Baroque foliage ornament. Decorative elements and ornaments of Baroque
Ornament - this is a special type of artistic creativity, which is considered
many researchers does not exist as an independent work, it
only decorates this or that thing, but, nevertheless, “he... represents
is a rather complex artistic structure, for the creation of which
various means of expression. Among them are color, texture and
mathematical foundations of ornamental composition - rhythm, symmetry;
graphic expression of ornamental lines, their elasticity and mobility,
flexibility or angularity; plastic - in relief ornaments; and finally
the expressive qualities of the natural motifs used, the beauty of the drawn
flower, the bend of the stem, the pattern of the leaf...” The term ornament is related to the term
decor, which “never exists in its pure form, it consists of a combination
useful and beautiful; functionality comes first, beauty comes
after her." The decor must support or emphasize the shape of the product.
*****Baroque ornament is distinguished by its variety and expressiveness. He
preserves the motifs of Greek and mainly Roman art, willingly
uses half-human and half-animal figures, heavy garlands of flowers
and fruits, shell and lily motifs combined with the symbolic sun; wide
An antique acanthus leaf motif is used. In connection with the most
whimsical and unexpected
swirl ornament of acanthus
used by almost all types
applied arts.
*****Ornament of the second half of the 17th century.
(late Baroque) strictly symmetrical,
he is characterized by imitation
architectural details: columns,
torn pediments,
balustrades, consoles. The decor of this
period is rich, somewhat heavy and
majestic. The ornament is replete with volutes, cartouches, shells,
altars, dragons, caryatids and vases of flowers.
Baroque ornament in countries Western Europe
The ancestor of the historical style in spatial
arts and music, called “Baroque”,
became Italy, which in the 16th century gave life and
previous style of the Renaissance
(Renaissance).
From Italian "barocco" is translated as
"strange, bizarre", but there is reason to connect
a pearl with an irregular surface. First experiments in
new style were made at the end of the 16th century in the church
sculpture and architecture and preserved for quite a long time
many features of the Renaissance.
The heyday of Baroque as a special style of furniture occurred in
Baroque ornament
mid-17th century. Like all historical styles, Baroque had become by this time
dominant style in all areas artistic activity, including
church and civil construction, production of household items and clothing,
jewelry and weapons making, shipbuilding, instrument making (for
navigation, clocks, telescopes), instruments, etc.
The general orientation of the Baroque in the composition of objects is a departure from clarity,
the rigor and static construction of form characteristic of the Renaissance. IN
things. The goal is to create a feeling of strength, living, active
energy, a certain mystical splendor. It couldn't have been more convenient
for the needs of the Catholic Church, which at that time opposed the movement for
church reformation that swept Europe. It is no coincidence that the Baroque was called a weapon
counter-reformation, according to whose plans churches were supposed to serve everyone
possible ways to exalt the power of Catholicism - its
architecture, sculpture, painting, gilding, light, music,
rhetorical pathos of sermons. More fully and broadly the principles of the Baroque
manifested themselves in the art of those countries in which the Counter-Reformation found itself
the most successful are in Italy, Spain and France.
From the church environment, Baroque quickly spread to architecture and
decoration of the palaces of kings, ruling nobility and nobility. In all countries
Western Europe, as well as in Russia in the 17th-18th centuries, new style turned out to be just right
monarchical power, which fought for absolutism. Essentially
in a simplified form, baroque was reflected in both urban and rural environments
common people.
Baroque furniture (main features)
The furniture items include the following:
features characteristic of the Baroque style:
1.All façade projections (or at least
at least one of them) any types of furniture
lacking a closed rectangular contour,
characteristic of the vast majority
products of the Renaissance. Squareness
the outlines are broken, at least
patterned-shaped tops of cabinets, backs of chairs and chairs, backs
beds in the form of a curved cornice, pediment or sandrik with vases.
Surfaces, in one way or another, isolated within the general
facade contour (for example, the surface of cabinet doors, sliding
boxes, pilasters), often also have their own figured contour.
