Corneille, Pierre Corneille, Pierre French playwright (Rouen 1606-Paris 1684). Born of a bourgeois family (his father was inspector of the waters and forests), he studied at the Jesuit college of Rouen. Excellent student, species in Latin, you journeyed back then often ancient literature, for both aspects declamatori, both for themes. Seneca and Lucan were her favorite authors. In 1628 Corneille began the profession of advocate real in his native city and perhaps not thought never to be able to devote to the theater. The love for a girl had inspired him to write a sonnet and not be excluded, the same Mélite comedy in which the inserted. The opera, represented first in Rouen, then in Paris in 1629, had a discreet success and the stimulated to devote themselves to the theater. In 1632 he wrote Clitandre ou l'Innocence délivrée and before 1635 had already at its active other four comedies, in which the topic romance is supported by a style full of vitality. His first tragedy, Médée, is of 1635. It was in the meantime transferred to Paris and enjoyed the protection of Richelieuu. It was indeed part of the companies of the "five authors" with Boisrobert, Colletet, The Estoile and Rotrou, who had the task of putting in verses topics born from the imagination of the cardinal. But Corneille, that he never had the virtue of the courtier, soon lost the sympathies of the protector and probably also the subsidies. The success of Médée, in which the influence of Seneca was all too evident, made from the prologue to triumph that was then consecrated by his most famous opera, the Cid. According to some, the tragedy should datarsi 1636, year in which Corneille wrote the illusion comique; but documents that have come to light fairly recently confirmed that the cid should be placed in 1637, or that the first representation at the Théâtre du Marais is 1637. The tragedy of love and duty, reveals in a conflict of feelings, the depth of the characters of the protagonists in a dynamic theatrical that the Aristotelian rules observes, if not the unity of place, strictly the time. Corneille, in reality, poorly accepted the concept of the three units of place, action, time, but always tried to remain faithful, especially to the last, because its theater clash of passions and the drama of the will, the synthesis and the immediate unfolding events is essential to the chasing of sentiment, unable to the furore and full of soul prolonged in time. The Cid for the happy ending that celebrates the love of the protagonist and Chimène, is considered tragicomedy, more than pure tragedy, and certainly also triumphed for items sentimental referred is rich. The success of the opera lifted envies and complaints from part of contemporary authors (Scudéry and Mairet) and, if not an envy by author, Corneille drew a resentment from protector by Cardinal Richelieu. Today there is a tendency to reduce greatly the rancor of the minister toward the lucky playwright. The so-called "Querelle du Cid" has its official documentation in sentiments de l'Académie sur le "Cid", drawn up by Chapelain (1638): it is however likely that Richelieu wanted to put in evidence the tasks of arbitrator of literature that the academy founded by him (and then very criticized) had to take. The artist, grieved, was defended by the accusation of plagiarism, but he remained impressed, so much so that he does not want more imitate works of others and its tragedies, after the Cid, will draw only to history. Of pride, Corneille deepened its qualities poetic with critical principles of which did faith his speeches and its prefaces and the same Examens with which accompanied the publication of works. The most valid answer attacks the gave with new tragedies. Two in one year only (1640): Horace (Horace) and Cinna. Horace is once again the drama of love and duty, for the sentiments which bind the duelists (Horatii and Curiatii) to women of the opposing families. Corneille dedicated it to Richelieu, perhaps with a semblance of irony, perhaps to demonstrate that the three "units" (Met) could not prevent him to create works equally valid. Even Cinna, inspired by the treatise De clementia of Seneca, was successful. But certainly the opera more high after the Cid and indeed for the criticism, the masterpiece in the absolute sense, is Polyeucte (1642), undoubtedly consider as the "Canon" of the tragedy corneliana. The matter has been provided to Corneille from historic Surius. Polyeucte is the Christian drama of the love of God triumphant on human love and of the victory of the religious sentiment which mutates in love is a feeling of conjugal loyalty. A year after the representation of his masterpiece Corneille did put in scene La Mort de Pompée and menteur, revealing himself in the latter and in the Suite du Menteur, comedy author. It is a period supremely fruitful for the poet, who in 1644 wrote and represented Rodogune and, later, Héraclius (1646). His fame had become great. Elected him at the Academy (1647), then wrote Nicomède (1651). A year after the fall of Pertharite take him by surprise and the avvilì. He returned to Rouen, where he worked on the translation of the Imitation of Christ as relief from her worries family sposatosi (in 1640, had sons of ill health that gave him not a few pains and that the premorirono). He devoted himself at the same time to care for a complete edition of his works. He returned to the theater only in 1659, on invitation of the Superintendent Fouquet, and had success with Edipe. Staying in Paris, Corneille is fully understood that the times were changed: the green youth had passed and with it the reign of Louis XIII and the suc- cessiva regency of Anne of Austria. Now with Louis XIV and the new classicism to the arts and letters, the Court and the public preferred Quinault and Racine. A poetic world new had taken the place of the one based, as the great models of antiquity, on the contrast of passions: reason dear to Corneille, whose tragedy was defined theater of desire and duty. He continued to write without more reach, however, the vertices of Polyeucte and Cinna. The style of the one who is considered one of the greatest poets of France shines forth in all its force also in other works: la toison d'Or (1661), Sertorius (1662), Sophonisbe (1663), Othon (1664), Agésilas (1666), Attila (1667), Tite et Bérénice (1670), Psyché (1671), Pulchérie (1672), Suréna (1674), with which he concluded his activities as a playwright away for ever from the theater; ten years after he died in the general indifference. In Corneille, where feeling and pride are shown as irreplaceable qualities of individuality to the supreme sacrifice, and perhaps more in the rhetoric that in its true sense tragic, France has often reflected, for an adherence to the psychological life of the man of every time, out of literary theories. The spanish painter (Fuente de Cantos, Badajoz, 1598-Madrid 1664). He trained in Seville, then the lively center of a figurative culture of the realistic nature. In 1617 he opened his own shop at Llerena, in Extremadura, but in 1629 he settled back to Seville and remained there (except a stay in Madrid in 1634) until 1659 ca. When reduced, in conditions of extreme poverty, he moved to Madrid where he tried in vain to be inserted in the cultural climate of the city. The activity of Zurbaran is esplicò almost exclusively in the production of sacred images of very high number (ca. 600) and quality sometimes not sublime, due in part to the widespread use of collaborators, in part to moments of crisis of the painter, especially in the last years of life when it was considered passed by his contemporaries in favor of Murillo. The style of Zurbaran comprises both the naturalism typical sevillian, developed and brought to the highest outcomes for the use of color, always lucid and dazzling even in dark tones; both the disegnativa tradition of Mannerism Spanish, which carries the painter to solve his compositions in the figures of the first floor, from elegant contours and incisors, clearly separated from the neutral funds or dark, outside any historical ambience. Most of his works were performed as devotional cycles for churches and monasteries of Seville and other Spanish cities (currently dispersed among various museums), sincerely partakers of the religious sentiment popular (paintings for the Merced Calzada in Seville, 1629; paintings for Nuestra Senora de la Defension at Jerez de la Frontera, 1638-39). The famous series of saints who pierce by misticheggianti cues to celebration decorative elegantly. Around 1633 Zurbaran devoted himself also for a short time to Natura morta, leaving one of the greatest masterpieces of the genre, of absolute purity: the dish of cedars, a basket of oranges and cup with pink (1633, already in Florence, the Contini Bonacossi Collection, from 1973 in Los Angeles, Pasadena, Norton Simon Foundation). The influence of Zurbaran, rather limited in Spain, was instead huge in Latin America, especially in Peru, where the painter sent numerous works during the period 1640-58. Murillo, Bartolomé Esteban The spanish painter Seville (1617-1682). The artistic beginnings of Murillo were essentially linked to the city Christmas, first as a student of mediocre Juan del Castillo, then as independent painter, sensitive to the art of Ribera, Zurbarán, Velázquez; the youthful works, strong in design and modeled but substantially little originals the also demonstrate a sharer of the generic caravaggismo hovering in Spanish environment. Contacts with the Italian painting, through B. The Cavallino and A. Vaccari, Flemish and (perhaps visited the royal collections during a trip to Madrid in 1648, where he could study the works of Rubens and Van Dyck), spurred an original interpretation of colorismo veneto to which joins a light use deeply scenographic and baroque; these characters already appear in the eleven paintings with miracles of Franciscan Saints for the convent of the homonymous order in Seville (1645-48), today dispersed, and in the birth of the Virgin (Paris, Louvre), triumphal beginnings of a long activity at the service of the confraternities and religious orders within which Murillo proved to be sincere interpreter and convincing of mysticism counter-reformist. The interpretation realistic gently, popular folk and communicative of the sacred episode, increasingly evident in the works ripe (cycle for the Hospice of charity in Seville, ca. 1670-80: the healing of the paralytic at the pool, London, National Gallery; the return of the prodigal son, Washington, National Gallery), joined to the sophistication of color and high quality formal, have made of the compositions of Murillo subjects the most popular of the religious oleografia (thinking of the innumerable versions of the Immaculate Conception, of which some in Madrid Prado), which has come to alter, in wear of the image, the real and high artistic value. The cycles of the paintings of genus popolaresco (boys who eat fruit, Monaco, Alte Pinakothek Galician; the window, Washington, National Gallery), effective openings on the picaresque world that inaugurated a genre destinatoa great success until the Eighteenth Century submitted, and the portraits of the naturalistic setting (gentleman with collar, Madrid, Prado), will contribute to clarifying the deepest inspiration of the artist, which aims to enhance the expressive possibilities of color, sometimes with compiacimenti virtuous. "To deepen See Gedea Art vol. 7 pp 262-269" "to deepen See Gedea Art vol. 7 pp 262-269" The Lexicon Sm. [From French rococo, alteration, light-hearted of rocaille]. The decorative style which developed in Paris around 1730 and that dominated on other styles for about twenty years, spreading and then right toward the end of the century in the northern regions of France, Italy and Central Europe up to Russia. With value of Adj., belonging to, exactly this style: mobile, facade, rococo taste; for extension, artificial lambiccato, but not without grace: a hairstyle rococo. Art: in France Fiercely opposed by contemporary classicistiche currents and tardobarocche, the rococo was considered negatively throughout the nineteenth century until the first critical analysis carried out by the brothers De Goncourt, who warned both the close relationship with a particular conception of social life, both the aesthetic revolutionary informing him. Ideologically the rococo is the artistic expression of the aristocracy of the cosmopolitan come at the end of its historical function, which masks the conscience of the decline with a philosophy of evasion from reality, creating a fictional world on the myth of the eternal youth and of the unruffled