LANDSCAPE

Landscape

Landscape

Arguably, historically, the Baroque has been regarded as a movement of the spirit because of the sheer exaltation of human drives that present in the various events attached to the terminology of that period, which, somehow, have offered opposition the rationality of the previous current path would appear to be entering a phase of exhaustion and in the Mannerist period. However, as noted by Terence wise as Solomon or long before the seventeenth century, there is nothing new under the sun in this way. People may notice that the Baroque aesthetic does not invent new ways but to reinvent the previous and existing power-ups. This fact will arise where the concept of excess usually associated with that time, further from the truth on some occasions than others, would be able to find work as the east facade of the Louvre, considering a model of Baroque French officer, or buildings designed by Mansart, in which the classicism and the baroque style is evident but is associated with the scale and plastic power. (Barbara, 1992, pp.688-724)

Moderation, harmony and clarity will be, in this way, the three keys of Baroque architecture in France, which, unlike what would have happened in the country of origin of the movement, Italy, will be designed at the power set political (rather than religious) as well as the other arts. Hence its majesty and its clear of ostentation. Art as propaganda in an era in which social and political upheaval (not to mention the proximity of the French Revolution) will be crucial when creating the new language. The review of the planning of large cities like Paris, for example, will be determined by the exaltation of the nationalities that are living now in Europe, which lead to the creation of states, with their capital, which must conform to the idea centralism, magnificence and order issued by the power of which shall be deemed a projection. So, cities, palaces and gardens, the design in the Gallic country is in the service of the king's honor, reaching to control it, through his minions, any of the various artistic and craft that take place under his rule (Manufacturing is the famous Gobelins, created under the absolutism of the Sun King), being the best example of this manipulation stage the Palace of Versailles, later model widely used in Europe and the perfect setting for the display of divine power of the king. (Foucault, 1973, pp.123-156)

It started in the reign of Louis XIII who contributed to the development of how it looks today. It was designed as a great "scenery" in which to present the monarch and his court in all its glory, would have fulfilled the role of retirement at the same place of entertainment. Here everything is perfectly measured and controlled, and the gardens with perfectly symmetrical, the exuberance of the interior decorations, the vastness of the land and elegant rotunda outside the building that has not to be but symbols, once again, the power and order royal and to achieve this ...