Previously published as pt. 1 of The Europe of the capitals 1600-1700, 1964. Color and bandw illustrations with text present the visual arts as well as the architecture of this age. Annotation copyrighted by Book News, Inc., Portland, OR
This volume examines the New Science of the 17th century in the context of Baroque culture, analysing its emergence as an integral part of the high culture of the period. The collected essays explore themes common to the new practices of knowledge production and the rapidly changing culture surrounding them, as well as the obsessions, anxieties and aspirations they share, such as the foundations of order, the power and peril of mediation and the conflation of the natural and the artificial. The essays also take on the historiographical issues involved: the characterization of culture in general and culture of knowledge in particular; the use of generalizations like ‘Baroque’ and the status of such categories; and the role of these in untangling the historical complexities of the tumultuous 17th century. The canonical protagonists of the ‘Scientific Revolution’ are considered, and so are some obscure and suppressed figures: Galileo side by side with Scheiner;Torricelli together with Kircher; Newton as well as Scilla. The coupling of Baroque and Science defies both the still-triumphalist historiographies of the Scientific Revolution and the slight embarrassment that the Baroque represents for most cultural-national histories of Western Europe. It signals a methodological interest in tensions and dilemmas rather than self-affirming narratives of success and failure, and provides an opportunity for reflective critique of our historical categories which is valuable in its own right.
This is a nonchronological introduction to Baroque, one of the great periods of European art. John Martin's descriptions of the essential characteristics of the Baroque help one to gain an understanding of the style. His illustrations are informative and he has clearly looked with a fresh eye at the works of art themselves. In addition to the more than 200 illustrations, the volume contains an appendix of translated documents.
"David Castillo takes us on a tour of some horrific materials that have rarely been considered together. He sheds a fantastical new light on the baroque." ---Anthony J. Cascardi, University of California Berkeley "Baroque Horrors is a textual archeologist's dream, scavenged from obscure chronicles, manuals, minor histories, and lesser-known works of major artists. Castillo finds tales of mutilation, mutation, monstrosity, murder, and mayhem, and delivers them to us with an inimitable flair for the sensational that nonetheless rejects sensationalism because it remains so grounded in historical fact." ---William Egginton, Johns Hopkins University "Baroque Horrors is a major contribution to baroque ideology, as well as an exploration of the grotesque, the horrible, the fantastic. Castillo organizes his monograph around the motif of curiosity, refuting the belief that Spain is a country incapable of organized scientific inquiry." ---David Foster, Arizona State University Baroque Horrors turns the current cultural and political conversation from the familiar narrative patterns and self-justifying allegories of abjection to a dialogue on the history of our modern fears and their monstrous offspring. When life and death are severed from nature and history, "reality" and "authenticity" may be experienced as spectator sports and staged attractions, as in the "real lives" captured by reality TV and the "authentic cadavers" displayed around the world in the Body Worlds exhibitions. Rather than thinking of virtual reality and staged authenticity as recent developments of the postmodern age, Castillo looks back to the Spanish baroque period in search for the roots of the commodification of nature and the horror vacui that accompanies it. Aimed at specialists, students, and readers of early modern literature and culture in the Spanish and Anglophone traditions as well as anyone interested in horror fantasy, Baroque Horrors offers new ways to rethink broad questions of intellectual and political history and relate them to the modern age. David Castillo is Associate Professor and Director of Graduate Studies in the Department of Romance Languages and Literatures at the University at Buffalo, SUNY. Jacket art: Frederick Ruysch's anatomical diorama. Engraving reproduction "drawn from life" by Cornelius Huyberts. Image from the Zymoglyphic Museum.
The Baroque world was a flowing one, a realm of slippery presences in constant flux. Everything seemed to be in endless motion –space, time, emotions and the individual itself. It was a deeply shifting world, and this absence of solidity and certainty would come to define both the macro and the microcosms of these inconstant times. Like other Baroque phenomena, fluidity encompassed a rather complex and wide-ranging set of manifestations – from the swirls of angels on the ceilings of Pietro da Cortona and the polyvalence of space in the complex interiors by Guarini, to the fluidity of being that marked equally the statues of Messerschmidt and Bernini’s Borghese mythologies. This book charts different aspects of this fluidity, discussing fluid geographies, fluidity of presence, fluidity of spaces and materials, fluid souls and water in Baroque culture.
This vintage book contains a comprehensive treatise of Baroque music. It was written for the music student and music lover, with the aim of acquainting them with this great period of music history and helping them to gain a historical understanding of music without which baroque music cannot be fully appreciated and enjoyed. Written in simple, plain language and full of fascinating information about baroque music, this text will appeal to those interested in music but who have little previous knowledge of baroque, and it would make for a most worthy addition to collections of music-related literature. The chapters of this book include: 'Early Baroque in Italy'; 'The Beginnings of the Concertato Style: Gabrieli'; 'The Phases of Baroque Music'; 'Tradition and progress in Sacred Music'; 'The Netherlands School and Its English Background', et cetera. We are republishing this antiquarian volume now in an affordable, modern edition complete with a new prefatory biography of the author.