Art: in other European Countries Outside France the rococo became widespread in short assolutistiche that assumed as a model of social life the French nobility, idealized as depositary of knowing how to live and taste. In the decade 1730-40 artists and French craftsmen were in fact invited in all the courts of Europe starting with the phenomenon of internationalisation of the figurative culture typical of the entire second half of the century. This phenomenon lived precisely on the figure of the wandering artist (For Italy it suffices to think of Tiepolo and Rosalba Carriera), which stimulated above all the development of Crafts on the canons are common to the whole of Europe, according to a process governed not only by the evolution of taste but also, and declared by the same rulers, by the laws of economic expansion. Similar movements to rococo, even if not totally identified with it, were manifested in England (in furniture Chippendale, through whose interpretations, moreover, the rococo taste was introduced in America and in certain themes pictorial from Hogarth to Gainsborough) and in Spain (churriguerismo). For Italy it can speak of rococo especially for decorative arts, sharers in the international taste (the stuccoes by Serpotta; the "Chinese cabinet" for the Palace of Portici, now at Capodimonte, everything in porcelain and mirrors), while architectural constructions to capricious plants curves took place only in private buildings of small dimensions (Villa Palagonia in Bagheria near Palermo), being still alive the baroque tradition, linked in particular to the committenza ecclesiastical. For what concerns the Italian mobile, the taste of the French rococo developed through the partial adoption of stylistic elements of Louis XV and the progressive transformation of elements of the Baroque ornamentation (style Baroque). In Venice, in the framework of the independent development (and addressed in large part to the foreign clients) of that painting, you can define in the Rococo style the choice of subjects as the whim, fantastic view and the scene of life (Marco Ricci, Zais, Guardi and Longhi) and the widespread use of pastel and watercolor (Rosalba Carriera). The style of the rococo met its major development in the German-speaking countries according to two destinations precise and clearly differentiated: on the one hand the architecture and the craft to the courts, who elaborated also original forms but always inside the French model, on the other hand the architecture, understood as a synthesis between space and decoration, of churches and convents, that represents the last great autonomous expression of this particular branch of the architecture. Around the numerous German courts proliferarono castles, the noble residences, small constructions of pleasure, that assumed in size emphatic or even rhetorical plants to curved lines and elliptical of private construction french (only the royal castles you remade the monumentality classicist Versailles) and developed the decoration in tones more or less moderate, according to precise local variants (residence for the prince-bishop of Würzburg, 1719-44, B. Neumann, with the collaboration of R. de cooked and J. L. Hildebrandt, and frescoes by Tiepolo; Palazzina di Caccia of Amalienburg In Park Nymphenburg in Munich, 1734, F. de Cuvilliés). Religious architecture flourished particularly in Bavaria and in Bohemia, with the brothers Asam, D. Zimmermann, Dientzenhofer and, in Austria, especially with Fischer von Erlach, who developed premises already existing in the architecture local tardobarocca to arrive to build buildings characterised by the spaciousness and brightness (a unique space to plant round, elliptical or oval, white walls, large and numerous windows, stuccoes and gilding that underline the structural elements and framing canvases and frescoes), where they perform a perfect harmony and an interrelation total between the constructive elements and figurative ones. Also the pictorial production not assumed an autonomous role but, given the particular needs, was directed almost exclusively to illustrate historical subjects-celebration in allegorical tones-mythological or religious themes; it then developed into large canvases and frescoes that, despite the considerable lightness and vaporosità execution, derive from the baroque decoration Italiana (F. A. Maulbertsch, J. W. Bergl). General description Loc. English (abbreviation of popular art, popular art) used in Italian as sf. Introduced by scholars L. Flieder and R. Banham and adopted in 1961 by the critic English L. Alloway, the term indicates an artistic movement of avant-garde born in parallel in Great Britain and the United States around 1955, as a reaction to the painting of abstract expressionists. The artists of the pop art draw shapes and language from the repertoire of the mass-media, i.e. of the means of communication and mass culture: television, advertising images, photographs, comics, consumables, etc.; they therefore serve images and objects that already exist as, manipulated and presented in various ways, you load a new expressiveness. The aim of the movement is to subtract the artistic operation to its character of unique experience and subjective, for riaccostare instead art to everyday reality. The figuration of the trivial and daily life of pop art, mediated by the different experiences of Cubism, Futurism, Dadaism and Surrealism, had its first definition in Great Britain through the activities of the Independent Group of London (1953-58). The first opera English pop, created by Richard Hamilton, was inscribed in the exhibition "This Is Tomorrow" held in London in 1956. In the United States the pop art arose from the exhaustion of abstract experiences, by the stops at the end of the informal and especially by exaltations of the "object consumed" by artists of the New Dada. Per L'arte Mr. Jean, A. Mezel, History of the surreal painting, Parigi, 1959; F. Fortini, it Movimento surrealista, Milano, 1960; J. Marcel, History of the surreal painting, Parigi, 1960; Mr. Brion, fantastic Art, Parigi, 1961; A. Breton, manifestos of surrealism, Parigi, 1962; P. Waldberg, Surrealism, Ginevra, 1962; J. Pierre, Surrealism, Losanna, 1965; R. Passeron, History of the surreal painting, Parigi, 1968; W. S. Rubin, Dada, Surrealism and their heritage, New York, 1968; J. Corti, dictionary Abstract of surrealism, Parigi, 1969; S. Alexandrian, Dictionary of the surreal painting, Parigi, 1973; P. Waldberg, the homes of Hypnos, Parigi, 1976; A. Breton, interviews, Roma, 1991. Per Il Cinema A. Kyrou, The surrealism in cinema, Parigi, 1953; R. Manvell (a cura di), Nascita which del Cinema, Milano, 1961; P. Tyler, Underground Film - A Critical History, New York, 1969; G. Rondolino (a cura di), the occhio tagliato - documenti del Cinema dadaista e surrealista, Torino, 1972; A. Schwarz, I surrealisti, Milano, 1989. Biografia Poeta statunitense (Hailey, Idaho, 1885-Venezia 1972). È tra i maggiori rappresentanti dell'avanguardia storica del Novecento, che sia incarnò nella sua Opera di Poeta sia nella sua Opera di critico e scopritore di talenti. Giunto in Italia nel 1908, if stabilì poi a Londra e in seguito a Parigi, ritornando in Italia (a Rapallo) dal 1924. Per la sua adesione al fascismo, motivata da confused teorie politico-economiche espresse in vari Saggi, e per the Sue trasmissioni da Radio Roma durante la Guerra fu accusato di tradimento e rinchiuso nel 1945 in a Campo Concentramento presso slab Pisa autorità