serenity. Social behavior is then adjusted on concepts of refinement and elegance, until the frivolity of the one part and the philosophical libertinism from another. The escape from reality occurs both on the intellectual level and on the existential and every detail of the environment should be granted to the way of life: everything must be beautiful, indeed "nice", since the concept of beauty comprises itself only what is delicate and fragile, nuanced, clear, picturesque. Under this aspect we understand then the "necessity" of a particular type of clothing (vestments read of silk and muslin in pastel shades, white wig which embellishes the face and makes without age, then eternally young), which corresponds to a particular type of environment in which to live. The aesthetic revolution of the rococo occurs in fact in the harmonious interplay of all the details of the furnishings, which contribute equally to all the arts (and the "minor" are evaluated obviously on a par with those traditionally "noble") refer to the creation of organic environments and homogeneous. The historical fact from which you begin the rococo (even if the premises are traceable since the last years of the XVII century) is the transfer of the court from Versailles in Paris after the death of Louis XIV (1715), commissioned by the regent Duke of Orléans, the fact that determined for the nobility the need to reorganize the private palaces of the capital, by long years inhabited only occasionally. To obviate the confined spaces developed rapidly in the period of the regency the taste for the pale walls, "open" by the profusion of mirrors and illeggiadrite stucco work light for the small furniture and lacquered in pastel shades, for executives also from the light shades, for the ornaments of minimum size and subject frivolous, in clear opposition to furnishings Louis XIV, sumptuous (but also heavy) dominated by dark colors and by the gilding. Rare were in France the great architectural realizations, which usufruirono structures baroque still as much as very sober and functional, aimed in practice as a support of the decoration, most of that interior facades, inferred from a whole series of repertories (it is recalled that in 1734 by J. A. Meissonnier, whose drawings influenced deeply on production of carvers and goldsmiths of the epoch); this decoration was based on infinite variations, better if asymmetrical, the curved line which defined natural elements (leaves, flowers, animals) according to a spirit graceful that often referred to exotic elegance and fabulous of the East (masterpieces in this sense are the Hôtel de Matignon of No. Pineau of 1720-31 and the Hôtel de Soubise of G. Boffrand, also decorated by F. Boucher, 1736). In the french architecture are in fact much more frequent the constructions of small dimensions for parks and gardens (readapted sometimes these "English" according to the canons of the picturesque, more suited to the new taste): the pavilions of hunting, the "Casini of delights", sans-soucis, the monrepos, the ermitages, all connected with the needs of worldly life. The sculpture was a fine decorative exclusively, softening the shapes, enriched by descriptive details and generally portraying mythological characters according to a declared intention erotic. The painting, from the clear color and brilliant spread out to touch and nuances on a quick drawing and broken, has narrow analogies with the porcelain, engraving, the fabrics for furnishings, since depicts pastoral scenes, idylls, feasts galanti and campestri, erotic episodes, Daily chronicles, expressing with ironic accents malicious or the principles of a life frivolous but refined. For France it is customary to distinguish a first period Regency (1715-30) in the generation of the architect G. M. Oppenordt of decorator F. A. Vassé and of the ebanist Ch. Cressent, of painters J.-A. Watteau, J. B. Pater and J.-M. Nattier; a period rocaille (1730-45) that finds its highest expression in Meissonnier, Pineau, in Boucher and Chardin; a last period Pompadour (1745-64) involuto already in certain decorative unwieldiness and in part influenced by linearismo classicist, represented by the architect J. A. Gabriel, decorating by J. Verbeckt and J. H. Fragonard. French playwright (Rouen 1606-Paris 1684). Born of a bourgeois family (his father was inspector of the waters and forests), he studied at the Jesuit college of Rouen. Excellent student, species in Latin, you journeyed back then often ancient literature, for both aspects declamatori, both for themes. Seneca and Lucan were her favorite authors. In 1628 Corneille began the profession of advocate real in his native city and perhaps not thought never to be able to devote to the theater. The love for a girl had inspired him to write a sonnet and not be excluded, the same Mélite comedy in which the inserted. The opera, represented first in Rouen, then in Paris in 1629, had a discreet success and the stimulated to devote themselves to the theater. In 1632 he wrote Clitandre ou l'Innocence délivrée and before 1635 had already at its active other four comedies, in which the topic romance is supported by a style full of vitality. His first tragedy, Médée, is of 1635. It was in the meantime transferred to Paris and enjoyed the protection of Richelieuu. It was indeed part of the companies of the "five authors" with Boisrobert, Colletet, The Estoile and Rotrou, who had the task of putting in verses topics born from the imagination of the cardinal. But Corneille, that he never had the virtue of the courtier, soon lost the sympathies of the protector and probably also the subsidies. The success of Médée, in which the influence of Seneca was all too evident, made from the prologue to triumph that was then consecrated by his most famous opera, the Cid. According to some, the tragedy should datarsi 1636, year in which Corneille wrote the illusion comique; but documents that have come to light fairly recently confirmed that the cid should be placed in 1637, or that the first representation at the Théâtre du Marais is 1637. The tragedy of love and duty, reveals in a conflict of feelings, the depth of the characters of the protagonists in a dynamic theatrical that the Aristotelian rules observes, if not the unity of place, strictly the time. Corneille, in reality, poorly accepted the concept of