The paper "Baroque Movement and Adoption in Britain" is a good example of a literature review on architecture. Background information There have been different stylistic principles and devices of the 17th century that shaped designs and architects in Britain. Information from scholars such as Marjorie (1959) has even shown that these architects and designs as witnessed in Britain originated from French or Italy. The baroque movement might have originated from Rome but the extent it spread in Britain has been a subject of controversy. The baroque style, on the other hand, is believed to have developed in England, and its effects spread in a classicist form, which has since helped architectural changes in countries such as Germany and England. Different schools of thought have argued that the best approach to use in understanding stylistic principles and devices of British architects and designers of 17th century drew from French Baroque is that the stylistic principles and devices in British Baroque were Romanic and tended to have some characteristics of French humanistic (Kornberger & Clegg 2003).
What these views hold is that history has documented some Baroque arts whose stylistic approaches have as seen in Britain reflected the renaissance period in French.
20th-century scholars such as Hattenhauer (1984) found that the point of amalgamation British baroque resembled what was earlier witnessed in French and Italy is the art of contrast, extravagance, and imaginative artistic presentations. Baroque art as earlier witnessed in Italy and French was about movement. On the other hand, art has been evolving and dynamic at the same time. This view has made it difficult for scholars such as Jonathan (2000) to comprehend to what extent Italic and French Baroque arts were amalgamated when British artists were doing their paintings, architectural designs, and sculptures.
These views make it a necessity to assess the origin and movement of Baroque. Additionally, there is a need to ascertain stylistic principles and devices British architects and designers drew from French or Italian Baroque. Different architectural designs have indicated that British artists and designers amalgamated painting, architecture, and sculptures as a result of Baroque art as practiced in French and Italy. This makes it necessary for the study to present the research-based evidence of the course of these stylistic principles and devices.
The approach will help in understanding the extent British designers achieved amalgamation of painting, architecture, and sculpture within their work. In Britain, the cultural environment was greatly influenced by the Baroque movement as they took place in French and Italy. A good example is a Palladian style which lived longer in the Baroque period. Hook (2011) reported that until mid-century British architecture was an amalgamation of Palladianism. According to Hook (2011), this style was a late Renaissance Italian architect that dominated some British buildings.
Taking a case of buildings such as Inigo Jones, it was apparent that they could be distinguished based on their balance, simplicity, strict application of symmetry and logically structured system of proportion. This building as it appeared in British was an amalgamation of structures such as Teatro Olimpico in Vicenza and a number of churches in Venice. Additionally, in England for instance, the French and Italian late renaissance came into interest instead of ancient architecture. Building Palladian in the time when Baroque style spread to England meant that British adopted structures that showed aesthetic theory that led to the point where their new buildings were no longer regarded as self-contained formal units but as a component part of the environment.
Good examples of these architects were the works of designers such as Pietro da Cortona and Francesco Borromini.
Blunt, A. (1980). Roman Baroque Architecture: The Other Side of the Medal. Art history, 3(1), 61-80.
Hattenhauer, D. (1984). The rhetoric of architecture: A semiotic approach. Communication quarterly, 32(1), 71-77.
Hersey, G. L. (2000). Architecture and Geometry in the Age of the Baroque. University of Chicago Press.
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.
Jormakka, K. (2002). