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Paradoxes, Folds and Transgressions: Seeing Bernini with Neo-baroque Eyes
Stockholm University, Faculty of Humanities, Department of Art History.
2012 (English)In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 81, no 1, 31-49 p.Article in journal (Refereed) Published
Abstract [en]

The affinity between contemporary aesthetics and the historical baroque has been pointed out by a number of scholars and theorists during the last few decades; some theorists have even proposed "neo-baroque" as a more apposite and productive catchall term than "postmodernism" when it comes to defining and naming contemporary aesthetics. In this article I claim that the concept of "neo-baroque", as theorized by e.g. Omar Calabrese and Gilles Deleuze, not only is of relevance for the contemporary aesthetical discourse, but that it also might shed new light on baroque art in general, and the art of Bernini in particular. I further suggest a direction for a historical understanding of the affinity between baroque and contemporary aesthetics.

Place, publisher, year, edition, pages
2012. Vol. 81, no 1, 31-49 p.
Keyword [en]
Neo-baroque, Baroque, Bernini, S Andrea al Quirinale, Omar Calabrese, Gilles Deleuze
National Category
Art History
Research subject
History Of Art
Identifiers
URN: urn:nbn:se:su:diva-77711DOI: 10.1080/00233609.2011.634972ISI: 000303266200003OAI: oai:DiVA.org:su-77711DiVA: diva2:535372
Projects
Performativity in Baroque Art
Available from: 2012-06-19 Created: 2012-06-19 Last updated: 2017-12-07Bibliographically approved

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