2.Baroque style furniture does not have such surfaces, the only
whose decorative property would be only natural texture
wood, usually walnut or ebony. If the product contains
any large surface, such as cabinet door panels or
countertops, then it is broken by inlay (intarsia, mosaic), more often
all patterned, or “marquette” type, that is, a set of conjugate
dies 3-4 mm thick with differently oriented textures
wood.
3.For the first time in the history of furniture, curved surfaces are widely used,
obtained by carpentry processing of solid wood blanks and bending (bending
solid wood - an achievement of the Baroque era). Often, but not always, and
Only in expensive products do cabinet doors have such surfaces,
the front walls of drawers, and sometimes the side walls of chests of drawers, cabinets,
tables, bureaus, secretaries. The front and sides are also often bent.
a kingdom of chairs, armchairs, sofas, tables. There are curved surfaces
both vertically and horizontally, including convex, concave and
pennant-shaped, as well as convex-concave (very rare).
4.Correct ornament with border symmetry, characteristic
It is inferior to the Renaissance, and even earlier to Gothic, and after Baroque to classicism.
place for a free pattern. Patterns are made three-dimensional, carved, or
two-dimensional - using the technique of inlay or decoration. For
materials such as yellow copper, ivory
bone, ebony, tortoiseshell, precious and semi-precious
minerals, etc. Ornamental symmetry based on rhythmic
repetition of any figure is alien to the Baroque style.
5. In this style, the main motifs of volumetric jewelry are mostly
asymmetrical - shields with a complex broken or rounded outline,
cartouches, shells, so-called “antennae” (highly elongated,
acanthus leaves branching from one another), garlands, festoons, head,
bust and full figure of a man. They are either cut out from the general array of that
or other furniture parts, or placed on it, being made of
wood, metal, ivory, turtle, etc.
6.Baroque is characterized by complex figuration of all supporting elements
(legs) of cabinets, tables, chairs, beds, etc., which is obtained with
using carving, mass bending and as a result of turning. Often legs
have a characteristic paw appearance, possibly with bird claws - so
called “cabriole” (from the French cabriole - “jump”). Much less often
turned and twisted supports are used, which were mainly made
in Germany, Holland and England.
Stages of Baroque development
In the Baroque era in France, where the style received its most vivid and complete
development, a whole galaxy of outstanding masters of architecture and
decorative artists who worked in the furniture business, such as: Jean Lepautre, Daniel
Marot, Charles Le Brun, Gilles Openordt and, in particular, the architect, painter,
decorator and blackwood carpenter Andre-Charles Boulle with his four
successors-sons.
The Baroque era is usually divided into four periods, which are chronologically
are combined with the reign of the French kings:
style Louis XIII– early Baroque, transitional from the Renaissance, 1610-
Louis XIV style, 1643-1715
Regency style (“Regency”) – transitional to the style of Louis XV, 1715-
Louis XV style – late Baroque, called “Rococo”,
Modern furniture contains elements of style
baroque are reproduced extremely rarely, most
partly in upholstered furniture. Very
common plant ornamentation
character, volumetric and flat, following the contour,
such as cabinet doors and countertops, is
simplified stylization of ornamentation not baroque, but
called second rococo, or second neo-rococo
half of the 19th century.
Baroque style ornament is widely used in
different countries Europe, acquired under the influence of the national traditions of each
of them have their own special features. A whimsical pattern of a wide variety of fruits and
leaves, rendered with amazing expressiveness, is found in
Moscow churches of the late 17th century. It covers with extraordinary beauty
gilded iconostasis. This complex carved ornament was called
“Flermes carving” was carried out by special masters of the Armory Chamber.
