Baroque

Baroque is a term used to describe the predominant art movement and style of European architecture, music, and art of the 17th and early 18th centuries. 
The term "Baroque" originated from the Portuguese word barroco, which means "misshapen pearl." Barroco was used first to criticize the overly ornate music of the Baroque era. It was later also applied to art, fashion, and architecture of the period, but eventually lost its pejorative tone. 
Though relatively minor, the 20th and 21st centuries have seen a renewed and prolonged interest in Baroque music, art, and motifs. Famously, Dolce and Gabbana's 2012 collection of Baroque-inspired clothing confirmed a subtle, decades-long trend: a comeback for some of the Baroque era's most recognizable patterns and colors. 
== Visual ==
The Baroque artistic movement is characterized by its melodramatic tableaus, lavish ornamentation, use of deep colors, chiaroscuro, and asymmetry. The paintings most commonly depict scenes from the Bible or Greek mythology and portraits of nobility. 
Common visuals include:
* Landscapes
* Flowers
* Religious figures (saints, angels, demons, etc.)
* Mythical creatures 
* Ancient Greek and Roman characters
*Celestial bodies (planets, constellations, sun/moon, etc.)
* Painted ceilings
*Candles
* Musical instruments 
* Memento mori
* Masquerade balls
* Fountains
* Castles
* Large, grand churches
* Ornate palaces
*Opera houses
* Pastoral scenes (flower baskets, shepherds, lovers in the woods, etc.)
* Banquets
== Architecture ==
The Baroque emerged from the Counter Reformation as an attempt by the Catholic Church in Rome to convey its power and to emphasize the magnificence of God. The Baroque and its late variant the Rococo were the first truly global styles in the arts. Dominating more than two centuries of art and architecture in Europe, Latin America and beyond from circa 1580 to circa 1800. Born in the painting studios of Bologna and Rome in the 1580s and 1590s, and in Roman sculptural and architectural ateliers in the second and third decades of the 17th century, the Baroque spread swiftly throughout Italy, Spain and Portugal, Flanders, France, the Netherlands, England, Scandinavia, and Russia, as well as to central and eastern European centres from Munich (Germany) to Vilnius (Lithuania). The Portuguese, Spanish and French empires and the Dutch treading network had a leading role in spreading the two styles into the Americas and colonial Africa and Asia, to places such as Lima, Mozambique, Goa and the Philippines. Due to its spread in regions with different architectural traditions, multiple kinds of Baroque appeared based on location, different in some aspects, but similar overall. For example, French Baroque appeared severe and detached by comparison, preempting Neoclassicism and the architecture of the Age of Enlightenment. Hybrid Native American/European Baroque architecture first appeared in South America (as opposed to Mexico) in the late 17th century, after the indigenous symbols and styles that characterize this unusual variant of Baroque had been kept alive over the preceding century in other media, a very good example of this being the Jesuir Church in Arequipa (Peru).
The first Baroque buildings were cathedrals, churches and monasteries, soon joined by civic buildings, mansions, and palaces. Being characterized by dynamism, for the first time walls, façades and interiors curved, a good example being San Carlo alle Quattro Fontane in Rome. Baroque architects took the basic elements of Renaissance architecture, including domes and colonnades, and made them higher, grander, more decorated, and more dramatic. The interior effects were often achieved with the use of quadratura, or trompe-l'œil painting combined with sculpture: the eye is drawn upward, giving the illusion that one is looking into the heavens. Clusters of sculpted angels and painted figures crowd the ceiling. Light was also used for dramatic effect; it streamed down from cupolas and was reflected from an abundance of gilding. Solomonic columns were often used, to give an illusion of upwards motion and other decorative elements occupied every available space. In Baroque palaces, grand stairways became a central element. Besides architecture, Baroque painting and sculpture are characterized by dynamism too. This is in contrast with how static and peaceful Renaissance art is.