the three units of place, action, time, but always tried to remain faithful, especially to the last, because its theater clash of passions and the drama of the will, the synthesis and the immediate unfolding events is essential to the chasing of sentiment, unable to the furore and full of soul prolonged in time. The Cid for the happy ending that celebrates the love of the protagonist and Chimène, is considered tragicomedy, more than pure tragedy, and certainly also triumphed for items sentimental referred is rich. The success of the opera lifted envies and complaints from part of contemporary authors (Scudéry and Mairet) and, if not an envy by author, Corneille drew a resentment from protector by Cardinal Richelieu. Today there is a tendency to reduce greatly the rancor of the minister toward the lucky playwright. The so-called "Querelle du Cid" has its official documentation in sentiments de l'Académie sur le "Cid", drawn up by Chapelain (1638): it is however likely that Richelieu wanted to put in evidence the tasks of arbitrator of literature that the academy founded by him (and then very criticized) had to take. The artist, grieved, was defended by the accusation of plagiarism, but he remained impressed, so much so that he does not want more imitate works of others and its tragedies, after the Cid, will draw only to history. Of pride, Corneille deepened its qualities poetic with critical principles of which did faith his speeches and its prefaces and the same Examens with which accompanied the publication of works. The most valid answer attacks the gave with new tragedies. Two in one year only (1640): Horace (Horace) and Cinna. Horace is once again the drama of love and duty, for the sentiments which bind the duelists (Horatii and Curiatii) to women of the opposing families. Corneille dedicated it to Richelieu, perhaps with a semblance of irony, perhaps to demonstrate that the three "units" (Met) could not prevent him to create works equally valid. Even Cinna, inspired by the treatise De clementia of Seneca, was successful. But certainly the opera more high after the Cid and indeed for the criticism, the masterpiece in the absolute sense, is Polyeucte (1642), undoubtedly consider as the "Canon" of the tragedy corneliana. The matter has been provided to Corneille from historic Surius. Polyeucte is the Christian drama of the love of God triumphant on human love and of the victory of the religious sentiment which mutates in love is a feeling of conjugal loyalty. A year after the representation of his masterpiece Corneille did put in scene La Mort de Pompée and menteur, revealing himself in the latter and in the Suite du Menteur, comedy author. It is a period supremely fruitful for the poet, who in 1644 wrote and represented Rodogune and, later, Héraclius (1646). His fame had become great. Elected him at the Academy (1647), then wrote Nicomède (1651). A year after the fall of Pertharite take him by surprise and the avvilì. He returned to Rouen, where he worked on the translation of the Imitation of Christ as relief from her worries family sposatosi (in 1640, had sons of ill health that gave him not a few pains and that the premorirono). He devoted himself at the same time to care for a complete edition of his works. He returned to the theater only in 1659, on invitation of the Superintendent Fouquet, and had success with Edipe. Staying in Paris, Corneille is fully understood that the times were changed: the green youth had passed and with it the reign of Louis XIII and the suc- cessiva regency of Anne of Austria. Now with Louis XIV and the new classicism to the arts and letters, the Court and the public preferred Quinault and Racine. A poetic world new had taken the place of the one based, as the great models of antiquity, on the contrast of passions: reason dear to Corneille, whose tragedy was defined theater of desire and duty. He continued to write without more reach, however, the vertices of Polyeucte and Cinna. The style of the one who is considered one of the greatest poets of France shines forth in all its force also in other works: la toison d'Or (1661), Sertorius (1662), Sophonisbe (1663), Othon (1664), Agésilas (1666), Attila (1667), Tite et Bérénice (1670), Psyché (1671), Pulchérie (1672), Suréna (1674), with which he concluded his activities as a playwright away for ever from the theater; ten years after he died in the general indifference. In Corneille, where feeling and pride are shown as irreplaceable qualities of individuality to the supreme sacrifice, and perhaps more in the rhetoric that in its true sense tragic, France has often reflected, for an adherence to the psychological life of the man of every time, out of literary theories. The spanish painter (Fuente de Cantos, Badajoz, 1598-Madrid 1664). He trained in Seville, then the lively center of a figurative culture of the realistic nature. In 1617 he opened his own shop at Llerena, in Extremadura, but in 1629 he settled back to Seville and remained there (except a stay in Madrid in 1634) until 1659 ca. When reduced, in conditions of extreme poverty, he moved to Madrid where he tried in vain to be inserted in the cultural climate of the city. The activity of Zurbaran is esplicò almost exclusively in the production of sacred images of very high number (ca. 600) and quality sometimes not sublime, due in part to the widespread use of collaborators, in part to moments of crisis of the painter, especially in the last years of life when it was considered passed by his contemporaries in favor of Murillo. The style of Zurbaran comprises both the naturalism typical sevillian, developed and brought to the highest outcomes for the use of color, always lucid and dazzling even in dark tones; both the disegnativa tradition of Mannerism Spanish, which carries the painter to solve his compositions in the figures of the first floor, from elegant contours and incisors, clearly separated from the neutral funds or dark, outside any historical ambience. Most of his works were performed as devotional cycles for churches and monasteries of Seville and other Spanish cities (currently dispersed among various museums), sincerely partakers of the religious sentiment popular (paintings for the Merced Calzada in Seville, 1629; paintings for Nuestra Senora de la Defension at Jerez de la Frontera, 1638-39). The famous series