Baroque ornament in Russia
Speaking about Baroque architecture and furniture in Western countries, one cannot help but say
about Russia. The second third of the 18th century is a time when Russian furniture was bizarre
combines the baroque of previous years with that which came from Western Europe
rococo. At this time F. Rastrelli, S. I. Chevakinsky and other famous
architects create luxurious houses and palaces with rich interiors for
the royal family and nobility in St. Petersburg and its environs. Interior decoration
the buildings are magnificent: state halls located in an enfilade along one axis and
richly decorated with gilded carvings, huge windows and mirrors in
walls, framed by lush decor and created thanks to
reflections create the illusion of additional space, an abundance of lighting
devices, the shine of candles, which was crushed and reflected in the mirrors along with
abundance of gilded carvings. Furniture was conceived by architects as part
general decorative decoration; it consisted mainly of carved consoles and
chairs that were placed along the walls. The main halls served as the "face"
palace, they were furnished with special splendor; in this residential environment
rooms received much less attention.
*In the middle of the 18th century there was still a shortage of furniture for living quarters
premises. In her “Notes,” Catherine II described these years: “The court at that time
time was so poor in furniture that the same mirrors, beds, chairs, tables and
chests of drawers that served us in the Winter Palace were transported after us to
Summer Palace , from there to Peterhof and even went with us to Moscow. With such
during transportation, a lot of things broke and broke, and we received everything so broken
I saw that it was quite difficult to use this furniture" (these notes
date back to 1751). Furnishings from this time have survived
Furniture made for the Grand Palace in Peterhof and the Catherine Palace
in Tsarskoe Selo , mostly lost during the Second World War, and furniture
Winter Palace- during fires. Main direction of development
artistic furniture forms were determined by the influence of baroque
architects - F. Rastrelli and others, who themselves designed furniture for
the interiors they create; at the same time they brought new understanding
proportions of furniture, tasks for decorating it, as well as the meaning of upholstery fabrics,
which matched the wall upholstery. New character furniture most obviously
receives expression in carving: flat and relief, in places slotted, often
gilded. Carvings in the form of shells and
various curls in rather high relief, stylized flowers, almost
voluminous in their shapes, birds, fruits. The legs, drawers, and
mirror frames, backrests of sofas and chairs. The border often disappears
separating the ornament from the object, the entire object turns into a totality
volumetric decorations resting on each other. In addition to the baroque ornament
The carving contains Rococo elements - shells, curls, wave motifs.
Baroque ornament broke with the calm harmony of the ornamental art of the Renaissance. Expressions of peace and balance gradually began to give way to a new understanding of beauty. Blind imitation of antique decor disappears. Heavy and massive elements are made more rounded (cartouche), more solemn. In the initial period, the most common motif was a mask, sometimes laughing, which replaced the sun motif. Straight lines in the ornament are gradually replaced by curved ones. Instead of calm - an emotional outburst, instead of clarity and conciseness - complexity, diversity and lush decorativeness; at the same time, the organizing center of the decorative composition, symmetry, is still preserved. Baroque ornamentation is varied and expressive. He preserves the motifs of Greek and mainly Roman art, willingly uses half-human and half-animal figures, heavy garlands of flowers and fruits, motifs of shells and lilies in combination with the symbolic sun; The antique acanthus leaf motif is widely used. In combination with the most whimsical and unexpected curls, acanthus ornaments are used in almost all types of applied art. Ornament of the second half of the 17th century. (late Baroque) is strictly symmetrical, characterized by imitation of architectural details: columns, broken pediments, balustrades, consoles. The decor of this period is rich, somewhat heavy and majestic. In addition to classical ovaries, acanthuses, trophies, the ornament abounds in volutes, cartouches, shells, altars, floor lamps, dragons, caryatids and vases of flowers. During this period, the role of the decorator increases even more. A number of artists continue the initiative of Jacques Andruet Dusereau.
