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In this provocative revisionist work, Evonne Levy brings fresh theoretical perspectives to the study of the "propagandistic" art and architecture of the Jesuit order as exemplified by its late Baroque Roman church interiors. The first extensive analysis of the aims, mechanisms, and effects of Jesuit art and architecture, this original and sophisticated study also evaluates how the term "propaganda" functions in art history, distinguishes it from rhetoric, and proposes a precise use of the term for the visual arts for the first time. Levy begins by looking at Nazi architecture as a gateway to the emotional and ethical issues raised by the term "propaganda." Jesuit art once stirred similar passions, as she shows in a discussion of the controversial nineteenth-century rubric the "Jesuit Style." She then considers three central aspects of Jesuit art as essential components of propaganda: authorship, message, and diffusion. Levy tests her theoretical formulations against a broad range of documents and works of art, including the Chapel of St. Ignatius and other major works in Rome by Andrea Pozzo as well as chapels in Central Europe and Poland. Innovative in bringing a broad range of social and critical theory to bear on Baroque art and architecture in Europe and beyond, Levy's work highlights the subject-forming capacity of early modern Catholic art and architecture while establishing "propaganda" as a productive term for art history

Depuis Cinquante Ans, nous assistons à la découverte, plus encore à l'exaltation du Baroque. Considéré encore au début du XXe siècle comme un style, il représentait la dernière forme, mais décadente, de l'art de la Renaissance. Par un véritable coup de théâtre, l'appréciation esthétique de plus en plus favorable de quelques œuvres, — particulièrement en sculpture et en architecture, — a fait peu à peu du Baroque l'art dominant, créateur, des XVIIe et XVIIIe siècles européens. Le voilà enfin, aujourd'hui, l'un des deux pôles de la création dans l'art, voire dans la vie elle-même ; l'autre pôle, le Classique, étant le pôle négatif, entendez l'académisme rigide. Le Baroque donc : rien moins que le génie, la création, la liberté de l'inspiration et de la forme, voilà beaucoup d'honneurs ! Mais, à ce jeu, le XVIIe siècle, jadis siècle classique, devient siècle baroque ; d'où un renversement spectaculaire des valeurs et du rôle réciproque des différentes notions.

Résumé Ce texte étudie la résurgence du baroque dans la mode actuelle et la met en relation avec la théorie sociologique postmoderne de Michel Maffesoli. Il en repère les manifestations dans les arts et la littérature et définit la baroquisation de la société comme un aspect de la stylisation caractéristique de la postmodernité.

El presente texto analiza la actualidad del barroco en el contexto político de la presidencia de Donald Trump. El actual presidente de los Estados Unidos ha protagonizado una carrera a la Casa Blanca en la que sus declaraciones y actuaciones se enmarcan en el fenómeno de la posverdad, un neologismo que guarda estrechas relaciones con el barroco pues ambas parten de la ficción para interpretar la realidad. La posverdad que define nuestro tiempo es un capítulo más de la epistemología barroca pues la primera adquiere pleno sentido con la desconfianza en la verdad, en el principio ilustrado de la razón y en el cogito ergo sum. El pensamiento de Cervantes, el desengaño barroco o el tópico del gran teatro del mundo son empleados como un telón de fondo sobre el que entender algunos episodios contemporáneos que son paradigmáticos de la posverdad, como el Brexit o la guerra contra el terrorismo. ; The aim of the present paper is to analyse the return of the baroque in the political context of the Donald Trump presidency. The current president of the United States is a paradigmatic example of the post-truth era, a neologism that is connected with baroque because both interpret reality through fiction. The post-truth can be seen as a new chapter of baroque epistemology because post-truth is defined by suspicion of reality, the Enlightenment principle of reason, and the cogito ergo sum. Some contemporary examples such as Brexit or the war against terrorism are analysed with the help of Cervantes thought, the baroque philosophy of desengaño, and topic of the teatrum mundi. ; Área de Historia del Arte, UPO. ; Preprint

Baroque needs to be thought across chronological and geographical divides to connect architecture and dance, painting and natural science, philosophy, sculpture and music (and not in the sense of representations of music) and, above all, in relation to encounters with difference – heavenly, earthly, social, political, religious, geographical. What possibilities in baroque are open now in relation to present dilemmas in art history and world events? Baroque enables – arguably, it demands – a radical rethinking of historical time – and a rethinking of familiar history. It permits a liberation from periodization and linear time, as well as from historicism. While the scholars below acknowledge that baroque is often equated with style or historical period, it is most productively thought beyond them. Mieke Bal has argued that baroque epistemology permits an "hallucinatory quality" of relation between past and present that also allows a release from a supposed academic objectivity, while insisting that the engagement with the past should remain discomfiting and profoundly disturbing.1 Instead of repressing the past and time, creative retrospection allows its implications to emerge. In its materiality and bodiliness, baroque undermines resolution, gropes towards fragmentation, overgrows, and exceeds. Baroque architecture may be seen as overflowing, an excess of ornamental exteriority and evasive proliferation. This brings to the fore the question of surface. Andrew Benjamin's approach to surface as neither merely structural nor merely decoration in architecture is important here. Baroque time and form impinge on each other – that is, not simply the time that it takes to process point of view into form, but of form into point of view.2 Thus the pursuit is for a baroque vision of vision, a baroque audition of hearing, and a multitemporality. The question of materiality (not mere matter, materials, or technique) must also come into play. ; Fil: Farago, Claire. State University of Colorado at Boulder; Estados Unidos ; Fil: Hills, Helen. University of York; Reino Unido ; Fil: Kaup, Monika. University of Washington; Estados Unidos ; Fil: Siracusano, Gabriela Silvana. Universidad Nacional de Tres de Febrero. Instituto de Investigaciones en Arte y Cultura "Dr. Norberto Griffa"; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina ; Fil: Baumgarten, Jens. Universidade Federal de Sao Paulo.; Brasil ; Fil: Jacoviello, Stefano. Università degli Studi di Siena; Italia