IDM: Home accessories

Assignment-1Topic: Baroque

BACHELOR OF FASHION TECHOLOGY (APPAREL PRODUCTION)​​

NATIONAL INSTITUTE OF FASHION TECHNOLOGY​​
GANDHINAGAR, 2020-2024​​

SUBMITTED BY:
UNDER THE GUIDANCE OF:
NAME: Subrata Biswas
Ms. Chhavi Saklani ROLL No: BFT/20/1499
SEMESTER: 3
The Baroque style used contrast, movement, exuberant detail, deep color, grandeur,
and surprise to achieve a sense of awe. The style began at the start of the 17th
century in Rome, then spread rapidly to France, northern Italy, Spain, and Portugal,
then to Austria, southern Germany, and Russia. By the 1730s, it had evolved into an
even more flamboyant style, called rocaille or Rococo, which appeared in France and
Central Europe until the mid to late 18th century.
Santa Maria della Salute in Venice (1631–1687)
The three galleries in a huge elliptical column
balance the large-sized domes and give the
church and the square a sense of unity and a
huge theater. Including an oval tower and a
porch with a concave tractor. The interior was
equally revolutionary; The main place of the
church was oval, under an oval dome. Painted
ceilings, angels and crowds of saints, and Trump-
L'Aille architectural influences, were an
important feature of the Italian High Baroque.
Major works include Andrea Pozzo's entry into
heaven at the Church of St. Ignatius in Rome,
and Giovanni Batista Gould's victory in the
Church of the Gauss in Rome in the name of
Jesus, which depicts figures from a photo frame
and dramatic diagonal light and light-dark
contrasts. A very original octagonal shape that
was crowned with a huge capola. It also
appeared in Turin, especially in the chapel of the
Holy Shroud by Guarino Guarini.
The first building in Rome faced the Baroque Church in 1584; It
was later simplified by Baroque standards, the interior of this
church was very strict up to the high Baroque, while it was
wonderfully furnished.

In Rome in 1605, the Fifth Pop became the first series of popes,
designed for the expansion of form and the inspiration of
basilicas and church buildings, and the richness of color and
dramatic effect. Among the most influential monuments of the
Early Baroque were the masks of St. Peter's Basilica (1606-
1619), and the new nave and loggia that were attached to the
dome of the previous church Michelangelo. The new design
creates a dramatic contrast between the rising dome and the
uncompetitively wide front, and the contrast between the Doric
column and the huge mass of the portico.
The new design creates a dramatic contrast between the rising
dome and the uncompetitively wide front, and the contrast
between the Doric column and the huge mass of the portico.
The Banquet of All three large compositions show the
banquet taking place in the open air
Cleopatra or a loggia with a grand
architectural setting but with the sky
visible, and include a raised terrace
closing off the back of the pictorial
space. In the Palazzo Labia and
Arkhangelskoye paintings and the
Paris and London modelli there are
steps in the foreground leading up to
the dining table; although the
Melbourne painting lacks these steps,
the pattern of the marble floor gives
a similar visual effect. Only the two or
three main figures are
seated, but various attendants stand around them.
All the compositions show a clear debt to the grandly
theatrical feast paintings of Paolo Veronese, nearly a
century earlier, such as The Wedding at Cana
(1563, Louvre) and The Feast in the House of Levi.
Venetian taste approved of such explicit reference to
the city's artistic tradition. In the Palazzo Labia, the
frescos were designed in conjunction with a scheme
of trompe-l'oeil architecture by
Gerolamo Mengozzi Colonna embracing the whole
space. The frescos come almost down to the floor so
that the steps bring the main scene up to a height
where they could be seen across a crowded room.
 Scipio
Africanus
Freeing
Massiva

Tiepolo's use of oil paints achieves bright pearlescent colours, with vibrant reds
and blues drawing attention over the somewhat subdued orange and yellow tones
of much of the painting. Because few colours are highly saturated the strong red at
the center of the painting draws the eye directly to Scipio on the top of the central
dais. Scipio's outstretched arm then leads the viewer's eye around the painting to
the right.
This sightline is the basis of a pyramid, formed as the eye is then drawn to the left along the base of the painting by
the sweeping curve of the dais. The rich blue in the costume of the standard-bearer directly in the foreground then
catches the eye and leads the viewer back to the top of the dais along the diagonal lines of his body. The figures on
the right are bathed in a bright light which strongly contrasts the deep shadows and dark tones to the left of the
painting. This helps to direct the gaze as the eye is drawn towards the brightly light space and then directed back to
the center, away from the darker areas.
The painting is separated into three
sections by the dais at the base and
the architectural feature towards the
top, both of which use strong
horizontal lines to create a defined
central area of the painting. The
colours and figures are confined to the
central section of the painting where
their diagonal and open stances
create a strong sense of movement.
The top and bottom sections of the
painting are dominated by layered
horizontal and vertical lines, in the
floor tiles in the lower section, and
the architectural features in the top,
that give the painting depth. Tiepolo's
masterful use of foreshortening in the
figures accentuates this depth.
THANK YOU