Baroque Sculpture Drew at www.japanese-home-gardens.com

Baroque Sculpture.—Baroque sculpture of the 17th and 18th centuries, despite its essential architectural function, was replete with lively movement and pictorial in nature. Figures moved, flew, or were contorted in agony. Abundant draperies fell in tortured folds or were swept by the wind. Figures in histrionic poses were made more dramatic by vivid light and dark contrasts produced by pronounced undercutting or deep indentations.

German baroque sculpture drew inspiratic from both France and Italy, but was essential! German in its nervous energy and powerful form This is seen in the equestrian statue of the gres elector in Berlin by the Italian trained Andrea Schliiter (1664-1714). More of the classica: French taste is perceptible in the New Marke Fountain by Georg Raphael Donner (1693-174r in Vienna. But the most characteristic phase o sculpture of the period is the rich Decoration o: palaces and Roman Catholic churches by counties: wood carvers and masters of stucco. Superb examples may be seen in the Church of St. George at Diessen and in the pilgrimage Church of Vierzehn-heiligen.

For most sculpture soft, rather diffused light is agreeable, but some boldly undercut work as in the baroque style, gains force and dramatic effect when illuminated by a shaft of direct light, or spotlighted. Sculpture made for an open air setting must take into account the varied effects of light that will be encountered. This sculpture is apt to be broad in execution with little attention to subtle detail, and to exhibit very strong outlines, for under many Lighting conditions such a work is seen chiefly in silhouette.