Gradually, the technique of combining straight and rounded lines, which was developed by the end of the 17th century, became a characteristic feature of the decor. At the same time, other new motifs appeared: a diamond-shaped mesh decorated with small rosettes, called a trellis, and an ornament imitating a curtain cut with teeth and decorated with tassels - a lambrequin. Ornamental compositions by the artist-engraver Jean Berin (1679-1700) are widely used in many types of applied art. J. Beren relies heavily on the ornamentation of the French Renaissance. The dominant role in his ornamental compositions is played by grotesques, which were born on the basis of the study of grotesques of the 16th century. His ornaments are characterized by materiality and sculptural tangibility, which gives the compositions some heaviness and rhythmic stability. Jean Berne further develops the type of composition with a central figure in an ornamental frame, which was defined in French decorative art. Most often this is the figure of a deity or a mythological character: Apollo, Venus, Diana, Flora, Bacchus. It carries the main semantic load and determines the choice of other decorative elements of the composition. A number of motifs that developed in the work of J. Berin became decisive in the ornamentation of the subsequent period. These include curls connected by short straight stripes, thin spirals turning into acanthus, flat ribbon ornaments - everything that makes it possible to distinguish French grotesques from Italian and Flemish ones with their characteristic masks, herms, and candelabra-like forms. The work of J. Beren was an expression of the style of this time and played an important role for its subsequent development. Multi-tiered porticoes and garlands, baskets and arabesques, cornucopias and musical instruments - all this is enclosed in lush frames, symmetrically. In the sophistication and lightness of the composition, the features of the new decor of the 18th century are outlined. The Baroque style ornament has found wide application in different European countries and has acquired its own special features under the influence of the national traditions of each of them. A whimsical pattern of a wide variety of fruits and leaves, rendered with amazing expressiveness, is found in Moscow churches of the late 17th century. It covers gilded and conostases of extraordinary beauty. This complex carved ornament was called “Flerms carving” and was carried out by special masters of the Orezhey Chamber. It contains complex interlacings of intricately torn cartouches, with characteristic ridges along the edges of the curls and rows of convex pearls. These motifs penetrated to Moscow through Ukraine and Poland, where baroque ornamentation was widespread. In Russia, Baroque style ornament was also widely used in decorating the interiors of palaces created by F.-B. Rastrelli in St. Petersburg, Tsarskoe Selo, and Peterhof. A common feature of Rastrelli’s interiors is their secular, entertaining, festive appearance. There is an abundance of color, stucco, and pattern everywhere. In the decorative decoration of interiors, the master most often uses shell motifs, floral curls, cartouches, and cupids. In the hands of Russian carvers, even the elaborate curls of ornamental forms in the Baroque style are sweeping and light in their own way, full of a special life-affirming force. Russian Baroque ornament is the pride of Russian architecture; it has worthily enriched the world achievements of ornamentation. In the applied art of Russia at the beginning of the 17th century, the decor still retains its clarity and clarity of design. Subsequently, the desire for decorative filling of space, for “patternedness”, which does not leave the slightest place devoid of patterns, grows more and more. By the end of the 17th century. the floral ornament gradually begins to lose its conventional character. Instead of stems stretched in a straight line or twisted in steep spirals, plants are depicted in positions that are more natural and closer to nature. Figures of animals and birds appear among the floral ornaments. Sibyls, biblical scenes, and fairy-tale creatures (mermaid, unicorn, Sirin) are depicted on silver items. By the end of the century and in the first years of the 18th century. More and more often, fruits and berries, lush bunches and whole garlands of fruits and flowers, suspended on ribbons threaded into rings, are found in the ornament. Masters are showing increasing interest in literary works, engravings and popular prints. Numerous scenes, mainly inspired by engravings from the “Front Bible” of Piscator (Holland), are enclosed in beautiful frames of flowers, leaves and curls in the Western Baroque style adopted by Russia from Ukraine. In the 17th century in Russian gold and silversmithing, much of what was widely developed in the 18th century is emerging - the desire to convey plastically voluminous forms, observation of nature and, in connection with this, a realistic depiction of plants, animals and people, the transition from linear, contour images to the rendering of chiaroscuro and space, from religious themes to secular ones. In the 17th century Russian ornament retains national characteristics and basically develops in the same ways as the ornamentation of Western European countries, among which France occupies a leading place in applied art.
