Unity, Expansion, and Rate of Change in Stylistic Interpretation from Baroque to Classical Artwork

Unity, Expansion, and Rate of Change in Stylistic Interpretation from Baroque to Classical Artwork

Paul Andreas Fischer


Professor Kelsey Brosnan

Unity, Expansion, and Rate of Change in Stylistic Interpretation from Baroque to Classical Artwork

The place of unity in the stylistic representation of space frontiers without a time period from which to operate is also lacking movement in this placement, conceivably speaking throughout the appropriate conceptualization of the comfort of that artistic form and representation. Connotation of belief in the fluidity of artistic difference can be felt within the artistic devices of expansion (Wöllflin, 164) and is found in the artistic work of Dirk Vellert. A genuine departure from the pioneering provincialism is found as the Reconquista is effectively discarded and the focus of artistic work begins to develop into a united demonstration of piety combined and bound to ungodly wealth.

Style is not neither logical nor is it itemizable (Schapiro, 2) and the transition from the primitive art form is one which finds direct loss of contact with the rational as a result of social unity and coherence in artistic expression. The expansion of such a development indicates a cognitive disregard for the reality of a material expansion into artistic form. This cognitive disregard both hinders the expansion of the singularity, preserving the local multitude as well as ensures that such an expansion must occur.

What style can be directly seen as is the Baroque development from classic art of the 15th century. As a constant form, this is definitely implied as a community singularity, which is seen in the art of newly relaxed artists in their approach to the expression of their work (Wöllflin, 156). The gradual change of artwork from Classical to Baroque in style is marked by the limitation to specific fields of development, as defined by the refinement of materials, procedures, and investment behind artistic endeavors. Finally, it should be seen in both unity and expansion that a greater singularity in style is found.

The concentration of wealth created a unique system of complexity in artistic style that found itself without a direction and yielded a yearning or longing for a return to simplicity of primitive art forms by the modern era (Schapiro, 4). Other factors which played a role included a spiritual communality which could not be experienced during the massive onslaught of death and poverty which marked European art forms in the centuries preceding that new era. Lack of style, then, as well as the primitive art form can be seen to be logical in nature. This brings a new meaning to the joke from Disney’s Beauty and the Beast, “if it ain’t Baroque, don’t fix it!”

In artistic expression, unlike architecture, for example, the illogical can be seen to have a positive attribution of form and projection in its appeal to both the audience and the social tapestry for which the artwork provides a distinct and complete excitement in form. The domination of unity can be seen in the lighting as well (Wöfflin, 162). This is the sort of individualistic conceptualization of the development of style which was singular across the artistic world at the time. There is a use for such an analysis, as it affects modern painters such as Escher who attempt to increase their artistic tension by disregarding the rigidity of logic in their painting or drawing almost to an extreme to achieve a level of modernity in style.


Meyer Schapiro (1904-1996), “Style,” 1953 [Excerpt, pp. 1-4]

Jonathon Blower H. Wölfflin, translator, & Evonne Anita Levy, editor, writer of essay. (2015). Principles of art history : The problem of the development of style in early modern art / Heinrich Wölfflin ; a new translation by Jonathan Blower ; edited and with essays by Evonne Levy and Tristan Weddigen. (Texts & documents).

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