The end of sixteen century saw various manifestations of the rise of the scientific revolution. Though it was at nascent level, yet the impact which philosophical and socio-economic transformation left on art is pronounced. Art and the ambiance in which it flourishes are but entwined. Paradigm influences the creation of art and in turn the latter affects the former. If we comb the artifacts of various intellectual epochs, it is more than obvious that a specific era mothers a particular type of art. Thinking of an age permeates the innermost recesses of art and its warp and woof are woven with the conditions in which it breathes. The air which art inhales certainly has tremendous impressions on it. It bears its print very well.
The baroque artistic manners are easily distinguished. For instance, “aristocratic baroque’ is a manifestation of the cravings of an aristocracy that is being increasingly challenged by solidified power of the middle classes. This is an age of political awakening in which there is struggle between old and new ideas. Masses are becoming conscious of their power and want to uproot the power of aristocracy, which is nothing but heavy drain on their coffers. The works of Rubens are a great representation of this age. It can be marked for their spacious, frequent paintings and naked females. All this was materialized under the supervision of Maria de’ Medici.
Art is also emblematic of the thinking and however, also reflected the visions and purposes of the newly established affluent middle class. It is most apparent in the works of Rembrandt. For him the true barometer of the quality of art can be measured not by its own standard but the worth it attracts in the market, which of course means the aesthetic sense of public. Later is made up of the social and economic conditions of the people. “ The art and its manifestations are steeped in the socio-economic conditions of a given era” ( Henry M Sayre, The World Of Art).
The grandeur of art of this era is multi-faceted and is not limited to two dimensions. Baroque architecture was as attractive as two-dimensional forms, but owing to its scope, the imprints were most significant as has been the case with Palace of Versailles and the Taj Mahal. The performing arts were also greatly inspired. It also came under the purview of the explicit articulation of the Baroque Period. This era also experienced the classical works of Bach and Vivaldi, the rise to prominence of the concerto, the sonata, the cantata, and most importantly, opera.
The eighteenth-century is synonymous with the “Age of the Enlightenment”. It has been well said that one period straddles other periods and historical boundaries cannot be concretely drawn. It is because of the fact that life and production do not abruptly change from one century to the other. Subject to these limitations, the eighteen-century has its brand of philosophical propositions and artistic leanings. This is the unique century in which previously cherished idols of intellects were openly challenged and reduced to misery. It was an age of awakening out of slumber. Humanity rubbed its eyes and saw the light of the day. People began to have a belief in science, in turn rationality.
Human rights were considered to be sacrosanct and for it we are indebted to the service of natural law. “Some classifications of this period also include 17th-century philosophy, which is typically known as the age of reason” (Hackett, Louis (1992). The Age Of Enlightenment). There was great march forward propelled by rationality. These were the historical highlights of this century and the debate towards its marvelous contributions continues down to this day.
Furthermore, the demise of Louis XIV in 1715 marked the end of an era, which was noted for courtly conventions. Now another era dawned which is identified for the rise of “sociability”, a bounce back to past and the simplicity of nature symbolized in the “Rococo style.” The aristocratic mannerism frivolity of rococo style was amply confronted with the extreme criticism and the social work of humanitarian painters like William Hogarth and ballad opera musicians for example, John Gay. The frivolity of the upper class was the target of the art and its various branches.
These two eras have their distinctive forms of art. It becomes obvious that art is inspired by the age in which it breathes. An artist creates art not only for the satisfaction of his or her inner self and the representation of his thinking but the creation of art is also the function of the expected applause, it is going to have at the hands of the public. So art is very much impressed by the social, economic, political and intellectual conditions of an age.
References
Henry M Sayre (2006), The World Of Art. Princeton hall. 5th edition. 2006.
Hackett, Louis (1992). The Age Of Enlightenment. Web.