americane, e quindi internato in a Ospedale psichiatrico negli Stati Uniti, wave evitargli it processo e the possibile condanna has dead. Dimesso nel 1958, ritornò in Italia, dove visse fino alla dead. Opere Formatosi su Dante, Gli stilnovisti e i provenzali, come appare dalla raccolta di Saggi The Spirit of Romance (1910; lo spirito romanzo) e dalle sue libere versioni Di Cavalcanti, confusamente imbevuto di Cultura europea, nella poesia giovanile alternated tendenze fra musicali e preraffaellite, aneliti alla concisione Classica e it desiderio di ridare consistenza e "durezza" Alla poesia compromessa sdolcinature slab tardoromantiche. Seguace e scopritore di T. E. Hulme, POI per breve tempo Segretario di W. B. Yeats, nel elaborò 1912-13 e lanciò I Principi della poetica imagista, da cui if staccò quasi subito per Dar Vita, assieme has W. Lewis, H. Gaudier-Brzeska e altri, Al vorticismo, che sostituiva alla fissità dell'immagine The Immagine In vorticoso Movimento, e che in Tal senso Ebbe punti di contatto Col futurismo italiano. Contemporanea è the scoperta, grazie agli appunti di E. Fenollosa da him Editi, dell'ideogramma cinese come possibile mezzo di poesia, scoperta che gli aprì via alla poesia Maggiore. Alla Raccolta Cathay (1915) e allo studio dei No. giapponesi (1916) seguiva nel 1920 He poemetto Hugh Selwyn Mauberley, che rappresenta it culminates della poesia giovanile di Pound e a tipico esempio di quella "sincopata forma", basata sullo staccato e sulla giustapposizione, che Eliot avrebbe applicato alla sua terra desolata proprio in seguito alla sollecitazione poundiana. Già da qualche anno Pound aveva cominciato The stesura della sua opera Maggiore, quei Cantos che in origin aspirare dovevano al dantesco number di Cento e a cui Egli avrebbe dedicato tutta la vita, creando una summa poetica brilliant e farraginosa, ispirata e confusa. Basati sul principio omerico della discesa agli inferi e sul principio ovidiano della Metamorfosi, I Cantos vogliono essere a Compendio della storia e della civiltà Contemporanea, spaziando da METR greci has provenzali METR, dal motivo Americano has quello confuciano. It Relativizzando tempo, per cui tutte le esperienze sono contemporanee, e mescolando lingue e Stili alternatives (compresi gli ideogrammi cinesi), Essi inseguono in una Panoramica storica, Mitologica, letteraria e autobiografica franta e sconnessa The incarnazioni del mostro dell'Usura, visto da Pound come it principio negativo che interrupt it flusso vital. The progressione dei Cantos (16 nel 1925, 27 nel 1928, 30 nel 1933, 41 nel 1934, 50 nel 1937, 71 nel 1940) culminated anche nei poeticamente Pisan Cantos (1948), ispirati alla prigionia del Poeta e Alla scoperta del dolore: una sorta di purgatorio has cui seguono barlumi di paradiso intravisto nella sezione Rock-Drill: 85-95 (1956), in thrones, 96-109 (1959) E NIS frammenti pubblicati nel 1970. Sono forse the opera più ambiziosa del Novecento americano, a coacervo di brillanti intuizioni confusioni e politiche, di momenti di altissima poesia e oscurità incomprensibili, anche per the ECCESSO DI plurilinguismo. In quegli stessi anni Pound proseguiva The SUA Opera di critico (The ABC of reading e make it New, del 1934; Guide to Kulchur, 1938; i literary essays raccolti da Eliot nel 1954), di traduttore estremamente libero my acutissimo nel cogliere i valori poetici (Confucius, 1947; The Classic anthology, 1954; Translations, 1954) e di saggista politico-economico. E radical innovatore come teorico e Poeta, Mentor di T. S. Eliot e di Joyce, con Sue dottrine politiche oscurò The SUA stessa visione Poetica. The poesia del Novecento gli deve moltissimo sul piano del linguaggio e delle poetiche form; dibattuta ancor oggi è the qualità della sua riuscita. Art: in other European Countries Outside France the rococo became widespread in short assolutistiche that assumed as a model of social life the French nobility, idealized as depositary of knowing how to live and taste. In the decade 1730-40 artists and French craftsmen were in fact invited in all the courts of Europe starting with the phenomenon of internationalisation of the figurative culture typical of the entire second half of the century. This phenomenon lived precisely on the figure of the wandering artist (For Italy it suffices to think of Tiepolo and Rosalba Carriera), which stimulated above all the development of Crafts on the canons are common to the whole of Europe, according to a process governed not only by the evolution of taste but also, and declared by the same rulers, by the laws of economic expansion. Similar movements to rococo, even if not totally identified with it, were manifested in England (in furniture Chippendale, through whose interpretations, moreover, the rococo taste was introduced in America and in certain themes pictorial from Hogarth to Gainsborough) and in Spain (churriguerismo). For Italy it can speak of rococo especially for decorative arts, sharers in the international taste (the stuccoes by Serpotta; the "Chinese cabinet" for the Palace of Portici, now at Capodimonte, everything in porcelain and mirrors), while architectural constructions to capricious plants curves took place only in private buildings of small dimensions (Villa Palagonia in Bagheria near Palermo), being still alive the baroque tradition, linked in particular to the committenza ecclesiastical. For what concerns the Italian mobile, the taste of the French rococo developed through the partial adoption of stylistic elements of Louis XV and the progressive transformation of elements of the Baroque ornamentation (style Baroque). In Venice, in the framework of the independent development (and addressed in large part to the foreign clients) of that painting, you can define in the Rococo style the choice of subjects as the whim, fantastic view and the scene of life (Marco Ricci, Zais, Guardi and Longhi) and the widespread use of pastel and watercolor (Rosalba Carriera). The style of the rococo met its major development in the German-speaking countries according to two destinations precise and clearly differentiated: on the one hand the architecture and the craft to the courts, who elaborated also original forms but always inside the French model, on the other hand the architecture, understood as a synthesis between space and decoration, of churches and convents, that represents the last great autonomous expression of this particular branch of the architecture. Around the numerous German courts proliferarono castles, the noble residences, small constructions of pleasure, that assumed in size emphatic or even rhetorical plants to curved lines and elliptical of private construction french (only the royal castles you remade the monumentality classicist Versailles) and developed the decoration in tones more or less moderate, according to precise local variants (residence for the prince-bishop of Würzburg, 1719-44, B. Neumann, with the collaboration of R. de cooked and J. L. Hildebrandt, and frescoes by Tiepolo; Palazzina di Caccia of Amalienburg In Park Nymphenburg in Munich, 1734, F. de Cuvilliés). Religious architecture flourished particularly in Bavaria and in Bohemia, with the brothers Asam, D. Zimmermann, Dientzenhofer and, in Austria, especially with Fischer von Erlach, who developed premises already existing in the architecture local tardobarocca to arrive to build buildings characterised by the spaciousness and brightness (a unique space to plant round, elliptical or oval, white walls, large and numerous windows, stuccoes