of saints who pierce by misticheggianti cues to celebration decorative elegantly. Around 1633 Zurbaran devoted himself also for a short time to Natura morta, leaving one of the greatest masterpieces of the genre, of absolute purity: the dish of cedars, a basket of oranges and cup with pink (1633, already in Florence, the Contini Bonacossi Collection, from 1973 in Los Angeles, Pasadena, Norton Simon Foundation). The influence of Zurbaran, rather limited in Spain, was instead huge in Latin America, especially in Peru, where the painter sent numerous works during the period 1640-58. Murillo, Bartolomé Esteban The spanish painter Seville (1617-1682). The artistic beginnings of Murillo were essentially linked to the city Christmas, first as a student of mediocre Juan del Castillo, then as independent painter, sensitive to the art of Ribera, Zurbarán, Velázquez; the youthful works, strong in design and modeled but substantially little originals the also demonstrate a sharer of the generic caravaggismo hovering in Spanish environment. Contacts with the Italian painting, through B. The Cavallino and A. Vaccari, Flemish and (perhaps visited the royal collections during a trip to Madrid in 1648, where he could study the works of Rubens and Van Dyck), spurred an original interpretation of colorismo veneto to which joins a light use deeply scenographic and baroque; these characters already appear in the eleven paintings with miracles of Franciscan Saints for the convent of the homonymous order in Seville (1645-48), today dispersed, and in the birth of the Virgin (Paris, Louvre), triumphal beginnings of a long activity at the service of the confraternities and religious orders within which Murillo proved to be sincere interpreter and convincing of mysticism counter-reformist. The interpretation realistic gently, popular folk and communicative of the sacred episode, increasingly evident in the works ripe (cycle for the Hospice of charity in Seville, ca. 1670-80: the healing of the paralytic at the pool, London, National Gallery; the return of the prodigal son, Washington, National Gallery), joined to the sophistication of color and high quality formal, have made of the compositions of Murillo subjects the most popular of the religious oleografia (thinking of the innumerable versions of the Immaculate Conception, of which some in Madrid Prado), which has come to alter, in wear of the image, the real and high artistic value. The cycles of the paintings of genus popolaresco (boys who eat fruit, Monaco, Alte Pinakothek Galician; the window, Washington, National Gallery), effective openings on the picaresque world that inaugurated a genre destinatoa great success until the Eighteenth Century submitted, and the portraits of the naturalistic setting (gentleman with collar, Madrid, Prado), will contribute to clarifying the deepest inspiration of the artist, which aims to enhance the expressive possibilities of color, sometimes with compiacimenti virtuous. "To deepen See Gedea Art vol. 7 pp 262-269" "to deepen See Gedea Art vol. 7 pp 262-269" Corneille, Pierre French playwright (Rouen 1606-Paris 1684). Born of a bourgeois family (his father was inspector of the waters and forests), he studied at the Jesuit college of Rouen. Excellent student, species in Latin, you journeyed back then often ancient literature, for both aspects declamatori, both for themes. Seneca and Lucan were her favorite authors. In 1628 Corneille began the profession of advocate real in his native city and perhaps not thought never to be able to devote to the theater. The love for a girl had inspired him to write a sonnet and not be excluded, the same Mélite comedy in which the inserted. The opera, represented first in Rouen, then in Paris in 1629, had a discreet success and the stimulated to devote themselves to the theater. In 1632 he wrote Clitandre ou l'Innocence délivrée and before 1635 had already at its active other four comedies, in which the topic romance is supported by a style full of vitality. His first tragedy, Médée, is of 1635. It was in the meantime transferred to Paris and enjoyed the protection of Richelieuu. It was indeed part of the companies of the "five authors" with Boisrobert, Colletet, The Estoile and Rotrou, who had the task of putting in verses topics born from the imagination of the cardinal. But Corneille, that he never had the virtue of the courtier, soon lost the sympathies of the protector and probably also the subsidies. The success of Médée, in which the influence of Seneca was all too evident, made from the prologue to triumph that was then consecrated by his most famous opera, the Cid. According to some, the tragedy should datarsi 1636, year in which Corneille wrote the illusion comique; but documents that have come to light fairly recently confirmed that the cid should be placed in 1637, or that the first representation at the Théâtre du Marais is 1637. The tragedy of love and duty, reveals in a conflict of feelings, the depth of the characters of the protagonists in a dynamic theatrical that the Aristotelian rules observes, if not the unity of place, strictly the time. Corneille, in reality, poorly accepted the concept of the three units of place, action, time, but always tried to remain faithful, especially to the last, because its theater clash of passions and the drama of the will, the synthesis and the immediate unfolding events is essential to the chasing of sentiment, unable to the furore and full of soul prolonged in time. The Cid for the happy ending that celebrates the love of the protagonist and Chimène, is considered tragicomedy, more than pure tragedy, and certainly also triumphed for items sentimental referred is rich. The success of the opera lifted envies and complaints from part of contemporary authors (Scudéry and Mairet) and, if not an envy by author, Corneille drew a resentment from protector by Cardinal Richelieu. Today there is a tendency to reduce greatly the rancor of the minister toward the lucky playwright. The so-called "Querelle du Cid" has its official documentation in sentiments de l'Académie sur le "Cid", drawn up by Chapelain (1638): it is however likely that Richelieu wanted to put in evidence the tasks of arbitrator of literature that the academy founded by him (and then very criticized) had to take. The artist, grieved, was defended by the accusation