- The Crisis of the Baroque
- Decentering the European Imaginary: A Baroque Taste for India
- Line and Trait of the Baroque River
- Water in The Baroque Garden
- Fashioning the Baroque Male
- Antinomies of the Twenty-First-Century Neobaroque: Cormac McCarthy and Demian Schopf
- The Automaton
- The Baroque City
- Surface and Substance: Baroque Dress in Spain and France, 1600–1720
- Baroque Dance
- Ibero-American Architecture and Urbanism
- Baroque Organ Music
- Ottoman Baroque
- Baroque Opera
- Machine Plays
- The Organization of Knowledge from Ramus to Diderot
- Experience and Knowledge in the Baroque
- Conversation and Civility
- The Philosopher’s Baroque: Benjamin, Lacan, Deleuze
- The Spanish Baroque Novel
- Baroque Tragedy
- The Baroque as a Literary Concept
- Baroque Discourse
- Classical Defense of the Baroque
- The Baroque and Philosophy
- The Baroque as Anti-Classicism: The French Case
- Is There a Baroque Style of Preaching in Early Modern France?
- Prayer, Meditation, and Retreat
- Baroque Sexualities
- Paradoxes: Baroque Science
- Baroque Diplomacy
- The End of Witch-Hunting
- Time and Chronometry
- Court Spectacle and Entertainment
- The Baroque State
Abstract and Keywords
In the minds of many, the word “baroque” calls to mind one thing: ornamentation, and particularly, to modern viewers, what seems like a generous employment of ornamentation in the Baroque era’s art, architecture, and music. Exactly why seventeenth- and eighteenth-century Europe embraced decoration so eagerly has been difficult to explain. This is particularly true in the modern era, when prevailing aesthetic discourses worked to villainize ornament as unnecessary, wasteful, or degenerate. This chapter examines the role of ornament in baroque art, architecture, and music in order to understand the function it played in each. To achieve this, the chapter concentrates on two areas: ornamented interiors, particularly ecclesiastical ones, and the ornamented musical lines of vocal compositions. Baroque ornament emerges a site of communication and psychic expansion.
Michael Yonan is Associate Professor of Art History at the University of Missouri, where he is also Program Director in the School of Visual Studies. His work focuses on eighteenth- and nineteenth-century European art. His books include Messerschmidt’s Character Heads: Maddening Sculpture and the Writing of Art History (Routledge, 2018), Empress Maria Theresa and the Politics of Habsburg Imperial Art (Penn State Press, 2011), and The Cultural Aesthetics of Eighteenth-Century Porcelain, co-edited with Alden Cavanaugh (Ashgate, 2010).
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