and gilding that underline the structural elements and framing canvases and frescoes), where they perform a perfect harmony and an interrelation total between the constructive elements and figurative ones. Also the pictorial production not assumed an autonomous role but, given the particular needs, was directed almost exclusively to illustrate historical subjects-celebration in allegorical tones-mythological or religious themes; it then developed into large canvases and frescoes that, despite the considerable lightness and vaporosità execution, derive from the baroque decoration Italiana (F. A. Maulbertsch, J. W. Bergl). General description Loc. English (abbreviation of popular art, popular art) used in Italian as sf. Introduced by scholars L. Flieder and R. Banham and adopted in 1961 by the critic English L. Alloway, the term indicates an artistic movement of avant-garde born in parallel in Great Britain and the United States around 1955, as a reaction to the painting of abstract expressionists. The artists of the pop art draw shapes and language from the repertoire of the mass-media, i.e. of the means of communication and mass culture: television, advertising images, photographs, comics, consumables, etc.; they therefore serve images and objects that already exist as, manipulated and presented in various ways, you load a new expressiveness. The aim of the movement is to subtract the artistic operation to its character of unique experience and subjective, for riaccostare instead art to everyday reality. The figuration of the trivial and daily life of pop art, mediated by the different experiences of Cubism, Futurism, Dadaism and Surrealism, had its first definition in Great Britain through the activities of the Independent Group of London (1953-58). The first opera English pop, created by Richard Hamilton, was inscribed in the exhibition "This Is Tomorrow" held in London in 1956. In the United States the pop art arose from the exhaustion of abstract experiences, by the stops at the end of the informal and especially by exaltations of the "object consumed" by artists of the New Dada. Per L'arte Mr. Jean, A. Mezel, History of the surreal painting, Parigi, 1959; F. Fortini, it Movimento surrealista, Milano, 1960; J. Marcel, History of the surreal painting, Parigi, 1960; Mr. Brion, fantastic Art, Parigi, 1961; A. Breton, manifestos of surrealism, Parigi, 1962; P. Waldberg, Surrealism, Ginevra, 1962; J. Pierre, Surrealism, Losanna, 1965; R. Passeron, History of the surreal painting, Parigi, 1968; W. S. Rubin, Dada, Surrealism and their heritage, New York, 1968; J. Corti, dictionary Abstract of surrealism, Parigi, 1969; S. Alexandrian, Dictionary of the surreal painting, Parigi, 1973; P. Waldberg, the homes of Hypnos, Parigi, 1976; A. Breton, interviews, Roma, 1991. Per Il Cinema A. Kyrou, The surrealism in cinema, Parigi, 1953; R. Manvell (a cura di), Nascita which del Cinema, Milano, 1961; P. Tyler, Underground Film - A Critical History, New York, 1969; G. Rondolino (a cura di), the occhio tagliato - documenti del Cinema dadaista e surrealista, Torino, 1972; A. Schwarz, I surrealisti, Milano, 1989. Biografia Poeta statunitense (Hailey, Idaho, 1885-Venezia 1972). È tra i maggiori rappresentanti dell'avanguardia storica del Novecento, che sia incarnò nella sua Opera di Poeta sia nella sua Opera di critico e scopritore di talenti. Giunto in Italia nel 1908, if stabilì poi a Londra e in seguito a Parigi, ritornando in Italia (a Rapallo) dal 1924. Per la sua adesione al fascismo, motivata da confused teorie politico-economiche espresse in vari Saggi, e per the Sue trasmissioni da Radio Roma durante la Guerra fu accusato di tradimento e rinchiuso nel 1945 in a Campo Concentramento presso slab Pisa autorità americane, e quindi internato in a Ospedale psichiatrico negli Stati Uniti, wave evitargli it processo e the possibile condanna has dead. Dimesso nel 1958, ritornò in Italia, dove visse fino alla dead. Opere Formatosi su Dante, Gli stilnovisti e i provenzali, come appare dalla raccolta di Saggi The Spirit of Romance (1910; lo spirito romanzo) e dalle sue libere versioni Di Cavalcanti, confusamente imbevuto di Cultura europea, nella poesia giovanile alternated tendenze fra musicali e preraffaellite, aneliti alla concisione Classica e it desiderio di ridare consistenza e "durezza" Alla poesia compromessa sdolcinature slab tardoromantiche. Seguace e scopritore di T. E. Hulme, POI per breve tempo Segretario di W. B. Yeats, nel elaborò 1912-13 e lanciò I Principi della poetica imagista, da cui if staccò quasi subito per Dar Vita, assieme has W. Lewis, H. Gaudier-Brzeska e altri, Al vorticismo, che sostituiva alla fissità dell'immagine The Immagine In vorticoso Movimento, e che in Tal senso Ebbe punti di contatto Col futurismo italiano. Contemporanea è the scoperta, grazie agli appunti di E. Fenollosa da him Editi, dell'ideogramma cinese come possibile mezzo di poesia, scoperta che gli aprì via alla poesia Maggiore. Alla Raccolta Cathay (1915) e allo studio dei No. giapponesi (1916) seguiva nel 1920 He poemetto Hugh Selwyn Mauberley, che rappresenta it culminates della poesia giovanile di Pound e a tipico esempio di quella "sincopata forma", basata sullo staccato e sulla giustapposizione, che Eliot avrebbe applicato alla sua terra desolata proprio in seguito alla sollecitazione poundiana. Già da qualche anno Pound aveva cominciato The stesura della sua opera Maggiore, quei Cantos che in origin aspirare dovevano al dantesco number di Cento e a cui Egli avrebbe dedicato tutta la vita, creando una summa poetica brilliant e farraginosa, ispirata e confusa. Basati sul principio omerico della discesa agli inferi e sul principio ovidiano della Metamorfosi, I Cantos vogliono essere a Compendio della storia e della civiltà Contemporanea, spaziando da METR greci has provenzali METR, dal motivo Americano has quello confuciano. It Relativizzando tempo, per cui tutte le esperienze sono contemporanee, e mescolando lingue e Stili alternatives (compresi gli ideogrammi cinesi), Essi inseguono in una Panoramica storica, Mitologica, letteraria e autobiografica franta e sconnessa The incarnazioni del mostro dell'Usura, visto da Pound come it principio negativo che interrupt it flusso vital. The progressione dei Cantos (16 nel 1925, 27 nel 1928, 30 nel 1933, 41 nel 1934, 50 nel 1937, 71 nel 1940) culminated anche nei poeticamente Pisan Cantos (1948), ispirati alla prigionia del Poeta e Alla scoperta del dolore: una sorta di purgatorio has cui seguono barlumi di paradiso intravisto nella sezione Rock-Drill: 85-95 (1956), in thrones, 96-109 (1959) E NIS frammenti pubblicati nel 1970. Sono forse the opera più ambiziosa del Novecento americano, a coacervo di brillanti intuizioni confusioni e politiche, di momenti di altissima poesia e oscurità incomprensibili, anche per the ECCESSO DI plurilinguismo. In quegli stessi anni Pound proseguiva The SUA Opera di critico (The ABC of reading e make it New, del 1934; Guide to Kulchur, 1938; i literary essays raccolti da Eliot nel 1954), di traduttore estremamente libero my acutissimo nel cogliere i valori poetici (Confucius, 1947; The Classic anthology, 1954; Translations, 1954) e di saggista politico-economico. E radical innovatore come teorico e Poeta, Mentor di T. S. Eliot e di Joyce, con Sue dottrine politiche oscurò The SUA stessa visione Poetica. The poesia del Novecento gli deve moltissimo sul piano del linguaggio e delle poetiche form; dibattuta ancor oggi è the qualità della sua riuscita. Platerésco Add and sm. (pl. m. - chi) [Spanish plateresco, from platero, silversmith, goldsmith]. The architectural style of strong decorative effect known in Spain in the first half of the XVI century. Its complex formation contributed elements derived from the flamboyant gothic, from the Italian Renaissance and French and from the Mudejar art, as well as the exuberant taste for dense and meticulous adorned deduced from the jewelry. The term plateresco indeed at the origin indicated the elaboratissima decoration of objects of gold and silver, and was used with reference to the architecture by Ortiz Zuñiga who defined platerescas decorations of the royal chapel in the cathedral of Seville. Examples most characteristic of this style are located in Salamanca (University, 1516-29; palace of Monterrey), at Toledo (Hospital of S. Cruz, 1504), Seville (Ajuntamento), Alcalá de Henares (University, 1540-53) and Guadalajara (Palacio del Infantado). "To deepen See Gedea Art vol. 6 pp 246-252" "to deepen See Gedea Art vol. 6 pp 246-252" The Lexicon Sm. and add (pl. m. - chi) [XVIII century; prob. By the term baroco School]. 