of plagiarism, but he remained impressed, so much so that he does not want more imitate works of others and its tragedies, after the Cid, will draw only to history. Of pride, Corneille deepened its qualities poetic with critical principles of which did faith his speeches and its prefaces and the same Examens with which accompanied the publication of works. The most valid answer attacks the gave with new tragedies. Two in one year only (1640): Horace (Horace) and Cinna. Horace is once again the drama of love and duty, for the sentiments which bind the duelists (Horatii and Curiatii) to women of the opposing families. Corneille dedicated it to Richelieu, perhaps with a semblance of irony, perhaps to demonstrate that the three "units" (Met) could not prevent him to create works equally valid. Even Cinna, inspired by the treatise De clementia of Seneca, was successful. But certainly the opera more high after the Cid and indeed for the criticism, the masterpiece in the absolute sense, is Polyeucte (1642), undoubtedly consider as the "Canon" of the tragedy corneliana. The matter has been provided to Corneille from historic Surius. Polyeucte is the Christian drama of the love of God triumphant on human love and of the victory of the religious sentiment which mutates in love is a feeling of conjugal loyalty. A year after the representation of his masterpiece Corneille did put in scene La Mort de Pompée and menteur, revealing himself in the latter and in the Suite du Menteur, comedy author. It is a period supremely fruitful for the poet, who in 1644 wrote and represented Rodogune and, later, Héraclius (1646). His fame had become great. Elected him at the Academy (1647), then wrote Nicomède (1651). A year after the fall of Pertharite take him by surprise and the avvilì. He returned to Rouen, where he worked on the translation of the Imitation of Christ as relief from her worries family sposatosi (in 1640, had sons of ill health that gave him not a few pains and that the premorirono). He devoted himself at the same time to care for a complete edition of his works. He returned to the theater only in 1659, on invitation of the Superintendent Fouquet, and had success with Edipe. Staying in Paris, Corneille is fully understood that the times were changed: the green youth had passed and with it the reign of Louis XIII and the suc- cessiva regency of Anne of Austria. Now with Louis XIV and the new classicism to the arts and letters, the Court and the public preferred Quinault and Racine. A poetic world new had taken the place of the one based, as the great models of antiquity, on the contrast of passions: reason dear to Corneille, whose tragedy was defined theater of desire and duty. He continued to write without more reach, however, the vertices of Polyeucte and Cinna. The style of the one who is considered one of the greatest poets of France shines forth in all its force also in other works: la toison d'Or (1661), Sertorius (1662), Sophonisbe (1663), Othon (1664), Agésilas (1666), Attila (1667), Tite et Bérénice (1670), Psyché (1671), Pulchérie (1672), Suréna (1674), with which he concluded his activities as a playwright away for ever from the theater; ten years after he died in the general indifference. In Corneille, where feeling and pride are shown as irreplaceable qualities of individuality to the supreme sacrifice, and perhaps more in the rhetoric that in its true sense tragic, France has often reflected, for an adherence to the psychological life of the man of every time, out of literary theories. The spanish painter (Fuente de Cantos, Badajoz, 1598-Madrid 1664). He trained in Seville, then the lively center of a figurative culture of the realistic nature. In 1617 he opened his own shop at Llerena, in Extremadura, but in 1629 he settled back to Seville and remained there (except a stay in Madrid in 1634) until 1659 ca. When reduced, in conditions of extreme poverty, he moved to Madrid where he tried in vain to be inserted in the cultural climate of the city. The activity of Zurbaran is esplicò almost exclusively in the production of sacred images of very high number (ca. 600) and quality sometimes not sublime, due in part to the widespread use of collaborators, in part to moments of crisis of the painter, especially in the last years of life when it was considered passed by his contemporaries in favor of Murillo. The style of Zurbaran comprises both the naturalism typical sevillian, developed and brought to the highest outcomes for the use of color, always lucid and dazzling even in dark tones; both the disegnativa tradition of Mannerism Spanish, which carries the painter to solve his compositions in the figures of the first floor, from elegant contours and incisors, clearly separated from the neutral funds or dark, outside any historical ambience. Most of his works were performed as devotional cycles for churches and monasteries of Seville and other Spanish cities (currently dispersed among various museums), sincerely partakers of the religious sentiment popular (paintings for the Merced Calzada in Seville, 1629; paintings for Nuestra Senora de la Defension at Jerez de la Frontera, 1638-39). The famous series of saints who pierce by misticheggianti cues to celebration decorative elegantly. Around 1633 Zurbaran devoted himself also for a short time to Natura morta, leaving one of the greatest masterpieces of the genre, of absolute purity: the dish of cedars, a basket of  oranges and cup with pink (1633, already in Florence, the Contini Bonacossi Collection, from 1973 in Los Angeles, Pasadena, Norton Simon Foundation). The influence of Zurbaran, rather limited in Spain, was instead huge in Latin America, especially in Peru, where the painter sent numerous works during the period 1640-58. Murillo, Bartolomé Esteban The spanish painter Seville (1617-1682). The artistic beginnings of Murillo were essentially linked to the city Christmas, first as a student of mediocre Juan del Castillo, then as independent painter, sensitive to the art of Ribera, Zurbarán, Velázquez; the youthful works, strong in design and modeled but substantially little originals the also demonstrate a sharer of the generic caravaggismo hovering in Spanish environment. Contacts with the Italian painting, through B. The Cavallino and A. Vaccari, Flemish and (perhaps visited the royal collections during a