Baroque Movement and Adoption in Britain – Essay Example

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The paper "Baroque Movement and Adoption in Britain" is a great example of an Architecture Essay. In as much as the Baroque movement is documented by scholars to have had its origin in Rome around the 1620s, its influence in Britain was inspired by examples from France. While this is one perspective of the issue, British Baroque took the humanist French and Roman view of what scholars such as Hook (2011) have described as Renaissance architecture which paintings, architectural designs and sculptures have shown in a new theatrical, rhetorical and sculptural fashion.

What remain to be debatable are the stylistic principles and devices the British architects and designers drew from Italian and or French Baroque. Undoubtedly, Baroque as art seen in British was a style that followed the Renaissance whose vivid approach according to Samuel (1960) was reflected in Italy 17th century. What are yet to be known are the art of contrasts, imaginations and extravagance that have been amalgamated in British architectural audacity, pictorial contrasts, and musical surprises. Contrariwise, architectural terms and designs associated with British Baroque have been interchangeable, since the Baroque is concerned with movement, it is in constant evolution thus making it difficult to ascertain the extent British designers achieved an amalgamation of painting, architecture, and sculpture within their own work.

To conceptualize the statement, this essay critically examines the Baroque movement as it originated in Rome and its intrusion in Britain via French examples. The connectedness of such intrusions will help in understanding the extent British designers achieved amalgamation of painting, architecture, and sculpture within their own work. To begin with, such amalgamation can be understood on the basis of British Catholic Emperors as well as monarchs which to a larger extent had a significant stake in the success of the Catholic Church.

According to Carol (2000), what is seen as British Baroque were as a result of Italic and French borrowed ideas that had been changed to be architectural paintings, designs, sculptures and paintings that were commissioned British emperors (and designers themselves). Scholars such as Bernard (1950) have indicated in their analysis of art materials such paintings in Naples that British designers wanted to use Baroque ideas from French and Italy to glorify their divine grandeur and as such, strengthen the political position.

On contrary, looking at artistic materials such as St Peter's Square in Rome, Bernard (1950) arguments is not supported in the sense that by comparison, Baroque art in Protestant areas like England had far less religious content, instead of having designs meant to appeal to the growing desires of the merchants and other upper-class individuals. The image below shows St Peter’ s Square. Taking a case study of English Baroque arts, borrowed ideas were to some extent intended to fulfill the propagandist role.

Taking interior of Maria Della Salute as a single piece of art that represented stylistic principles and devices British architects and designers drew from French Baroque, it tended to be simply a monumental wall-painting as well as huge frescoes the vaults and ceilings of churches and palaces ought to have emulated.

References

Alison Smith (2011), ‘The Sublime in Crisis: Landscape Painting after Turner’, The Sublime Object: Nature, Art and Language, Tate.

Bernard Weinberg (1950), ‘Translations and Commentaries of Longinus, On the Sublime, to 1600: A Bibliography’, Modern Philology, vol.47, pp.145–51.

Brian Vickers (2007), In Defence of Rhetoric, Oxford 1988, pp.340–74; Caroline van Eck, Classical Rhetoric and the Visual Arts in Early Modern Europe, Cambridge.

Carol Gibson-Wood (2000), Jonathan Richardson: Art Theorist of the English Enlightenment, New Haven and London; Jonathan Richardson, An Essay on the Theory of Painting, revised edn, London 1725.

Denis Hollier (1994) (ed.), A New History of French Literature, MIT and London, p.341. Classical Rhetoric and the Visual Arts in Early Modern Europe.

Edmond Gayton (2005), ‘Upon our English Zeuxis, W. Sanderson, Esquire’, in William Sanderson, Graphice, London.

Hook Wood (2011), The Baroque Age in England, London 1976, and H. Hills, ed. Rethinking the Baroque, Farnham.

Jonathan Richardson (2000), An Essay on the Theory of Painting, London 1715, p.254; Gibson Wood, p.177.

Kristeller P.O. and Kranz F.E. (1971) (eds.), Catalogus Translationum et Commentariorum: Mediaeval and Renaissance Latin Translations and Commentaries, Washington, D.C., pp.193–8; Gustavo Costa.

Marjorie Nicolson (1959), Mountain Gloom and Mountain Glory: The Development of the Aesthetics of the Infinite, Ithaca, New York, pp.276–89.

Samuel, Monk (1960), The Sublime: A Study of Critical Theories in XVIII-Century England, Ann Arbor, pp.1–9, 18–22, 27.

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