Question

According to professor tilson's lecture on baroque architecture, one of the most theatrical practitioners of the baroque style, ________ is said to have eliminated the corner in architecture.

Answer 1

Answer:

The correct answer is Francesco Borromini

Know as the baroque architect that eliminated the corners, Borromini (1599-1624) is one of the masters of Architecture, whose work is considered symbols of the Italian Baroque Expression. Together to Gian Lorenzo Bernini (1598-1680), he was responsible for many XVII century buildings in Rome and other Italian cities.

The Baroque Style is constantly labeled as dramatic and theatrical, which shapes avoid the strictness of the rules experienced during the Renaissance and Maneirims. In paintings, baroque artists wanted to exploit the narrative climax using sinuous lines in their composition. Borromini brought the curved lines to buildings' façades and architectural plans.

The serenity of the XVI century is replaced by the majestical use of columns, making possible even bigger and larger construction. Elements that were simply a straight line, in Borromini constructions are applied in elegant and sinuous choices. Even the statuary assumes movement, as we would be seen as a play in a theater.  

Although dying in his 25 years-old, Borrini designed around 18 projects between churches, residences, and Saint Peter’s Baldachin located at the heart of that church and made entirely in bronze.

Explanation:

One of the Classical Movements in Art History, the Baroque Style started in Italy and widely spread to Europe and even the Americas. Somo critics consider it as a counterpoint of the use of reason in Renaissance, as Baroque aims to exploit the observer’s emotions.  

It’s a mark of the XVII century and was supported by the Pope’s Catholic Church, as na visual expression to attract new followers and restain the Protestant progress. This attempt was known as Counter-Reformation.

Answer 2

Francesco Borromini is said to have eliminated the corner in architecture.

Further explanation

Francesco Borromini, by the name of Francesco Castelli (25 September 1599 - 2 August 1667), was an Italian architect who was born in Ticino, along with his contemporaries Gian Lorenzo Bernini and Pietro da Cortona, were prominent figures in the appearance of Roman Baroque architecture.

A keen student of Michelangelo's architecture and the ruins of Antiquity, Borromini developed inventive and distinctive, if somewhat bizarre, architectures using manipulations of Classical architectural forms, geometric reasons in plans and symbolic meanings in his building. He seems to have a good understanding of structure, which may be Bernini and Cortona, who are mainly trained in other fields of fine arts, lacking. The soft picture is very typical. He was like a self-taught scholar, gathering a large library at the end of his life.

Perhaps because of his idiosyncratic work, the subsequent influence was not widespread but was evident in the works of the Piedmontese Camillo-Guarino Guarini and, as a fusion with the architectural modes of Bernini and also Cortona, on Baroque architecture in late Northern Europe. Then Baroque's critics, such as Francesco Milizia and British architect Sir John Soane, were very critical of Borromini's work. From the end of the nineteenth century onwards, interest has been revived in Borromini's works and architecture has been appreciated for its creativity. Perhaps because of his idiosyncratic work, subsequent influences were not widespread but were evident in Piedmontese Camillo-Guarino Guarini's works, and as a fusion of fashion Bernini and Cortona architecture, in late Baroque architecture in Northern Europe. Then Baroque's critics, such as Francesco Milizia and British architect Sir John Soane, were very critical of Borromini's work. From the end of the nineteenth century onwards, interest has been revived in Borromini's works and architecture has been valued for creativity.

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Class: college

Subject: art

Keywords : Francesco Borromini, influence, inventive, architect, antiquity.