Besides the building itself, the space where it was placed had a role too. Both Baroque and Rococo buildings try to seize viewers' attention and to dominate their surroundings, whether on a small scale such as the San Carlo alle Quattro Fontane in Rome, or on a massive one, like the new facade of the Santiago de Compostela Cathedral, designed to tower over the city. A manifestation of power and authority on the grandest scale, Baroque urban planning and renewal was promoted by the church and the state alike. It was the first era since antiquity to experience mass migration into cities, and urban planners took idealistic measures to regulate them. The most notable early example was Domenico Fontana's restructuring of Rome's street plan of Pope Sixtus V. Architects had experimented with idealized city schemes since the early Renaissance, examples being Leon Battista Alberti (1404-1472) planning a centralized model city, with streets leading to a central piazza, or Filarete (Antonio di Pietro Aver(u)lino, c. 1400-c. 1469) designing a round city named Sforzinda (1451-1456) that he based on parts of the human body in the idea that a healthy city should reflect the physiognomy of its inhabitants. However, none of these idealistic cities has ever been built. In fact, few such projects were put into practice in Europe as new cities were prohibitively costly and existing urban areas, with existing churches and palaces, could not be demolished. Only in the Americas, where architects often had a clean space to work with, were such cities possible, as in Lima (Peru) or Buenos Aires (Argentina). The earliest Baroque ideal city is Zamość, built north-east of Krakow (Poland) by the Italian architect Bernardo Morando (c. 1540-1600), being a centralized town focusing on a square with radiating streets. Where entire cities could not be rebuilt, patrons and architects compensated by creating spacious and symmetrical squares, often with avenues and radiating out at perpendicular angles and focusing on a fountain, statue or obelisk. A good example of this is the Place des Vosges (formerly Place Royale), commissioned by Henry IV probably after plans by Baptiste du Cerceau (1545-1590). The most famous Baroque space in the world is Gianlorenzo Bernini's St. Peter's Square in Rome. Similar with ideal urban planning, Baroque gardens are characterized by straight and readapting avenues, with geometric spaces.
Château de Maisons, France, by François Mansart, 1630-1651.jpeg|Château de Maisons, France, by François Mansart, 1630-1651
Santa Maria della Salute, Venice, Italy, by Baldassare Longhena, 1631-1687.jpeg|Santa Maria della Salute, Venice, Italy, by Baldassare Longhena, 1631-1687
Temple du Marais, Paris, c.1632, by François Mansart.jpeg|Temple du Marais, Paris, by François Mansart, c.1632
San Carlo alle Quattro Fontane, Rome, 1638-1677, by Francesco Borromini.jpeg|San Carlo alle Quattro Fontane, Rome, by Francesco Borromini, 1638-1677
Interior of the Hôtel Salé (currently the Picasso Museum), Paris, by Jean Boullier, 1656-1659.jpeg|Interior of the Hôtel Salé (currently the Picasso Museum), Paris, by Jean Boullier, 1656-1659
Vaux-le-Vicomte, Maincy, France, 1656-1661, by Louis Le Vau and André Le Nôtre.jpeg|Vaux-le-Vicomte, Maincy, France, by Louis Le Vau and André Le Nôtre, 1656-1661
St. Peter's Square, Rome, by Gian Lorenzo Bernini, 1656-1667.jpeg|St. Peter's Square, Rome, by Gian Lorenzo Bernini, 1656-1667
Gardens at Vaux-le-Vicomte, France, 1657-1661, by André Le Nôtre.jpeg|Gardens at Vaux-le-Vicomte, France, by André Le Nôtre, 1657-1661
Hall of Mirrors of the Palace of Versailles, by Jules Hardouin-Mansart and Charles Le Brun, 1678-1684.jpeg|Hall of Mirrors of the Palace of Versailles, by Jules Hardouin-Mansart and Charles Le Brun, 1678-1684
