Baroque and Rococo by Ian Barras Hill

By Ian Barras Hill

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47. Gerard Ter Borch The letter, c. 1660 Canvas, 80 x 68 cm London, The Royal Collection drawing dates from he was visiting England, and was in Italy in his early twenties. For all his worldliness his paintings have a private, Ter Borch's first his eighth year. In his teens introspective atmosphere. He had great skill in rendering fabrics; the lady's metallic dress seems so photographically real that the spell of the painting. asleep on the little stool it breaks The dog is a piece of charming invention, though the lady's feet are in a distorted perspective.

Is becomes true spirit of the Prussian in this decorative determi- 49. Cosmas Damian Asam Glorifiuitioti nf Miiry. 1736 Fresco, detail Ingolstadt, S. Maria de Victoria brothers were a German team ot architects and trescoists who The Asam learned their art in Rome. Bavaria, where they worked upon decorating church ceilings, followed the Italian rather than the French Baroque. It is s;ud that German artists at this time were using acid and unreal colouring, while the Austrians took after the Venetian palette, which is softer and more romantic.

The structured tableaux or figures gave way to a looser scattering throughout the painting, which served to diffuse the central action. The unifying element in the picture was the decorative design. The figures began to luxuriate in a new freedom, to lean and stretch in a more languorous way, which hinted at the discredited Mannerist styles of a century earlier. Both the power of the Pope in Rome, and the strength of the Spanish hold on southern Italy diminished in the last decade of the High Baroque.

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