By ornament we mean the decoration that is necessary to fill the free space on objects. It acts as one of the types of creativity, which is not designated separately, but decorates the products. The ornament is presented as a complex artistic structure, which includes: color, texture, special lines. Natural motifs in the form of a bend of a stem, a patterned leaf, etc. are necessarily used. The concept of “ornament” is interconnected with such a concept as decor, which does not exist in a separate form. What are Baroque ornaments?
Baroque style
How does the ornament appear? artistic style, which originated in Italy and spread to many European countries from the end of the 16th to the middle of the 18th century. The name of the style comes from the Portuguese “irregularly shaped pearl.”
The ornament is characterized by its originality and picturesqueness. It retains some motifs from Greek and Roman art. The ornaments use figures of half-animals and half-humans, various garlands of flowers, and a combination of the symbolic sun with lilies and shells.
Late Baroque (second half of the 17th century) is characterized by symmetry. It imitates architecture in the form of columns, balustrades and consoles. At this time, the decor is rich, but heavy and majestic.
Ornamental motifs
What are Baroque ornaments and patterns? In addition to classical acanthus, the ornament consists of cartouches, shells, floor lamps and flower vases. There are many garlands, arabesques, and musical instruments, which are lushly framed and arranged symmetrically.
On Baroque ornaments you can see the following pictures: outlandish flowers of unusual shape, branches and leaves of plants, sheaves with ears of corn and many other designs. They then began to be placed on fabrics.
Baroque ornament in Western Europe
What baroque designs were used during this period? Initially, this style was used in sculpture and church architecture and for a long time retained certain features of the Renaissance.
The greatest flowering of the Baroque falls in the middle of the 18th century. By this period he covered all areas of artistic activity. The style entered construction (church, civil), the production of fabrics, clothing, weapons and jewelry.
The general orientation of Baroque is the decorative decoration of the home and the decoration of things. The main goal was to create mystical splendor, to create sensations of living and active force. This was necessary for the needs of the Catholic Church. In this style, churches served to glorify the power of Catholicism through architecture, sculpture, painting, etc. Baroque spread most widely in those countries where Catholic traditions were strong - in Italy, France and Spain.
Gradually, this style embraced the palaces of kings and nobility. Baroque in many countries appealed to monarchs, allowing them to exalt their superiority. In a more simplified way, it extended to rural and urban residents.
Baroque style ornament in Russia
What Baroque ornaments were used in Russia? In the second half of the 18th century. In Russia, especially in furniture, two styles are combined: Baroque and Rococo. During this period, famous architects F. Rastrelli, S.I. Chevakinsky and others were busy creating beautiful palaces with luxurious decorations for the rich people of St. Petersburg. The palaces appear in majestic beauty: state halls, huge mirrors and windows, an abundance of lighting fixtures and candles. All furniture is conceived as a general decorative decoration, which consists of carved armchairs and consoles. It is installed on the sides of the room. The state rooms were considered the center of the palace and were furnished with special luxury, while the living rooms were decorated much more modestly.
During this period, there was a shortage of interior items and furniture in the palaces. They had to be moved from the Winter Palace to the Summer Palace, which rendered the furniture unusable. Catherine II recalled this in her correspondence.
The use of Baroque style in interior decoration
The main type of decor is carving, which was painted in several shades or was gilded.
The walls were covered with silk fabrics with patterns in the form of flowers. Sometimes velvet was used, which was blue, green or crimson. Such walls served as an excellent frame for paintings with gilded frames.
Many mirrors helped to visually enlarge the room. There were niches in the walls in which marble or bronze sculptures were located.
The colors were presented in bright shades. The most used are blue or white with gold and green colors.
The ceiling is painted, with bright paintings. Images of animals, birds, fruits, etc. were painted.
Baroque style furniture
What Baroque ornaments could be found in furniture? It had the following features:
- All furniture facades lack a rectangular outline, which is typical for Renaissance style products.
- In Baroque furniture, its surfaces (tabletops) are broken up with patterned inlays.
- For the first time, curved surfaces were used in furniture, which were obtained from wood by bending. In expensive products, cabinet doors and sometimes the side walls of chests of drawers have such shapes.
