35、tist who became the leadingcourt painter inEngland. He is most famous for his portraits ofCharles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence onEnglish por

36、trait-painting for the next 150 years. He also paintedbiblical andmythological subjects, displayed outstanding facility as a draftsman, and was an important innovator inwatercolour andetching.范戴克是法蘭德斯畫家，巴洛克宮庭肖像畫的創(chuàng)造者。當(dāng)他在

37、14歲時(shí)便當(dāng)上魯本斯﹝Rubens﹞的首席助理。在大師的影響之下，他修改了早期羞澀、粗獷的風(fēng)格，而開始使用細(xì)致的色調(diào)。1621年，他前往意大利，在熱那亞和羅馬停留了極長的時(shí)間，并且創(chuàng)作了許多出色的肖像畫，它們?cè)趥€(gè)性的刻劃上雖不如魯本斯來得有力量，但對(duì)被畫者的特性有敏銳的掌握，他表現(xiàn)了一種永恒的格調(diào)，反應(yīng)出他內(nèi)在的憂郁。1627年，范戴克回到安特衛(wèi)普﹝Antwerp﹞，1630年被布魯塞爾的西班牙皇室封為宮廷畫家，并且畫了許多肖像，又完

38、成了多建教堂所委托的杰作。,范戴克﹝Sir Anthony Van Dyck﹞﹝1599 ~ 1641﹞,1932年，范戴克遷至倫敦，被英王查理一世封為爵士，，命為「首席畫家」。他在英國九年間的肖像畫作品相當(dāng)不少，其中最為有名的是國王查理一世的三幅肖像畫、《查理一世的三個(gè)孩子》﹝The Three Eldest Children of Charles I ﹞等，這些作品為英國肖像畫的偉大傳統(tǒng)創(chuàng)設(shè)了一個(gè)典范。,Genoan hauteur

39、 from the Lomelli family, 1623,Self-portrait, 1613-14,,,The more intimate, but still elegant style he developed in England, ca 1638,King Charles I, ca. 1635 Louvre - see text,,Henrietta Maria and thedwarf,Sir Jeffrey Hud

40、son, 1633,This triple portrait of King Charles I was sent to Rome forBernini to model a bust on,,,Elena Grimaldi, Genoa 1623,Rest of the Holy Family during theFlight into Egypt (around 1630)Alte Pinakothek,Munich,,,Queen

41、 Henrietta Maria, London 1632,Charles I with M. de St Antoine (1633),,,Equestrian Portrait of Charles I, c.1637-8,Amor and Psyche, 1638,,查理一世狩獵像﹝Charles I of England at the Hunt﹞1635年 油彩?畫布，266 x 207公分羅浮宮，巴黎﹝Paris﹞，法國

42、,查理一世的三個(gè)孩子﹝The Three Eldest Children of Charles I﹞1635年 油彩?畫布，151 x 154公分莎芭達(dá)畫廊，杜林﹝Torino﹞，意大利,,,A Family Group, c. 1634-35, oil on canvas,The Detroit Institute of Arts,James Stuart, Duke of Richmond, ca. 1637,Georges

43、de La Tour (March 13, 1593 – January 30, 1652) was a French Baroque painter, who spent most of his working life in theDuchy of Lorraine, which was temporarily absorbed into France between 1641 and 1648. He painted mostly

44、 religiouschiaroscuro scenes lit by candlelight.拉突爾是法國傳統(tǒng)畫家，他最著名的是以燭光作為光源所畫出來的景。他的作品深受意大利畫家卡拉瓦喬﹝Caravaggio﹞的影響，尤其是有關(guān)光影的部分；另外，他也受到了荷蘭畫家Hendrick Terbrugghen和Gerrit van Honthorst的影響。他的夜景通常只用一盞燭光為光源，因此強(qiáng)烈的表現(xiàn)出亮度和陰影的差距。他晚年的作品

45、演變出一種人像風(fēng)格，畫里的人體都簡約成最單純的幾何造型，并且安置得詳靜平和，是法國古典主義的表現(xiàn)。He often painted several variations on the same subjects, and his surviving output is relatively small. His son Étienne was his pupil, and distinguishing between the

46、ir work in versions of La Tour's compositions is difficult. The version of theEducation of the Virgin, in theFrick Collection in New York is an example, as the Museum itself admits. Another group of paintings (exampl

47、e left), of great skill but claimed to be different in style to those of La Tour, have been attributed to an unknown "Hurdy-gurdy Master". All show older male figures (one group in Malibu includes a female), mo

48、stly solitary, either beggars or saints.St Joseph, 1642,Louvre,,TheHurdy-Gurdy Player, c.1631-1636,Musée des Beaux-Arts de Nantes,Dice-players, ca. 1651, probably his last work. Preston Hall Museum,Stockton-on-Tee

49、s, UK,,,The Cheat with the Ace of Clubs, c. late 1620s,Kimbell Art Museum,Fort Worth, Texas. Another version is in the Louvre.,,,,Magdalen with the Smoking Flame, c. 1640,Los Angeles County Museum of Art,The Fortune Tell

50、er, 1633-1639,Metropolitan Museum of Art,,The Dream of St. Joseph, c. 1628-1645,Musée des Beaux-Arts de Nantes,Nativity, 1644,Louvre,,St Sebastian tended by St Irene, 1649, ParishBroglie France,The Newborn Christ, c

51、. 1645-1648,Museum of Fine Arts of Rennes,,圣母受教育﹝The Education of the Virgin﹞1650年 油彩?畫布，84 x 100公分弗立克美術(shù)圖書館，紐約﹝New York﹞，美國,St Jerome (Hurdy-gurdy group), c. 1624-1650,Nationalmuseum,Stockholm,李常生Eddie Lee Taipei R.O.