| Baroque at the V&A |
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| Written by Solange | ||||||||||
| Wednesday, 03 June 2009 11:55 | ||||||||||
 LONDON In 1620, the Pilgrim Fathers landed on Plymouth Colony, America. The world was opening up like never before. European empires ruled by absolute monarchs were being built. The Roman Catholic Church was establishing its all-mighty powers.
During the next 200 years, riches will be plundered, nature will be pillaged, opulence will bless an elite few, and the arts will reflect this new complexity and grandeur with lavishness and magnificence. Baroque 1620-1800: Style in the Age of Magnificence at the V&A museum (London) investigate how this colourful and opulent style expressed this new found worlwide approach, and spread throughout all form of arts. The exhibition floods are senses with around 200 objects, the display covers architecture, furniture, silver, ceramics, painting, sculpture, theatre, each object, each art more ornate, opulent and extravagant than the next.
The term Baroque comes from the Portuguese word: barroca which describes a “misshapen pearl” which in these days were collected as a rarity. The figure: “Camel with blackmoors 1706” is of a camel whose body, neck and head are made from lumps of fused pearl . The camel and its black rider stands on an exquisite gold edged jewelled stand, on which a black woman is painted sitting on a tropical beach reviewing the profit of her trade. Meanwhile in the background, sailing away is a merchant boat on course back to Europe. This precious little object depicts perfectly the significant global impact of Baroque and lead us to the first room where a black and white power-point presentation depicts how Baroque changed as it crossed the world, adapting to imports such as Ivory from Mozambique, wood from Indonesia, and new craftsmanship from Chinese and Indian wood carvers.  State bed From the start of the exhibition, we get an impression of a vibrant and global art scene that was that of the XVIIe and XVIIIe century Baroque. France had an official Baroque style for which the Palaces of Versailles was the show case. A rare and historic cabinet, one of the only two surviving pieces from Versailles, made in the Gobelins workshop is on display. The excesses of Louis XIV's the French Baroque “sun-king” were both desired and imitated by fashionable society across Europe. The much smaller court of Dresden in Poland ruled by King Augustus the strong was not left behind when it came to lavish balls, hunts, tournaments or rare and precious substances as depicted by the most fascinating gold mounted Ostrich egg-cup. Courts competing to show off their grandeur were a blessing for the arts, the theatre in particular, the little states of Germany and Italy trying to outshine one another gave magnificent public theater which hosted extravagant performances.  Installation view The exhibition dedicates a room to the theatre with a detailed cut-away model of the interior of Bologna’s magnificent public theatre and one of Český Krumlov in the Czech Republic along with an authentic stage furniture, costume from a Polish baroque opera-house and musical instrument to give a sense of the players’ working environment. Typically, in the 1700's European cities were turning Baroque, one in particular was embarrassing the style wholeheartedly : papal Rome. The exhibition demonstrates this predominance with sculpture and architectural designs by the originator of Roman Baroque, Borromini and Bernini, for St Peter's Basilica and for Cornaro Chapel. Indeed, the church embarrassed this exuberant and dazzling design style outside and inside with all its decorum as if it aimed at making people feel small and deferential. Across the world, thousand of churches were getting over-the-top make overs and embellishments such at this splendid Mexican six metres high altarpiece covered in gold. From darkness to salvation sacred places were public but private too, a collection of worshipping private object ornate another room. Paintings, sculpture and music don't stand shyly behind the Baroque decorative and architectural styles. Pictures are strong and realistic, allegorical and dramatic. Colours and allegories used to engage the viewers emotions Music was central to religious, public and domestic life in the Baroque era. The chosen music in the galleries as you peruse the exhibition comes from theses years, those cities, spectacles and enhance the visitor's experience. This exhibition is accompanied by a wide range of events, talks, conference, concert more information can be found on http://www.vam.ac.uk/microsites/baroque/events.html
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| Last Updated on Wednesday, 03 June 2009 12:41 | ||||||||||