Garden façade of the Palace of Versailles, 1678–1688, by Jules Hardouin-Mansart.jpeg|Garden façade of the Palace of Versailles, Versailles, France, by Jules Hardouin-Mansart, 1678–1688
Door of the Venus Salon in the Palace of Versailles, by Philippe Caffieri, 1681.jpeg|Door of the Venus Salon in the Palace of Versailles, by Philippe Caffieri, 1681
Plague Column, Vienna, 1682 and 1694, by Matthias Rauchmiller and Johann Bernhard Fischer von Erlach.jpeg|Plague Column, Vienna, by Matthias Rauchmiller and Johann Bernhard Fischer von Erlach, 1682 and 1694
Gardens at Het Loo Palace, the Netherlands, 1689.jpeg|Gardens at Het Loo Palace, the Netherlands, 1689
Chapel of the Palace of Versailles, Versailles, 1696–1710.jpeg|Chapel of the Palace of Versailles, Versailles, 1696–1710
Façade of the Jesuit Church of Arequipa, Peru, by Diego de Adrián and others, 1698–1699.jpeg|Façade of the Jesuit Church of Arequipa, Peru, by Diego de Adrián and others, 1698–1699
Hôtel de Rothelin-Charolais, Paris, by Pierre Cailleteau, 1700-1704.jpeg|Hôtel de Rothelin-Charolais, Paris, by Pierre Cailleteau, 1700-1704
Detail above a mirror in Louis XIV's Bedroom, Palace of Versailles, Versailles, France, unknown architect, 1701.jpeg|Detail above a mirror in Louis XIV's Bedroom, unknown architect, 1701
Exterior of the Karlskirche, Vienna, Austria, by Johann Bernhard Fischer von Erlach, 1715-1737.jpeg|Exterior of the Karlskirche, Vienna, Austria, by Johann Bernhard Fischer von Erlach, 1715-1737
Interior of the Karlskirche, Vienna, Austria, by Johann Bernhard Fischer von Erlach, 1715-1737.jpeg|Interior of the Karlskirche, by Johann Bernhard Fischer von Erlach, 1715-1737
Facade of the Cathedral of Syracuse, Syracuse, Sicily, Italy, by Andrea Palma, 1725–1753.jpeg|Facade of the Cathedral of Syracuse, Syracuse, Sicily, Italy, by Andrea Palma, 1725–1753
Design for the entrance of the Hôtel de Soubise, unknown architect, unknown date.jpeg|Design for the entrance of the Hôtel de Soubise, unknown architect, unknown date
Fireplace designs, unknown architect, unknown date (01).jpeg|Fireplace designs, unknown architect, unknown date
Fireplace designs, unknown architect, unknown date (02).jpeg|Fireplace designs, unknown architect, unknown date
Fireplace designs, unknown architect, unknown date (03).jpeg|Fireplace designs, unknown architect, unknown date
==Art==
Succeeding Mannerism, and developing as a result of religious tensions across Europe, Baroque art emerged in the late 16th century. The name may derive from 'barocco', the Portugueseword for misshaped pearl, and it describes art that combined emotion, dynamism and dramawith powerful color, realism and strong tonal contrasts. Between 1545 and 1563 at the Council of Trent, it was decided that religious art must encourage piety, realism and accuracy, and, by attracting viewers' attention and empathy, glorify the Catholic Church and strengthen the image of Catholicism. In the next century the radical new styles of Baroque art both embraced and developed High Renaissance models, and broke new ground both in religious art and in new varieties of secular art – above all landscape.
A key feature of multiple Baroque paintings is the strong contrasts of light and darkness on certain parts of the picture to direct attention to the central actions or figures. This was done for producing a dramatic atmosphere and creating spectacular effects of highlight and shadow. Artists wanted to make the viewer experience awe. They also often used asymmetry, with action occurring away from the centre of the picture, and created axes that were neither vertical nor horizontal, but slanting to the left or right, giving a sense of instability and movement. 