1) Sm, period artistic and literary that goes from full classicism of the sixteenth century to the Arcadia and usually the rationalism of the beginning of the Eighteenth Century. 2) Add on literary or artistic works as that reproduce this style or some of its aspects: baroque painting; a palace, a baroque church. By extension, with a gradient spregiativa, sumptuous, artificial, swollen, bizarre, clumsy: "Baroque Stage Coach overloaded of ori, flakes of bells" (Gozzano). Literature The baroque in gender was identified with the Italian secentismo, with the concettismo and with the Spanish gongorismo and, as the historical period in which he had to manifest, was evaluated as a fundamental and typical the seventeenth century. Given the exemplary nature of the Renaissance, from which undeniably arose for the development of formal values, and the innovative elements often impersonati in expressive geniality and inventiveness bizarre and capricious, was easy to blame the baroque of emptiness and interests purely external and capziosi. Since the seventeenth century was the century of the Counter-Reformation and Spanish preponderance in Italy, the critical literature of the Risorgimento, after the acres considerations of the Enlightenment and of the Arcadia on baroque, did coincide the preference for formal inventiveness and novelty searches external with the lack of ideas in the field of political and social and with the assessment of the art of time as game and hedonism end in itself. From the idea of revocation policy is passed early in the history of Italian literature and in its critical assessment, to that of the empty literature and barren, with complete neglect of the figurative arts and music where as well, with expansion throughout Europe and fin in Latin America, you noticed flashes of brilliance inventiveness and deep sense decorative. For a conception of art and poetry strictly connected with the carducciano classicism and for an assessment of the civilization connected with the reasons of the Risorgimento in the history of Italian literature of De Sanctis, Benedetto Croce gave a judgment negative almost on the baroque understood as secentismo, if not just as an enlargement of the deteriorating marinismo, with declared omission, in examining precisely, performing arts and music in the famous story of the Baroque age in Italy, 1929. The philosopher was however, before Calcaterra, Jet and other scholars, the biggest connoisseur of poetry and Italian letters of the Seventeenth Century; from this point of view, specimens are assays and the new assays on Italian literature of the Seventeenth Century, respectively in 1911 and 1931, and various editions of writers of the time, without excluding precisely the more felt in its barocchismi, Basile de Lo Cunto (face in Italian from the Cross itself as Pentamerone"). In the judgment often negative about the reasons more flashy specious and in fact of culture, instead of spirituality, of baroque literature and poetry, the critical position of the Cross is of long duration in the same critical Italian university and even with a poor assessment of the contribution the prestigious of Spain that from the Renaissance moves toward new conquests of the form: in reality already Karl Vossler, in his great devotion to the Cross, could not accept the judgment of the friend and was present in letters then gathered in their correspondence, the importance of Góngora and other Spanish poets. The use of negative judge the concept of Baroque (in the true sense of movement strange and bizarre) according to elements of the poetic gongorismo (or culteranismo) Spanish, of preziosismo french and english eufuismo has sometimes reduced the term to a negative value in the history of art itself. And this, with serious disappointment of those who admired the baroque architecture in Europe or in Latin America and you abandon the fascination of music precisely defined baroque. In contrast to this trend negatrice, or at least limiting, of the baroque in general and particularly that of literature (for along time secentismo called by critics) is the exaltation made by the Catalan Eugenio D'Ors, that in his famous book, widespread in French translation in 1936, saw the baroque as a time lord of the spirit and, in its typology, the vantò in contrast to classicism, understood as a moment of formal harmony and, in the field of arts, euritmia. Many trends, already expressed in a particular way by Wölfflin since 1888 with its renaissance and baroque and connected with the rise of new trends criticism on the art as pure visibility, have had the opportunity polemically to manifest itself in the footsteps of D'Ors for a complete evaluation of the baroque inventiveness, taste for the new and the brilliant, for repudiation of the rules more or less school of classicism. If in the past Nisard could accuse some French romantic to be like the Latin poets of the decadence, now boast is irregular reasons but innovators more centuries as positive elements linked to the inventiveness of the human spirit, from the alessandrinismo certain tendencies of the Middle Ages in various formal conquests, from natura morta in painting to gardening artistic, to the decoration of the jewels and the jokes in music. Something irregular anyway consists in the Baroque, starting from the end which is designated by a few centuries ago: it stretches of barrueca, pearl odd shaped and in any case not perfectly round, or the adjective french baroque (provenance Spanish-Portuguese) to be joined to the traditional italian baroco (derived from the scholastic philosophy of the Middle Ages). To exclude would be "species of wear" (from Cheater) that was also cited as if they were "Deception". And it should also be noticed the hypothesis (daring undoubtedly) who with Spanish barrueco berrueco or thought, beyond that to the irregular pearl or scaramazza, firstly to "steep cliff" (and it was easy to join the example of Rococo from French rocaille). Whatever the origin of the name baroque, first understood by rationalists and neoclassical from Eighteenth Century as freak and extravagance, it is certain that for several years now the examination of art and literature of a large part of Europe, between the full Cinquecento and the beginning of the Eighteenth Century, currency in the positive sense of the manifestations of a civilization that longed to new and put the highest esteem and consideration critical (and not only fixed the question of taste in the sphere of hedonism) in fantasy, in oestrus, in search of the new. This evaluation is all the more necessary if one takes account of the development that the baroque has had in the world in correspondence to the civilization of the individual peoples and even in its own limits inventive, in England, where the Renaissance was bestowed in its value of civilization perfect in the taste of the company and in the worship of the form, almost as a supreme conquest of petrarchismo. Already said that in Italian literature the prebarocco taste of reasoning of the Aretino, fantasy rate, the theatrical elocution of the door and especially with the accompanying events very polemics against the classicism, the literary naturalism of Bruno show the impossibility to consider in a unitary everything even the achievements of the high Renaissance; a fortiori the french preziosismo with accents genuinely baroque poets Huguenots and Catholics, the metaphysical poets English (to use a definition famous Dryden) and other authors confirm in the Baroque vital research of novelty and pose the better of a creation in the inventiveness and in the Genius outside of each rule. Art: in other European Countries Outside France the rococo became widespread in short assolutistiche that assumed as a model of social life the French nobility, idealized as depositary of knowing how to live and taste. In the decade 1730-40 artists and French craftsmen were in fact invited in all the courts of Europe starting with the phenomenon of internationalisation of the figurative culture typical of the entire second half of the century. This phenomenon lived precisely on the figure of the wandering artist (For Italy it suffices to think of Tiepolo and Rosalba Carriera), which stimulated above all the development of Crafts on the canons are common to the whole of Europe, according to a process governed not only by the evolution of taste but also, and declared by the same rulers, by the laws of economic expansion. Similar movements to rococo, even if not totally identified with it, were manifested in England (in furniture Chippendale, through whose interpretations, moreover, the rococo taste was introduced in America and in certain themes pictorial from Hogarth to Gainsborough) and in Spain (churriguerismo). For Italy it can speak of rococo especially for decorative arts, sharers in the international taste (the stuccoes by Serpotta; the "Chinese cabinet" for the Palace of Portici, now at Capodimonte, everything in porcelain and mirrors), while architectural constructions to capricious plants curves took place only in private buildings of small dimensions (Villa Palagonia in Bagheria near Palermo), being still alive the baroque tradition, linked in particular to the committenza ecclesiastical. For what concerns the Italian mobile, the taste of the French rococo developed through the partial adoption of stylistic elements of Louis XV and the progressive transformation of elements of the Baroque ornamentation (style Baroque). In Venice, in the framework of the independent development (and addressed in large part to the foreign clients) of that painting, you can define in the Rococo style the choice of subjects as the whim, fantastic view and the scene of life (Marco Ricci, Zais, Guardi and Longhi) and the widespread use of pastel and watercolor (Rosalba Carriera). The style of the rococo met its major development in the German-speaking countries according to two destinations precise and clearly differentiated: on the one hand the architecture and the craft to the courts, who elaborated also original forms but always inside the French model, on the other hand the architecture, understood as a synthesis between space and decoration, of churches and convents, that represents the last great autonomous expression of this particular branch of the architecture. Around the numerous German courts proliferarono castles, the noble residences, small constructions of pleasure, that assumed in size emphatic or even rhetorical plants to curved lines and elliptical of private construction french (only the royal castles you remade the monumentality classicist Versailles) and developed the decoration in tones more or less moderate, according to precise local variants (residence for the prince-bishop of Würzburg, 1719-44, B. Neumann, with the collaboration of R. de cooked and J. L. Hildebrandt, and frescoes by Tiepolo; Palazzina di Caccia of Amalienburg In Park Nymphenburg in Munich, 1734, F. de Cuvilliés). Religious architecture flourished particularly in Bavaria and in Bohemia, with the brothers Asam, D. Zimmermann, Dientzenhofer and, in Austria, especially with Fischer von Erlach, who developed premises already existing in the architecture local tardobarocca to arrive to build buildings characterised by the spaciousness and brightness (a unique space to plant round, elliptical or oval, white walls, large and numerous windows, stuccoes and gilding that underline the structural elements and framing canvases and frescoes), where they perform a perfect harmony and an interrelation total between the constructive elements and figurative ones. Also the pictorial production not assumed an autonomous role but, given the particular needs, was directed almost exclusively to illustrate historical subjects-celebration in allegorical tones-mythological or religious themes; it then developed into large canvases and frescoes that, despite the considerable lightness and vaporosità execution, derive from the baroque decoration Italiana (F. A. Maulbertsch, J. W. Bergl). General description Loc. English (abbreviation of popular art, popular art) used in Italian as sf. Introduced by scholars L. Flieder and R. Banham and adopted in 1961 by the critic English L. Alloway, the term indicates an artistic movement of avant-garde born in parallel in Great Britain and the United States around 1955, as a reaction to the painting of abstract expressionists. The artists of the pop art draw shapes and language from the repertoire of the mass-media, i.e. of the means of communication and mass culture: television, advertising images, photographs, comics, consumables, etc.; they therefore serve images and objects that already exist as, manipulated and presented in various ways, you load a new expressiveness. The aim of the movement is to subtract the artistic operation to its character of unique experience and subjective, for riaccostare instead art to everyday reality. The figuration of the trivial and daily life of pop art, mediated by the different experiences of Cubism, Futurism, Dadaism and Surrealism, had its first definition in Great Britain through the activities of the Independent Group of London (1953-58). The first opera English pop, created by Richard Hamilton, was inscribed in the exhibition "This Is Tomorrow" held in London in 1956. In the United States the pop art arose from the exhaustion of abstract experiences, by the stops at the end of the informal and especially by exaltations of the "object consumed" by artists of the New Dada. Per L'arte Mr. Jean, A. Mezel, History of the surreal painting, Parigi, 1959; F. Fortini, it Movimento surrealista, Milano, 1960; J. Marcel, History of the surreal painting, Parigi, 1960; Mr. Brion, fantastic Art, Parigi, 1961; A. Breton, manifestos of surrealism, Parigi, 1962; P. Waldberg, Surrealism, Ginevra, 1962; J. Pierre, Surrealism, Losanna, 1965; R. Passeron, History of the surreal