Austria and Germany. 1555 to 1648 to 1750: From
Brussels to Westphalia to the Austrian Empire.
• 1610
•
Frans Francken, The Allegory of
the Abdication of Charles, Duke
of Burgundy, King of Spain, and
Holy Roman Emperor, detail of
Charles, his son Philip of Spain
and his cousin Ferdinand of
Austria. Took place in 1555.
Here is where the trouble starts.
Conflicts of religion, rights, and
sovereignty
Peace of Westphalia, 1648.
•
G. Ter Borch, Treaty of Westphalia, 1648.
rt.
•
Ends the bloodiest period of the wars of
religion.
•
Brings a hiatus in Franco-Spanish conflict.
•
Dutch and Swiss independence recognized
– rights as nation- states.
•
Enshrines the principle of cuius regio, eius
religio – whoevers realm, whoevers
religion.
•
Also promised tolerance in territories of
the Holy Roman Empire.
Some aspects of Treaty on the Arts:
Confirming earlier tendencies.
•
Increased sense of security in German lands allows for building projects to
develop, often in Catholic territories.
•
They fall into two categories: secular palaces in capital cities and religious
structures, often revived monasteries and urban churches in honor of Counter
Reform Saints.
•
Jesuits with their emphasis on emotional art as propaganda and bildung or
forming of personality set standards for many of the religious structures that
follow. General growth of monasteries – consolidation of farm land – and
pilgrimage, see Romanesque.
•
Secular princes now fancy themselves modern sovereigns, emulating Kings and
Emperors of major nations, building palaces, and lustgarden – pleasure gardens.
Rococo Architecture in Austria,
Germany and Russia, 1660-1750.
•
Inspired by Italian models and often employed Italian
or Italian trained artists/architects.
•
Given different climactic conditions and local cultural
expectations, Color schemes tend toward lighter colors
German, Austrian, and Italo-Russian designers employ
s- and c- curved shapes, often drew upon floral or
organic motifs, and employed more subtle detail.
•
Architects also innovatively explored various
possibilities for room designs, cutting away walls or
making curved walls,
•
New sumptuous materials (amber, porphyry) for wall
paneling, uses of “fictive materials” scagiola – marble
substitute made from gesso, stone dust and polished
surface.
•
Siting of new buildings an important element of the
effect, see Prandtauer, Melk, Abbey Church. Austria,
1736.
•
In Russia, founding of new capital city, St. Petersburg,
facing Europe, based on European models, 1603 Czar
Johann Bernhard Fischer von
Erlach,
• (1656, - 1723, Vienna), Austrian architect, sculptor,
and architectural historian whose Baroque style, a
synthesis of classical, Renaissance, and southern Baroque
elements, shaped the tastes of the Habsburg empire.
His Entwurf einer historischen Architektur (1721; A Plan of
Civil and Historical Architecture) was the first successful
comparative study of architecture.
• Vienna gloriosa – the embellishment of the city using
both Italian and Italian trained artists. Pozzo for example
comes to Vienna in 1709.
Karlskirche, Vienna,
1716-1737
•
Commissioned by the Habsburg
Emperor, Charles VI, as a votive
church dedicated to his CounterReform name saint, Charles
Borromeo.
•
Imperial, Encyclopedic and
Religious. Elements from Greek,
Roman, and Italian Baroque
architecture: Façade – Greek,
Columns-Roman, Towers – Italian
Baroque.
•
Design sequence influential
pediment - triangle
Plan and section through –
Sant’ Andrea al quirinale..
Historical Kit of Parts: Trevi Fountain
and Karlskirche in the Late Baroque.
Karlskirche, 1716-37 Sant’ Agnese in Agone,
Rainaldi, Borromini – The Late Baroque in
Rome.
His Entwurf einer historischen Architektur (1721; A Plan of Civil and Historical
Architecture) First world history of architecture: follows interest in world cultures in
age of exploration and colonization.
Porcelain Tower and Temple
Complex, Nanjing.
Halicarnassus,
Mausoleum, 3rd c. b.c.e.
Melk Abbey, (Benedictine, founded 1088) int.
1702-1736: Troger, Ceiling, 1722.
Vierzehnheilingen (pilgrimmage church),
B. Neumann, Bel Composto, Stucco and
Scagiola.
Scagiola from Italian for chip, German origin:
Plasterwork in imitation of ornamental marble,
consisting of ground gypsum and glue colored
with marble or granite dust.
Matthäus Daniel Pöppelmann, Zwinger, Dresden, 1705/8–28 – Wall Pavilion –
Late Baroque Architecture in Germany – elaborate forms, integrated sculpture,
heavy decoration, but lightness in windows and arches.
Wurzburg, Neumann, Garden
façade, 1744.
Wurzburg Palace, Kaisersaal and Staircase
House, Neumann and Tiepolo, 1737
Wieskirche, Bavaria, 1754, J.B.
and Dominikus Zimmermann.
Asam Brothers, Saint John Nepoumuk, Munich:
urban façade, bel composto, stucco, scagiola
François de Cuvilliés and Johann Baptist Zimmermann, Amalienburg,
garden façade, Schloss Nymphenburg, 1734–9.
François de Cuvilliés and Johann Baptist Zimmermann,
Amalienburg, Mirror Room, Schloss Nymphenburg, 1734–9.
St. Petersburg, Capital of the
New Russia:
•
Founded by Peter the Great Czar of Russian
Empire in 1703. Three distinctive characteristics
of St. Petersburg:
•
The first is the city’s harmonious mix of western
European and Russian architecture.
•
Lack of a Traditional city center, as defined in
other Russian cities by a kremlin or fortress and
its surrounding area.
•
The third characteristic feature of the city is its
many waterways, a “Venice of the North”
•
Monumental architecture built on unstable base
– technological feat.
•
Major architects of the Petrine Baroque were
Domenico Trezzini and later for Czarinas Anna
and Elizabeth, Bartolomeo Francesco Rastrelli
Bartolomeo Francesco
Rastrelli
•
•
Bartolomeo Francesco Rastrelli, (born 1700, Paris France—died April 1771,
St. Petersburg, Russia), French-born inventor of an opulent Russian Baroque
architecture that combined elements of Baroque and Rococo with traditional
elements of Russian architecture, producing multicolored, three dimensional
and decorative ornamentation on all facades. Active in the reigns of
Empresses Anna and Elizabeth. In 1748 at the behest of the empress
Elizabeth who wanted in her old age to retire to a convent, Rastrelli began
building the Smolny Convent on the outskirts of St. Petersburg. A large twostory square of monastic cells surrounds a massive inner courtyard, in the
center of which stands a grand five-domed cathedral.
Smolny Cathedral
Peter and Elizabeth: The
Evolution of Russian Baroque.
Domenico Trezzini, Sts.
Peter and Paul, 1712-33
Rastrelli Smolny Convent/
Cathedral, 1748-64
Rastrelli, Winter Palace (4th on site),
1753 - ?
Catherine’s Palace, Elizabeth’s edition,
Tsarskoye Selo – Rastrelli, North Side.
Catherine’s Palace, Tsarskoye Selo, int.
Ball Room and Amber Room.