In the study of architectural history, one noticeable pattern is the apparent oscillation between different styles and languages. When a more restrained trend dominates, the subsequent one often reverts to more ornate motifs, and vice versa. It's crucial to acknowledge that this perceived 'flow' is only an impression; historical reality is invariably more intricate than records suggest, and the dominance of one style over another is an interpretation made by historians looking back from a future perspective. The Baroque style is a notable example of this phenomenon.
Baroque stands out from the preceding Renaissance in the historical evolution of styles. The Renaissance, grounded in classical proportions and symmetrical compositions, emphasized mathematical precision. In contrast, Baroque did not discard compositional principles or technical foundations but rather leveraged them to venture into more intricate, elaborate, and dynamic forms.
In broad terms, the Baroque historical period spans from the 16th to the 18th centuries, emerging in response to the Counter-Reformation of the Church, a reaction to challenges posed by the Protestant Reformation to the Catholic Church's authority. Despite being referred to as the Baroque era, it is essential to note that it wasn't a uniform style. Even within its European place of origin, there were significant variations in Baroque buildings. Italian Baroque structures, for instance, differ significantly from those in France. This diversity makes categorizing Baroque challenging, but it's also the source of its richness. Factors like climate, available materials, and the expertise of artisans contribute to the distinctive characteristics of each Baroque architectural specimen.
The essence of Baroque architecture lies in its commitment to propagate Catholicism, assert its authority, and reinforce biblical values. The opulent ornamentation within churches served a dual purpose: showcase the institution's beauty and grandeur to the faithful and act as a magnet for individuals of other faiths. To effectively convey these ideas, Baroque architectural ensembles employed masterful techniques, including the use of perspective in vault paintings to create a sense of celestial infinity, the incorporation of arabesques adorning pillars and ceilings, the integration of dynamic forms to convey movement, and the inclusion of expressive human figures.
Beyond its application in religious contexts, we can analyze this combination of elements in the realm of spatial experience. Giovanni Battista Gaulli, within the Church of Jesus in Rome (designed by architects Giacomo Barozzi da Vignola and Giacomo della Porta), skillfully employs perspective to create an illusion of the building's ceiling opening up. The painting extends across the ceiling of the nave until it meets the ornaments and sculptures so that there is a transition from the two-dimensional to the three-dimensional, which effectively ends up encompassing those inside the building as if the divine became matter and vice-versa. In the words of Clarival do Prado Valadares: “It is not a painting, but the bold experience of composing a monumental object, using resources from painting, sculpture, and architecture.”
In Brazil, Baroque was adopted (and expanded) around the 18th century - one must bear in mind the time of validity and transmission of the precepts from the so-called metropolis (Portugal) to the colony. If the Portuguese invasion occurred in the 16th century - the beginning of the Baroque in Europe - it is not strange that the style took some time to flourish in Brazil.
Additionally, the context of the Counter-Reformation is relevant, as most of the teaching and dissemination of the Baroque style occurred through Catholic missions. Without deviating from colonial intentions, the religious figures utilized enslaved African and indigenous labor for the construction of religious buildings, following the models of their homelands. These factors make Brazilian Baroque architecture one of many examples of the style. Alongside other Latin American colonies, it is evidence of adaptation to local contexts and influences.
The “importation” of the European construction manual presupposes (rightly so) the imposition of a 'correct' or 'developed' language, contrasted with another considered 'artisanal' or 'backward.' Within certain historiographical currents, adapting European rules in architectural and artistic production is one of the openings through which one can glimpse the presence of repertoires, themes, and contexts that hegemony attempts to suppress. These deviations from the European norms stem from a socio-political context in Brazil where there was a certain independence from self-designated monarchs.
As such, the construction system adapts to the locally available materials, and the layout of the naves, despite featuring Italian crosses, follows a rectangular pattern more akin to plain Portuguese architecture. With the technical development of architects and artists, often born in Brazil, the style that evolved in the colony diverged from the European model to incorporate the formal and thematic interests of the authors themselves. In designing churches, Antônio Francisco Lisboa (Aleijadinho) embraced the Portuguese architectural tradition of mother churches with side towers and a frontispiece. However, he innovatively introduced the first cylindrical churches covered by semi-oval domes, showcasing influences from the Rococo style. Aleijadinho is a key figure in Brazilian Baroque, renowned for his exceptional and distinctive artistic contributions in both architecture and sculpture, notably developed in Minas Gerais.
Manuel da Costa Ataíde (Mestre Ataíde) and José Teófilo de Jesus both incorporated elements from their social context and theoretical interests into their paintings. Ataíde portrayed commissioned religious themes but infused the images with mixed features more reflective of his reality. On the other hand, Jesus introduced allegories and mythology into religious paintings, which were uncommon in works of that period. The latter even studied in Portugal after being recommended by his mentor, José Joaquim da Rocha. This exposure possibly provided him with a broader range of artistic themes, leading to the exploration of diverse pictorial techniques and the inclusion of pagan elements in his art.
The arrival of the Portuguese court in Brazil at the beginning of the 19th century marked the decline of Brazilian Baroque. In Europe, Neoclassicism was already dominant, condemning what was perceived as excess and irregularity in favor of harmony and idealism. The monarchy, once again, sought to impose its understanding of what was worthy of reverence. The artistic principles of Neoclassicism were not arbitrary; they aligned with the emerging Enlightenment thought, which resisted the prevailing religious dominion until then.
None of this implies a decline in the heritage value of Brazilian Baroque. In the early 20th century, as part of an effort to assert Brazilian identity, Mario de Andrade 'revived' it as an essentially Brazilian heritage. This initiative was followed by efforts for documentation and preservation by the IPHAN (National Historic and Artistic Heritage Institute). Despite the various artistic movements throughout history, Baroque endures in Brazil as a monument, a distinct language that, though unintentionally inherited, has formally asserted itself, holding its own against its European counterparts without any shortcomings.
Notes
[1] VALADARES, Clarival do Prado. "O ecumenismo na pintura religiosa brasileira dos setecentos". In: Revista do Patrimônio Histórico e Artístico Nacional, n. 17, Rio de Janeiro, 1969. Available at: <http://www.docvirt.com/WI/hotpages/hotpage.aspx?bib=RevIPHAN&pagfis=2966&pesq=&esrc=s&url=http://docvirt.com/docreader.net#>