trip to Madrid in 1648, where he could study the works of Rubens and Van Dyck), spurred an original interpretation of colorismo veneto to which joins a light use deeply scenographic and baroque; these characters already appear in the eleven paintings with miracles of Franciscan Saints for the convent of the homonymous order in Seville (1645-48), today dispersed, and in the birth of the Virgin (Paris, Louvre), triumphal beginnings of a long activity at the service of the confraternities and religious orders within which Murillo proved to be sincere interpreter and convincing of mysticism counter-reformist. The interpretation realistic gently, popular folk and communicative of the sacred episode, increasingly evident in the works ripe (cycle for the Hospice of charity in Seville, ca. 1670-80: the healing of the paralytic at the pool, London, National Gallery; the return of the prodigal son, Washington, National Gallery), joined to the sophistication of color and high quality formal, have made of the compositions of Murillo subjects the most popular of the religious oleografia (thinking of the innumerable versions of the Immaculate Conception, of which some in Madrid Prado), which has come to alter, in wear of the image, the real and high artistic value. The cycles of the paintings of genus popolaresco (boys who eat fruit, Monaco, Alte Pinakothek Galician; the window, Washington, National Gallery), effective openings on the picaresque world that inaugurated a genre destinatoa great success until the Eighteenth Century submitted, and the portraits of the naturalistic setting (gentleman with collar, Madrid, Prado), will contribute to clarifying the deepest inspiration of the artist, which aims to enhance the expressive possibilities of color, sometimes with compiacimenti virtuous. "To deepen See Gedea Art vol. 7 pp 262-269" "to deepen See Gedea Art vol. 7 pp 262-269" The Lexicon Sm. [From French rococo, alteration, light-hearted of rocaille]. The decorative style which developed in Paris around 1730 and that dominated on other styles for about twenty years, spreading and then right toward the end of the century in the northern regions of France, Italy and Central Europe up to Russia. With value of Adj., belonging to, exactly this style: mobile, facade, rococo taste; for extension, artificial lambiccato, but not without grace: a hairstyle rococo. Art: in France Fiercely opposed by contemporary classicistiche currents and tardobarocche, the rococo was considered negatively throughout the nineteenth century until the first critical analysis carried out by the brothers De Goncourt, who warned both the close relationship with a particular conception of social life, both the aesthetic revolutionary informing him. Ideologically the rococo is the artistic expression of the aristocracy of the cosmopolitan come at the end of its historical function, which masks the conscience of the decline with a philosophy of evasion from reality, creating a fictional world on the myth of the eternal youth and of the unruffled serenity. Social behavior is then adjusted on concepts of refinement and elegance, until the frivolity of the one part and the philosophical libertinism from another. The escape from reality occurs both on the intellectual level and on the existential and every detail of the environment should be granted to the way of life: everything must be beautiful, indeed "nice", since the concept of beauty comprises itself only what is delicate and fragile, nuanced, clear, picturesque. Under this aspect we understand then the "necessity" of a particular type of clothing (vestments read of silk and muslin in pastel shades, white wig which embellishes the face and makes without age, then eternally young), which corresponds to a particular type of environment in which to live. The aesthetic revolution of the rococo occurs in fact in the harmonious interplay of all the details of the furnishings, which contribute equally to all the arts (and the "minor" are evaluated obviously on a par with those traditionally "noble") refer to the creation of organic environments and homogeneous. The historical fact from which you begin the rococo (even if the premises are traceable since the last years of the XVII century) is the transfer of the court from Versailles in Paris after the death of Louis XIV (1715), commissioned by the regent Duke of Orléans, the fact that determined for the nobility the need to reorganize the private palaces of the capital, by long years inhabited only occasionally. To obviate the confined spaces developed rapidly in the period of the regency the taste for the pale walls, "open" by the profusion of mirrors and illeggiadrite stucco work light for the small furniture and lacquered in pastel shades, for executives also from the light shades, for the ornaments of minimum size and subject frivolous, in clear opposition to furnishings Louis XIV, sumptuous (but also heavy) dominated by dark colors and by the gilding. Rare were in France the great architectural realizations, which usufruirono structures baroque still as much as very sober and functional, aimed in practice as a support of the decoration, most of that interior facades, inferred from a whole series of repertories (it is recalled that in 1734 by J. A. Meissonnier, whose drawings influenced deeply on production of carvers and goldsmiths of the epoch); this decoration was based on infinite variations, better if asymmetrical, the curved line which defined natural elements (leaves, flowers, animals) according to a spirit graceful that often referred to exotic elegance and fabulous of the East (masterpieces in this sense are the Hôtel de Matignon of No. Pineau of 1720-31 and the Hôtel de Soubise of G. Boffrand, also decorated by F. Boucher, 1736). In the french architecture are in fact much more frequent the constructions of small dimensions for parks and gardens (readapted sometimes these "English" according to the canons of the picturesque, more suited to the new taste): the pavilions of hunting, the "Casini of delights", sans-soucis, the monrepos, the ermitages, all connected with the needs of worldly life. The sculpture was a fine decorative exclusively, softening the shapes, enriched by descriptive details and generally portraying mythological characters according to a declared intention erotic. The painting, from the clear color and brilliant spread out to touch and nuances on a quick drawing and broken, has narrow analogies with the porcelain, engraving, the fabrics for furnishings, since depicts pastoral scenes, idylls, feasts galanti and campestri, erotic episodes, Daily chronicles, expressing with ironic accents malicious or the principles of a life frivolous but refined. For France it is customary to distinguish a first period Regency (1715-30) in the generation of the architect G. M. Oppenordt of decorator F. A. Vassé and of the ebanist Ch. Cressent, of painters J.