- Border symmetry with regular ornamentation, which is characteristic of Gothic, is replaced by a free pattern. Furniture is inlaid with ivory, copper, ebony, etc.
- The Baroque style is characterized by complex figuration of elements such as the legs of tables, chairs and cabinets.
Baroque elements are rarely used in modern furniture. Floral ornaments have become somewhat widespread and are used in a simplified form on cabinet doors or on countertops.
Rococo ornament
What do Baroque and Rococo ornaments have in common? The Rococo style is a late stage in the development of Baroque, which always strived for greater freedom and simplicity of compositions.
Its name comes from the French "rocaille", which means rock. In the 17th century fountains began to be decorated in the form of fragments of stone blocks, which were covered with plants intertwined in a chaotic manner. This was the beginning of the development of a style whose main property was asymmetry.
In Rococo one can feel admiration for the art of China, India and Persia, so among the ornaments you can see palm trees, figures of monkeys and dragons. The style is also characterized by a love for nature, but not for its natural beauty, but for its artificial one.
As before, ancient mythology becomes the source of inspiration. The main figure becomes Venus and everyone connected with her in the plot. These are nymphs, cupids.
Thus, in the interweaving of these elements, a new style was born, distinguished by elegance and grace.
Classicism style
Let's consider the ornament of Baroque and Classicism. What's the difference? From the end of the 17th century. The era of classicism is coming. The appearance of the style was significantly influenced by the excavations of Pompeii and Herculaneum. Once again, ancient art is becoming a source of inspiration. However, classicism also adds a new vision of the world.
The ornament acquires balance with clear and precise straight lines, squares, ovals and rectangles.
Many elements that are characteristic of Baroque and Rococo are preserved, but excesses and overload with details are eliminated.
Many figurative compositions are exquisite and full of harmony. Favorite motifs include: sphinxes, baskets of flowers, lion's head, dolphins, etc.
The ornament of classicism attracts with its simple and elegant lines, which is manifested in its similarity with Greek art.
Baroque ornament, solemn and dynamic, left its mark on subsequent styles with its unique compositions.
Baroque stone patterns of the church of Santa Croce in Geusalemme (chiesa di Santa Croce in Geusalemme). 17-18 centuries Rome.
Development of Baroque ornament
Modern baroque, as well as its prototype - the European style of the 17th-18th centuries, is characterized by scale, sharp combinations of light and shadow, fantasy, ornateness in the decor of buildings and interiors. Baroque ornament covered cornices, columns, borders, door portals, window openings, picture frames, and furniture. Baroque ornament uses elements of the late Renaissance - mascarons, shells, acanthus scroll, cartouche. Baroque patterns are enriched with realistic relief images of people and animals, which are mixed with cupids, mythical creatures, flowers and floral curls. The motifs of the shell, cartouche, and medallion are transformed: for example, a shell in Baroque jewelry can take on the appearance of a carnation, fan, sun, or resemble the French royal lily. In addition, Baroque ornament borrows relief designs from Greek and Roman art: half-human and half-animal figures, flower garlands, fruits.
Baroque ornament on the facade of the Church of Santa Susanna in Rome (Chiesa di Santa Susanna alle Terme di Diocleziano). Rebuilt in 1605 by the architect Carlo Moderna.
Baroque patterns of the second half of the 17th century. symmetrical, images often imitate architectural elements: pediments, columns, balustrades. The Baroque ornament of this period includes trophies, classical ova, caryatids, Atlases, dragons, vases with flowers. Smooth lines are combined with straight ones, new motifs appear: mesh with rosettes, lambrequin, teeth, tassels. Thin spirals, curls connected by straight lines, ribbons, masks, and candelabra remain popular. Lush frames include baskets, arabesques, cornucopia, and musical instruments.
Elements of Baroque ornament.
By the end of the 17th century floral pattern Baroque becomes more realistic, plants look like natural ones. Images of animals, birds, fairy-tale creatures, mermaids, unicorns, and sibyls are woven into the floral ornament. In the mid-17th and early 18th centuries. The grotesque was revived, and the Baroque sometimes took on extreme expressive, intense forms in relief images.
