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Baroque: Arts
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Baroque art uses light (and other compositional elements) to create meaning instead of for its purely naturalistic effects or to reveal form. The light sources often are not natural or there are multiple sources. The meaning often emphasizes what will happen in the moment after that depicted.
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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... created in these schemes some important genres like the Romanzo (novel) and allowed 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 as a possible cause for the classical opposition to Baroque) caused Latin to be definitely replaced by Italian.
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Baroque art encompasses vast regional distinctions. It may seem confusing, for example, to label two such different artists as Rembrandt and Gianlorenzo Bernini as baroque; yet despite differences, they shared certain baroque elements, such as a preoccupation with the dramatic potential of light.
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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... a generation later. This turn toward a populist conception of the function of ecclesiastical art is seen by many art historians as driving the innovations of Caravaggio and the Carracci brothers, all of whom were working in Rome at that time.
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