-A. Watteau, J. B. Pater and J.-M. Nattier; a period rocaille (1730-45) that finds its highest expression in Meissonnier, Pineau, in Boucher and Chardin; a last period Pompadour (1745-64) involuto already in certain decorative unwieldiness and in part influenced by linearismo classicist, represented by the architect J. A. Gabriel, decorating by J. Verbeckt and J. H. Fragonard. The Lexicon Sm. [From French rococo, alteration, light-hearted of rocaille]. The decorative style which developed in Paris around 1730 and that dominated on other styles for about twenty years, spreading and then right toward the end of the century in the northern regions of France, Italy and Central Europe up to Russia. With value of Adj., belonging to, exactly this style: mobile, facade, rococo taste; for extension, artificial lambiccato, but not without grace: a hairstyle rococo. Art: in France Fiercely opposed by contemporary classicistiche currents and tardobarocche, the rococo was considered negatively throughout the nineteenth century until the first critical analysis carried out by the brothers De Goncourt, who warned both the close relationship with a particular conception of social life, both the aesthetic revolutionary informing him. Ideologically the rococo is the artistic expression of the aristocracy of the cosmopolitan come at the end of its historical function, which masks the conscience of the decline with a philosophy of evasion from reality, creating a fictional world on the myth of the eternal youth and of the unruffled serenity. Social behavior is then adjusted on concepts of refinement and elegance, until the frivolity of the one part and the philosophical libertinism from another. The escape from reality occurs both on the intellectual level and on the existential and every detail of the environment should be granted to the way of life: everything must be beautiful, indeed "nice", since the concept of beauty comprises itself only what is delicate and fragile, nuanced, clear, picturesque. Under this aspect we understand then the "necessity" of a particular type of clothing (vestments read of silk and muslin in pastel shades, white wig which embellishes the face and makes without age, then eternally young), which corresponds to a particular type of environment in which to live. The aesthetic revolution of the rococo occurs in fact in the harmonious interplay of all the details of the furnishings, which contribute equally to all the arts (and the "minor" are evaluated obviously on a par with those traditionally "noble") refer to the creation of organic environments and homogeneous. The historical fact from which you begin the rococo (even if the premises are traceable since the last years of the XVII century) is the transfer of the court from Versailles in Paris after the death of Louis XIV (1715), commissioned by the regent Duke of Orléans, the fact that determined for the nobility the need to reorganize the private palaces of the capital, by long years inhabited only occasionally. To obviate the confined spaces developed rapidly in the period of the regency the taste for the pale walls, "open" by the profusion of mirrors and illeggiadrite stucco work light for the small furniture and lacquered in pastel shades, for executives also from the light shades, for the ornaments of minimum size and subject frivolous, in clear opposition to furnishings Louis XIV, sumptuous (but also heavy) dominated by dark colors and by the gilding. Rare were in France the great architectural realizations, which usufruirono structures baroque still as much as very sober and functional, aimed in practice as a support of the decoration, most of that interior facades, inferred from a whole series of repertories (it is recalled that in 1734 by J. A. Meissonnier, whose drawings influenced deeply on production of carvers and goldsmiths of the epoch); this decoration was based on infinite variations, better if asymmetrical, the curved line which defined natural elements (leaves, flowers, animals) according to a spirit graceful that often referred to exotic elegance and fabulous of the East (masterpieces in this sense are the Hôtel de Matignon of No. Pineau of 1720-31 and the Hôtel de Soubise of G. Boffrand, also decorated by F. Boucher, 1736). In the french architecture are in fact much more frequent the constructions of small dimensions for parks and gardens (readapted sometimes these "English" according to the canons of the picturesque, more suited to the new taste): the pavilions of hunting, the "Casini of delights", sans-soucis, the monrepos, the ermitages, all connected with the needs of worldly life. The sculpture was a fine decorative exclusively, softening the shapes, enriched by descriptive details and generally portraying mythological characters according to a declared intention erotic. The painting, from the clear color and brilliant spread out to touch and nuances on a quick drawing and broken, has narrow analogies with the porcelain, engraving, the fabrics for furnishings, since depicts pastoral scenes, idylls, feasts galanti and campestri, erotic episodes, Daily chronicles, expressing with ironic accents malicious or the principles of a life frivolous but refined. For France it is customary to distinguish a first period Regency (1715-30) in the generation of the architect G. M. Oppenordt of decorator F. A. Vassé and of the ebanist Ch. Cressent, of painters J.-A. Watteau, J. B. Pater and J.-M. Nattier; a period rocaille (1730-45) that finds its highest expression in Meissonnier, Pineau, in Boucher and Chardin; a last period Pompadour (1745-64) involuto already in certain decorative unwieldiness and in part influenced by linearismo classicist, represented by the architect J. A. Gabriel, decorating by J. Verbeckt and J. H. Fragonard.