Resurrection of Christ, by Annibale Carracci, 1593, oil on canvas.jpeg|Resurrection of Christ, by Annibale Carracci, 1593, oil on canvas
The Calling of St Matthew, by Caravaggio, circa 1602–1604, oil on canvas.jpeg|The Calling of St Matthew, by Caravaggio, c.1602–1604, oil on canvas
The Four Continents; by Peter Paul Rubens; c.1615; oil on canvas.jpeg|The Four Continents, by Peter Paul Rubens, c.1615, oil on canvas
Judith Slaying Holofernes, by Artemisia Gentileschi, circa 1620, oil on canvas (1).jpeg|Judith Slaying Holofernes, by Artemisia Gentileschi, c.1620, oil on canvas
Pluto and Proserpina, by Gian Lorenzo Bernini, 1621-1622, marble.jpeg|Pluto and Proserpina, by Gian Lorenzo Bernini, 1621-1622, marble
The Rape of the Sabine Women; by Nicolas Poussin; 1634–1635; oil on canvas.jpeg|The Rape of the Sabine Women, by Nicolas Poussin, 1634–1635, oil on canvas
Ecstasy of Saint Teresa; by Gian Lorenzo Bernini; 1647–1652; marble.jpeg|Ecstasy of Saint Teresa, by Gian Lorenzo Bernini, 1647–1652, marble
The Embarkation of the Queen of Sheba, by Claude Lorrain, 1648, oil on canvas.jpeg|The Embarkation of the Queen of Sheba, by Claude Lorrain, 1648, oil on canvas
Las Meninas; by Diego Velázquez; 1656; oil on canvas.jpeg|Las Meninas, by Diego Velázquez, 1656, oil on canvas
The Triumph of Bacchus, by Michaelina Wautier, before 1659, oil on canvas.jpeg|The Triumph of Bacchus, by Michaelina Wautier, before 1659, oil on canvas
Apollo Served by the Nymphs, by François Girardon, 1666-1673, marble.jpeg|Apollo Served by the Nymphs, by François Girardon, 1666-1673, marble
The Triumph of the Name of Jesus, by Baciccio, 1676-1685, fresco.jpeg|The Triumph of the Name of Jesus, by Baciccio, 1676-1685, fresco
Children with Mirror, by Pierre Le Gros the Elder, 1685–1686, bronze.jpeg|Children with Mirror, by Pierre Le Gros the Elder, 1685–1686, bronze
Allegory of the Missionary Work of the Society of Jesus, by Andrea Pozzo, 1691-1694, fresco.jpeg|Allegory of the Missionary Work of the Society of Jesus, by Andrea Pozzo, 1691-1694, fresco
File:The King's Fame Riding Pegasus, by Antoine Coysevox, 1698-1702, Carrara marble.jpeg|The King's Fame Riding Pegasus, by Antoine Coysevox, 1698-1702, Carrara marble
Vénus ou La Coquetterie (Venus or Vanity), part of a series of arabesques, unknown artist, 1782, etching on paper.jpeg|Vénus ou La Coquetterie (Venus or Vanity), part of a series of arabesques, unknown artist, 1782, etching on paper
==Design==
Applied arts prospered in this style. Baroque furniture could be as bombastic and covered in gold leaf, as the rooms they were meant to adorn, and their motifs and techniques were carefully calibrated to coordinate with the architect's overall decorative programme.
One of the most prestigious furniture makers was André Charles Boulle, known for his marquetry technique, made by gluing sheets of tortoiseshell and brass together and cut to form the design. His works were also adorned with gilded bronze mounts. Complex Gobelins tapestries featured scenes inspired by classical antiquity, and the Savonnerie manufactory produced big highly detailed carpets for the Louvre. These carpets with black or yellow backgrounds had a central motif or a medallion. Chinese porcelain, Delftware and mirrors fabricated at Saint-Gobain (France) spread rapidly in all princely palaces and aristocratic residences in France. During the reign of Louis XIV, big mirrors are put above fireplace mantels, and this trend will last long after the Baroque period, being popular even today when someone wants to have a Vintage room decor.