painting, Parigi, 1968; W. S. Rubin, Dada, Surrealism and their heritage, New York, 1968; J. Corti, dictionary Abstract of surrealism, Parigi, 1969; S. Alexandrian, Dictionary of the surreal painting, Parigi, 1973; P. Waldberg, the homes of Hypnos, Parigi, 1976; A. Breton, interviews, Roma, 1991. Per Il Cinema A. Kyrou, The surrealism in cinema, Parigi, 1953; R. Manvell (a cura di), Nascita which del Cinema, Milano, 1961; P. Tyler, Underground Film - A Critical History, New York, 1969; G. Rondolino (a cura di), the occhio tagliato - documenti del Cinema dadaista e surrealista, Torino, 1972; A. Schwarz, I surrealisti, Milano, 1989. Biografia Poeta statunitense (Hailey, Idaho, 1885-Venezia 1972). È tra i maggiori rappresentanti dell'avanguardia storica del Novecento, che sia incarnò nella sua Opera di Poeta sia nella sua Opera di critico e scopritore di talenti. Giunto in Italia nel 1908, if stabilì poi a Londra e in seguito a Parigi, ritornando in Italia (a Rapallo) dal 1924. Per la sua adesione al fascismo, motivata da confused teorie politico-economiche espresse in vari Saggi, e per the Sue trasmissioni da Radio Roma durante la Guerra fu accusato di tradimento e rinchiuso nel 1945 in a Campo Concentramento presso slab Pisa autorità americane, e quindi internato in a Ospedale psichiatrico negli Stati Uniti, wave evitargli it processo e the possibile condanna has dead. Dimesso nel 1958, ritornò in Italia, dove visse fino alla dead. Opere Formatosi su Dante, Gli stilnovisti e i provenzali, come appare dalla raccolta di Saggi The Spirit of Romance (1910; lo spirito romanzo) e dalle sue libere versioni Di Cavalcanti, confusamente imbevuto di Cultura europea, nella poesia giovanile alternated tendenze fra musicali e preraffaellite, aneliti alla concisione Classica e it desiderio di ridare consistenza e "durezza" Alla poesia compromessa sdolcinature slab tardoromantiche. Seguace e scopritore di T. E. Hulme, POI per breve tempo Segretario di W. B. Yeats, nel elaborò 1912-13 e lanciò I Principi della poetica imagista, da cui if staccò quasi subito per Dar Vita, assieme has W. Lewis, H. Gaudier-Brzeska e altri, Al vorticismo, che sostituiva alla fissità dell'immagine The Immagine In vorticoso Movimento, e che in Tal senso Ebbe punti di contatto Col futurismo italiano. Contemporanea è the scoperta, grazie agli appunti di E. Fenollosa da him Editi, dell'ideogramma cinese come possibile mezzo di poesia, scoperta che gli aprì via alla poesia Maggiore. Alla Raccolta Cathay (1915) e allo studio dei No. giapponesi (1916) seguiva nel 1920 He poemetto Hugh Selwyn Mauberley, che rappresenta it culminates della poesia giovanile di Pound e a tipico esempio di quella "sincopata forma", basata sullo staccato e sulla giustapposizione, che Eliot avrebbe applicato alla sua terra desolata proprio in seguito alla sollecitazione poundiana. Già da qualche anno Pound aveva cominciato The stesura della sua opera Maggiore, quei Cantos che in origin aspirare dovevano al dantesco number di Cento e a cui Egli avrebbe dedicato tutta la vita, creando una summa poetica brilliant e farraginosa, ispirata e confusa. Basati sul principio omerico della discesa agli inferi e sul principio ovidiano della Metamorfosi, I Cantos vogliono essere a Compendio della storia e della civiltà Contemporanea, spaziando da METR greci has provenzali METR, dal motivo Americano has quello confuciano. It Relativizzando tempo, per cui tutte le esperienze sono contemporanee, e mescolando lingue e Stili alternatives (compresi gli ideogrammi cinesi), Essi inseguono in una Panoramica storica, Mitologica, letteraria e autobiografica franta e sconnessa The incarnazioni del mostro dell'Usura, visto da Pound come it principio negativo che interrupt it flusso vital. The progressione dei Cantos (16 nel 1925, 27 nel 1928, 30 nel 1933, 41 nel 1934, 50 nel 1937, 71 nel 1940) culminated anche nei poeticamente Pisan Cantos (1948), ispirati alla prigionia del Poeta e Alla scoperta del dolore: una sorta di purgatorio has cui seguono barlumi di paradiso intravisto nella sezione Rock-Drill: 85-95 (1956), in thrones, 96-109 (1959) E NIS frammenti pubblicati nel 1970. Sono forse the opera più ambiziosa del Novecento americano, a coacervo di brillanti intuizioni confusioni e politiche, di momenti di altissima poesia e oscurità incomprensibili, anche per the ECCESSO DI plurilinguismo. In quegli stessi anni Pound proseguiva The SUA Opera di critico (The ABC of reading e make it New, del 1934; Guide to Kulchur, 1938; i literary essays raccolti da Eliot nel 1954), di traduttore estremamente libero my acutissimo nel cogliere i valori poetici (Confucius, 1947; The Classic anthology, 1954; Translations, 1954) e di saggista politico-economico. E radical innovatore come teorico e Poeta, Mentor di T. S. Eliot e di Joyce, con Sue dottrine politiche oscurò The SUA stessa visione Poetica. The poesia del Novecento gli deve moltissimo sul piano del linguaggio e delle poetiche form; dibattuta ancor oggi è the qualità della sua riuscita. Platerésco Add and sm. (pl. m. - chi) [Spanish plateresco, from platero, silversmith, goldsmith]. The architectural style of strong decorative effect known in Spain in the first half of the XVI century. Its complex formation contributed elements derived from the flamboyant gothic, from the Italian Renaissance and French and from the Mudejar art, as well as the exuberant taste for dense and meticulous adorned deduced from the jewelry. The term plateresco indeed at the origin indicated the elaboratissima decoration of objects of gold and silver, and was used with reference to the architecture by Ortiz Zuñiga who defined platerescas decorations of the royal chapel in the cathedral of Seville. Examples most characteristic of this style are located in Salamanca (University, 1516-29; palace of Monterrey), at Toledo (Hospital of S. Cruz, 1504), Seville (Ajuntamento), Alcalá de Henares (University, 1540-53) and Guadalajara (Palacio del Infantado). "To deepen See Gedea Art vol. 6 pp 246-252" "to deepen See Gedea Art vol. 6 pp 246-252" The Lexicon Sm. and add (pl. m. - chi) [XVIII century; prob. By the term baroco School]. 1) Sm, period artistic and literary that goes from full classicism of the sixteenth century to the Arcadia and usually the rationalism of the beginning of the Eighteenth Century. 2) Add on literary or artistic works as that reproduce this style or some of its aspects: baroque painting; a palace, a baroque church. By extension, with a gradient spregiativa, sumptuous, artificial, swollen, bizarre, clumsy: "Baroque Stage Coach overloaded of ori, flakes of bells" (Gozzano). Literature The baroque in gender was identified with the Italian secentismo, with the concettismo and with the Spanish gongorismo and, as the historical period in which he had to manifest, was evaluated as a fundamental and typical the seventeenth century. Given the exemplary nature of the Renaissance, from which undeniably arose for the development of formal values, and the innovative elements often impersonati in expressive geniality and inventiveness bizarre and capricious, was easy to blame the baroque of emptiness and interests purely external and capziosi. Since the seventeenth century was the century of the Counter-Reformation and Spanish preponderance in Italy, the critical literature of the Risorgimento, after the acres considerations of the Enlightenment and of the Arcadia on baroque, did coincide the preference for formal inventiveness and novelty searches external with the lack of ideas in the field of political