Expressive Baroque decor of the Trevi Fountain. Architect Nicola Salvi. 1732-62 Rome.
By the 18th century in the ornamental elements of the Baroque, garlands of fruits and berries, bundles of leaves and stems threaded into rings appear.
Baroque ornament.
In the last quarter of the 18th century. a more formal baroque style is in fashion. Ornaments spread from the capital of France in engraved form on boards.
Baroque ornament in European countries
Baroque ornament was widely used in different European countries, enriched by the national traditions of each people. Baroque pattern in Moscow churches of the late 18th century. called “Flem Carving”, it was created by masters of the Armory Chamber. These Baroque decorations combined torn cartouches, fruits, and leaves, creating the image of the Garden of Eden. The decor was gilded, while the main structure remained dark. “Flemish carving” (Flemish, Belarusian) differed from flat traditional Russian carving in its relief and imitated stucco. The carving technique corresponded to the European design. The art of Flemish carving came to Russia in the mid-17th century, when Belarusian carvers, at the invitation of Patriarch Nikon, came to decorate the Church of the Resurrection in New Jerusalem. After the patriarch's disgrace, they began to work at the royal court. This type of carving has become very popular because... it was possible to create luxurious decorations for temples.
Flemish carving in the Church of the Intercession in Fili is a model for churches at the turn of the 17th-18th centuries.
Baroque elements were used in the design of churches and palaces in St. Petersburg, Tsarskoe Selo, Peterhof with an abundance of stucco, ornate, complex designs.
The Church of the Intercession in Fili (1692-1693) on his Naryshkin estate near Moscow is decorated with Baroque elements.
The decor of the church used shell motifs, cartouches, cupids, and scrolls - characteristic elements of the Baroque.
The Flemish baroque ornament is distinguished by the presence of a large number of fruits, plants, flowers, and everyday subjects. The development of the contemporary Baroque period was determined by the tastes of society.
Baroque patterns decorate the Flemish Baroque church - St. Michael's Church.
Several schools arose in Holland, in Haarlem - Frans Hals, in Amsterdam - Rembrandt, in Delft - Fabricius and Vermeer.
Baroque decor on the buildings of the Grand Place in Brussels, 17th century.
In France, Baroque became a royal style, expressing ideas of prosperity. Included royal symbols in the ornament. In the royal courts of Berlin, Vienna, and London, this style was considered a sign of refined taste.
Types and materials of modern baroque decor
Among the Baroque ornaments: ormuschel (Ohrmuschel - auricle), combining a cartouche with a ribbon weave and grotesques (Invented in Flanders at the end of the 16th century), knorpelwerk (Knorpel - cartilage and Werk - work) - a Baroque pattern, in the design of which masks, monster faces or the crest of a sea wave, became particularly widespread in the works of German masters of the 17th century; Strapwork, Rollwerk (Rollwerk from Rolle - roller, reel, roll and Werk - work) - a half-unfolded roll of parchment with notched edges. It is often framed by a cartouche, a trellis (treillage) - in the form of an oblique grid, decorated with small rosettes (a characteristic ornament of the Louis XIV and Rococo styles), a lambrequin, reminiscent of a curtain of the same name.
Strapwork.
Rollwerk.
To decorate the interiors and facades of modern baroque buildings, in addition to natural and artificial stone, gypsum, and concrete, you can use a lightweight, reliable material - polyurethane.
Bas-relief made of polyurethane for decorating facades and interiors in the modern Baroque style.
Sheaves threaded through polyurethane rings for modern baroque buildings. The panel is an imitation of stucco molding for decorating interiors and facades in the modern Baroque style.
The characteristics of the material make it possible to make any relief image on its basis, which can be used to decorate any interior or facade of buildings, since polyurethane is injection molded and is capable of conveying the finest detail of the form. It is resistant to low temperatures, temperature changes, humidity and mechanical stress, and can also imitate natural materials: stone, wood.