Despite being highly decorated, Baroque designs are characterized by rigor, symmetry and overall balance. Symmetrical elemnts flank vertical or horizontal axes. A key motif are human faces (aka mascarons), sometimes surrounded by radiating solar rays or by peacock tail-shaped ornaments called palmettes. Other motifs widely used in Baroque design include cherubs (aka putti), scallop shells, foliage spirals (aka rinceaux), lion heads, ram heads, gryphons, garlands of various leafs, flowers or fruits (aka festoons), acanthus leafs, urns, balusters (especially at the top of highly detailed cabinets), corbels, trophies of arms, modillions (often featuring inside a man from profile), oval-shaped frames called cartouches, tassels, ribbons, bows and rectagular or diaper (lozenge) lattice patterns decorated with dots or florets. Most of these ornaments will be also used in Rococo, Neoclassical and Victorian designs, but a little modified.
When it comes to furniture, large solid wood pieces were made of chestnut, walnut, or oak. They were often gilded, or decorated with veneer or marquetry made of many woods of various and contrasting tones. Gilded bronze fittings were added to the wood structure. Besides ornaments, bronze was also used for handles, lock plates, hinges and for other practical elements. Beds often had baldaquins with curatins, and were decorated with urns at the corners of their top. Tables, particularly consoles, were highly decorated. They had marble, porphyry or alabaster tops, and sometimes marquetry was used to create patterns. When it comes to seating, armchairs, chairs and folding stools were used.
Four-poster bed from the Château d'Effiat, circa 1650, natural walnut, chiselled Genoa silk velvet and embroidered silks.jpeg|Four-poster bed from the Château d'Effiat, c.1650, natural walnut, chiselled Genoa silk velvet and embroidered silks
Table, attributed to Philippe Caffieri and Paul Gougeon, circa 1650-1700 and 1669, gilt wood with porphyry top.JPG|Table, attributed to Philippe Caffieri and Paul Gougeon, c.1650-1700 and 1669, gilt wood with porphyry top
Carpet with fame and fortitude; by the Savonnerie manufactory; 1668–1685; knotted and cut wool pile, woven with about 90 knots per square inch.jpeg|Carpet with fame and fortitude, by the Savonnerie Manufactory, 1668–1685, knotted and cut wool pile, woven with about 90 knots per square inch
Furniture design, by Jean Le Pautre, circa 1675, etching on white laid paper.jpeg|Furniture design, by Jean Le Pautre, c.1675, etching on white laid paper
Cabinet, circa 1675, ebony, kingwood, marquetry of hard stones, gilt bronze, pewter, glass, tinted mirror and horn.jpeg|Cabinet, c.1675, ebony, kingwood, marquetry of hard stones, gilt bronze, pewter, glass, tinted mirror and horn
Pier table; 1685–1690; carved, gessoed, and gilded wood, with a marble top.jpeg|Pier table, 1685–1690, carved, gessoed, and gilded wood, with a marble top
Mirror, by Johannes Hannart, circa 1685–1700, oak veneered with ebony, boxwood and ebonized boxwood, modern mirror glass.jpeg|Mirror, by Johannes Hannart, 1685–1700, oak veneered with ebony, boxwood and ebonized boxwood, modern mirror glass
Tapestry with Venus, 1689-1692, toad, wool, silk, silver and gold.JPG|Tapestry with Venus, 1689-1692, toad, wool, silk, silver and gold
Potpourri jar, circa 1695, soft-paste porcelain.jpeg|Pot-pourri jar, c.1695, soft-paste porcelain
Pot-pourri vessel, produced by the Saint-Cloud Manufactory, circa 1696-1710, soft porcelain, enamelled under glaze.jpeg|Pot-pourri vessel, produced by the Saint-Cloud Manufactory, c.1696-1710, soft porcelain, enamelled under glaze
Vase design, unknown date (probably the 2nd half of the 17th century), paper.jpeg|Vase design, unknown date (probably the 2nd half of the 17th century), paper