and social and with the assessment of the art of time as game and hedonism end in itself. From the idea of revocation policy is passed early in the history of Italian literature and in its critical assessment, to that of the empty literature and barren, with complete neglect of the figurative arts and music where as well, with expansion throughout Europe and fin in Latin America, you noticed flashes of brilliance inventiveness and deep sense decorative. For a conception of art and poetry strictly connected with the carducciano classicism and for an assessment of the civilization connected with the reasons of the Risorgimento in the history of Italian literature of De Sanctis, Benedetto Croce gave a judgment negative almost on the baroque understood as secentismo, if not just as an enlargement of the deteriorating marinismo, with declared omission, in examining precisely, performing arts and music in the famous story of the Baroque age in Italy, 1929. The philosopher was however, before Calcaterra, Jet and other scholars, the biggest connoisseur of poetry and Italian letters of the Seventeenth Century; from this point of view, specimens are assays and the new assays on Italian literature of the Seventeenth Century, respectively in 1911 and 1931, and various editions of writers of the time, without excluding precisely the more felt in its barocchismi, Basile de Lo Cunto (face in Italian from the Cross itself as Pentamerone"). In the judgment often negative about the reasons more flashy specious and in fact of culture, instead of spirituality, of baroque literature and poetry, the critical position of the Cross is of long duration in the same critical Italian university and even with a poor assessment of the contribution the prestigious of Spain that from the Renaissance moves toward new conquests of the form: in reality already Karl Vossler, in his great devotion to the Cross, could not accept the judgment of the friend and was present in letters then gathered in their correspondence, the importance of Góngora and other Spanish poets. The use of negative judge the concept of Baroque (in the true sense of movement strange and bizarre) according to elements of the poetic gongorismo (or culteranismo) Spanish, of preziosismo french and english eufuismo has sometimes reduced the term to a negative value in the history of art itself. And this, with serious disappointment of those who admired the baroque architecture in Europe or in Latin America and you abandon the fascination of music precisely defined baroque. In contrast to this trend negatrice, or at least limiting, of the baroque in general and particularly that of literature (for along time secentismo called by critics) is the exaltation made by the Catalan Eugenio D'Ors, that in his famous book, widespread in French translation in 1936, saw the baroque as a time lord of the spirit and, in its typology, the vantò in contrast to classicism, understood as a moment of formal harmony and, in the field of arts, euritmia. Many trends, already expressed in a particular way by Wölfflin since 1888 with its renaissance and baroque and connected with the rise of new trends criticism on the art as pure visibility, have had the opportunity polemically to manifest itself in the footsteps of D'Ors for a complete evaluation of the baroque inventiveness, taste for the new and the brilliant, for repudiation of the rules more or less school of classicism. If in the past Nisard could accuse some French romantic to be like the Latin poets of the decadence, now boast is irregular reasons but innovators more centuries as positive elements linked to the inventiveness of the human spirit, from the alessandrinismo certain tendencies of the Middle Ages in various formal conquests, from natura morta in painting to gardening artistic, to the decoration of the jewels and the jokes in music. Something irregular anyway consists in the Baroque, starting from the end which is designated by a few centuries ago: it stretches of barrueca, pearl odd shaped and in any case not perfectly round, or the adjective french baroque (provenance Spanish-Portuguese) to be joined to the traditional italian baroco (derived from the scholastic philosophy of the Middle Ages). To exclude would be "species of wear" (from Cheater) that was also cited as if they were "Deception". And it should also be noticed the hypothesis (daring undoubtedly) who with Spanish barrueco berrueco or thought, beyond that to the irregular pearl or scaramazza, firstly to "steep cliff" (and it was easy to join the example of Rococo from French rocaille). Whatever the origin of the name baroque, first understood by rationalists and neoclassical from Eighteenth Century as freak and extravagance, it is certain that for several years now the examination of art and literature of a large part of Europe, between the full Cinquecento and the beginning of the Eighteenth Century, currency in the positive sense of the manifestations of a civilization that longed to new and put the highest esteem and consideration critical (and not only fixed the question of taste in the sphere of hedonism) in fantasy, in oestrus, in search of the new. This evaluation is all the more necessary if one takes account of the development that the baroque has had in the world in correspondence to the civilization of the individual peoples and even in its own limits inventive, in England, where the Renaissance was bestowed in its value of civilization perfect in the taste of the company and in the worship of the form, almost as a supreme conquest of petrarchismo. Already said that in Italian literature the prebarocco taste of reasoning of the Aretino, fantasy rate, the theatrical elocution of the door and especially with the accompanying events very polemics against the classicism, the literary naturalism of Bruno show the impossibility to consider in a unitary everything even the achievements of the high Renaissance; a fortiori the french preziosismo with accents genuinely baroque poets Huguenots and Catholics, the metaphysical poets English (to use a definition famous Dryden) and other authors confirm in the Baroque vital research of novelty and pose the better of a creation in the inventiveness and in the Genius outside of each rule. Platerésco Add and sm. (pl. m. - chi) [Spanish plateresco, from platero, silversmith, goldsmith]. The architectural style of strong decorative effect known in Spain in the first half of the XVI century. Its complex formation contributed elements derived from the flamboyant gothic, from the Italian Renaissance and French and from the Mudejar art, as well as the exuberant taste for dense and meticulous adorned deduced from the jewelry. The term plateresco indeed at the origin indicated the elaboratissima decoration of objects of gold and silver, and was used with reference to the architecture by Ortiz Zuñiga who defined platerescas decorations of the royal chapel in the cathedral of Seville. Examples most characteristic of this style are located in Salamanca (University, 1516-29; palace of Monterrey), at Toledo (Hospital of S. Cruz, 1504), Seville (Ajuntamento), Alcalá de Henares (University, 1540-53) and Guadalajara (Palacio del Infantado). "To deepen See Gedea Art vol. 6 pp 246-252" "to deepen See Gedea Art vol. 6 pp 246-252" The Lexicon Sm. and add (pl. m. - chi) [XVIII century; prob. By the term baroco School]. 1) Sm, period artistic and literary that goes from full classicism of the sixteenth century to the Arcadia and usually the rationalism of the beginning of the Eighteenth Century. 