Vase decorated with trophies of musical instruments, by Claude Poirier, 1699-1705, Carrare marble.JPG|Vase decorated with trophies of musical instruments, by Claude Poirier, 1699-1705, Carrara marble
Mask, 17th–18th century, gilt bronze.jpeg|Face-shaped ornament (aka mascaron), surrounded by a peacock tail-shaped ornament called palmette, 17th–18th century, gilt bronze
Armchair, circa 1700-1710, carved and gilded walnut, caning, and velvet.jpeg|Armchair with square baluster legs and volute X-strecher, c.1700-1710, carved and gilded walnut, caning, and velvet
Sofa, 1700-1715, gilt wood with embroidered leather.JPG|Sofa, 1700-1715, gilt wood with embroidered leather
Cupboard, by André Charles Boulle, circa 1700, ebony and amaranth veneering, polychrome woods, brass, tin, shell, and horn marquetry on an oak frame, gilt-bronze 1.JPG|Cupboard, by André Charles Boulle, c.1700, ebony and amaranth veneering, polychrome woods, brass, tin, shell, and horn marquetry on an oak frame, gilt-bronze
Table, attributed to Jean Degoullons, 1710-1715, gilt wood with marble top.JPG|Table, attributed to Jean Degoullons, 1710-1715, gilt wood with marble top
Commode; by André Charles Boulle; c. 1710–1732; walnut veneered with ebony and marquetry of engraved brass and tortoiseshell, gilt-bronze mounts, antique marble top.jpeg|Commode, by André Charles Boulle, c.1710–1732, walnut veneered with ebony and marquetry of engraved brass and tortoiseshell, gilt-bronze mounts, antique marble top
Slant-front desk, by Heinrich Ludwig Rohde or Ferdinand Plitzner.jpeg|Slant-front desk, by Heinrich Ludwig Rohde or Ferdinand Plitzner, c.1715–1725, marquetry with maple, amaranth, mahogany, and walnut on spruce and oak
Letter P with an arabesque pattern behind it, by Bernard Picart, 18th century, engraving.jpeg|Letter P with an arabesque pattern behind it, by Bernard Picart, 18th century, engraving
==Fashion==
* Statement jewelry with large gemstones
* Crowns
* Long, trailing dresses
* Ballroom gowns
* Lace
*Ribbons
* Flowing capes
* Ornate/patterned coats and blazers
* Gold filigree jewelry
*Tassels
* Brocade trimming
* Pointed toe heels
Patterns, fabrics and materials:
* Jacquard
* Damask
* Checkered
* Toile de Jouy
*Chinoiserie
* Fleur de lis
* Marble 
* Porcelain
* Silk
* Velvet
*Satin
Mary Capel (1630–1715), Later Duchess of Beaufort, and Her Sister Elizabeth (1633–1678), Countess of Carnarvon, by Peter Lely, circa 1660.jpeg|Mary Capel (1630–1715), Later Duchess of Beaufort, and Her Sister Elizabeth (1633–1678), Countess of Carnarvon, by Peter Lely, c.1660
Portrait of a lady, traditionally identified as the Marquise de Montespan, by a follower of Jacob Ferdinand Voet, circa 1660-1700.png|Portrait of a lady, traditionally identified as the Marquise de Montespan, by a follower of Jacob Ferdinand Voet, c.1660-1700.png
Engel de Ruyter, by Ferdinand Bol and Willem van de Velde the Younger, 1669.jpeg|Engel de Ruyter, by Ferdinand Bol and Willem van de Velde the Younger, 1669
Self-Portrait of Pierre Mignard, between circa 1670 and 1690.jpeg|Self-portrait of Pierre Mignard, between c.1670 and 1690
Presumed portrait of Madame de Montespan and her children, produced in the workshop of Pierre Mignard I, formerly attributed to Charles de La Fosse, circa 1673.jpeg|Presumed portrait of Madame de Montespan and her children, produced in the workshop of Pierre Mignard I, c.1673
Louise Françoise, Princess of Condé, by Pierre Gobert, circa 1692.jpeg|Louise Françoise, Princess of Condé, by Pierre Gobert, c.1692
Louis, Dauphin of France, by Jean Mariette, circa 1701-1788.jpeg|Louis, Dauphin of France, by Jean Mariette, c.1701-1788
2C65FFC0-C545-433A-B57D-F1AB1EC14956.png|Réception du Grand Condé à Versailles, by Jean-Léon Gérôme, 1878
== Music ==
Baroque music is spirited and extravagant, much like its artistic and architectural counterparts. It is characterized by winding, florid melodies, and the bass line often serves as a "heartbeat" which drives the music forward.
Well known Baroque composers and some examples of their work:
* Johann Sebastian Bach
** Brandenburg Concerto No. 3
** Fugue in G Minor, BWV 574
** Concerto for Harpsichord in D Minor, BWV 1052
* Antonio Vivaldi
** The Four Seasons 
** Concerto in E Minor, RV 281
** Aria: "ah, ch'infelice sempre," RV 684
* Jean-Baptiste Lully
** Prelude Pour La Nuit 
** Passacaille from Armide, LWV 71
* George Frederic Handel
** Hornpipe from Water Music, HWV 349
** Aria: "Lascia ch'io piangia"
* Arcangelo Corelli
** Concerto Op. 6 No. 4 in D Major, Adagio-Allegro
** La Folia Variations
* Henry Purcell
** Strike the Viol
** Rondeau from Abdelazer
== LGBT Influence and Contributions ==
For LGBT people of the Baroque era, please see the Wikipedia articles for LGBT people in the 17th and 18th centuries.
In recent decades, some LGBT people have adopted the Baroque aesthetic as part of their stage or performing act. The trailblazing singer Klaus Nomi used Baroque music, motifs, and costumes in his performances in the 1970s and especially the 1980s. Presently, the singer Prince Poppycock dons stylized Baroque costumes for performances. The popular dancer Carlos Fittante specializes in Baroque-era dance, and often performs in full costume; this dancing provided healing after his partner died in the September 11, 2001 terrorist attacks in New York City.
==Revivals and later influence==
Similarly with other styles, like the Gothic or the Rococo, there was a revival of the Baroque during the 19th century. Neo-Baroque buildings, furniture, paintings, tableware, mantel clocks and other objects were created during the 19th and the early 20th centuries.
After WW1, styles of the past were seen as "dated" or "passé", including the Baroque. The complex ornaments of these movements were replaced by geometric shapes and abstracted motifs, or just simple blank surfaces, in Art Deco, Bauhaus and mid-century design. Later, during the late 2000s, the 2010s and the 2020, due to the interest for vintage stuff and the appreciation of young generation for styles of the past, new Baroque-inspired objects were and are produced.
Baroque Revival-Neo-Baroque jewelery toilet of Empress Eugénie, by Jules Fossey, circa 1860, unknown materials.jpeg|Louis XIV style jewelery toilet of Empress Eugénie, by Jules Fossey, c.1860, unknown materials
Louis XIV style console table, by the Grohé brothers, circa 1860, wood, gilt bronze and glass.JPG|Louis XIV style console table, by the Grohé brothers, c.1860, wood, gilt bronze and glass
Louis XIV style pedestal, circa 1860, wood and gilt bronze.JPG|Louis XIV style pedestal, c.1860, wood and gilt bronze
Louis XIV style chair, circa 1860, wood, gilt bronze and leather.JPG|Louis XIV style chair, c.1860, wood, gilt bronze and leather
Ashton Memorial, Lancaster, England, by John Belcher, 1909.jpeg|Ashton Memorial, Lancaster, England, by John Belcher, 1909
Out of the Strong Came Forth Sweetness, by Flora Yukhnovich, 2019, oil on linen.webp|Out of the Strong Came Forth Sweetness, by Flora Yukhnovich, 2019, oil on linen
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