2) Add on literary or artistic works as that reproduce this style or some of its aspects: baroque painting; a palace, a baroque church. By extension, with a gradient spregiativa, sumptuous, artificial, swollen, bizarre, clumsy: "Baroque Stage Coach overloaded of ori, flakes of bells" (Gozzano). Literature The baroque in gender was identified with the Italian secentismo, with the concettismo and with the Spanish gongorismo and, as the historical period in which he had to manifest, was evaluated as a fundamental and typical the seventeenth century. Given the exemplary nature of the Renaissance, from which undeniably arose for the development of formal values, and the innovative elements often impersonati in expressive geniality and inventiveness bizarre and capricious, was easy to blame the baroque of emptiness and interests purely external and capziosi. Since the seventeenth century was the century of the Counter-Reformation and Spanish preponderance in Italy, the critical literature of the Risorgimento, after the acres considerations of the Enlightenment and of the Arcadia on baroque, did coincide the preference for formal inventiveness and novelty searches external with the lack of ideas in the field of political and social and with the assessment of the art of time as game and hedonism end in itself. From the idea of revocation policy is passed early in the history of Italian literature and in its critical assessment, to that of the empty literature and barren, with complete neglect of the figurative arts and music where as well, with expansion throughout Europe and fin in Latin America, you noticed flashes of brilliance inventiveness and deep sense decorative. For a conception of art and poetry strictly connected with the carducciano classicism and for an assessment of the civilization connected with the reasons of the Risorgimento in the history of Italian literature of De Sanctis, Benedetto Croce gave a judgment negative almost on the baroque understood as secentismo, if not just as an enlargement of the deteriorating marinismo, with declared omission, in examining precisely, performing arts and music in the famous story of the Baroque age in Italy, 1929. The philosopher was however, before Calcaterra, Jet and other scholars, the biggest connoisseur of poetry and Italian letters of the Seventeenth Century; from this point of view, specimens are assays and the new assays on Italian literature of the Seventeenth Century, respectively in 1911 and 1931, and various editions of writers of the time, without excluding precisely the more felt in its barocchismi, Basile de Lo Cunto (face in Italian from the Cross itself as Pentamerone"). In the judgment often negative about the reasons more flashy specious and in fact of culture, instead of spirituality, of baroque literature and poetry, the critical position of the Cross is of long duration in the same critical Italian university and even with a poor assessment of the contribution the prestigious of Spain that from the Renaissance moves toward new conquests of the form: in reality already Karl Vossler, in his great devotion to the Cross, could not accept the judgment of the friend and was present in letters then gathered in their correspondence, the importance of Góngora and other Spanish poets. The use of negative judge the concept of Baroque (in the true sense of movement strange and bizarre) according to elements of the poetic gongorismo (or culteranismo) Spanish, of preziosismo french and english eufuismo has sometimes reduced the term to a negative value in the history of art itself. And this, with serious disappointment of those who admired the baroque architecture in Europe or in Latin America and you abandon the fascination of music precisely defined baroque. In contrast to this trend negatrice, or at least limiting, of the baroque in general and particularly that of literature (for along time secentismo called by critics) is the exaltation made by the Catalan Eugenio D'Ors, that in his famous book, widespread in French translation in 1936, saw the baroque as a time lord of the spirit and, in its typology, the vantò in contrast to classicism, understood as a moment of formal harmony and, in the field of arts, euritmia. Many trends, already expressed in a particular way by Wölfflin since 1888 with its renaissance and baroque and connected with the rise of new trends criticism on the art as pure visibility, have had the opportunity polemically to manifest itself in the footsteps of D'Ors for a complete evaluation of the baroque inventiveness, taste for the new and the brilliant, for repudiation of the rules more or less school of classicism. If in the past Nisard could accuse some French romantic to be like the Latin poets of the decadence, now boast is irregular reasons but innovators more centuries as positive elements linked to the inventiveness of the human spirit, from the alessandrinismo certain tendencies of the Middle Ages in various formal conquests, from natura morta in painting to gardening artistic, to the decoration of the jewels and the jokes in music. Something irregular anyway consists in the Baroque, starting from the end which is designated by a few centuries ago: it stretches of barrueca, pearl odd shaped and in any case not perfectly round, or the adjective french baroque (provenance Spanish-Portuguese) to be joined to the traditional italian baroco (derived from the scholastic philosophy of the Middle Ages). To exclude would be "species of wear" (from Cheater) that was also cited as if they were "Deception". And it should also be noticed the hypothesis (daring undoubtedly) who with Spanish barrueco berrueco or thought, beyond that to the irregular pearl or scaramazza, firstly to "steep cliff" (and it was easy to join the example of Rococo from French rocaille). Whatever the origin of the name baroque, first understood by rationalists and neoclassical from Eighteenth Century as freak and extravagance, it is certain that for several years now the examination of art and literature of a large part of Europe, between the full Cinquecento and the beginning of the Eighteenth Century, currency in the positive sense of the manifestations of a civilization that longed to new and put the highest esteem and consideration critical (and not only fixed the question of taste in the sphere of hedonism) in fantasy, in oestrus, in search of the new. This evaluation is all the more necessary if one takes account of the development that the baroque has had in the world in correspondence to the civilization of the individual peoples and even in its own limits inventive, in England, where the Renaissance was bestowed in its value of civilization perfect in the taste of the company and in the worship of the form, almost as a supreme conquest of petrarchismo. Already said that in Italian literature the prebarocco taste of reasoning of the Aretino, fantasy rate, the theatrical elocution of the door and especially with the accompanying events very polemics against the classicism, the literary naturalism of Bruno show the impossibility to consider in a unitary everything even the achievements of the high Renaissance; a fortiori the french preziosismo with accents genuinely baroque poets Huguenots and Catholics, the metaphysical poets English (to use a definition famous Dryden) and other authors confirm in the Baroque vital research of novelty and pose the better of a creation in the inventiveness and in the Genius outside of each rule.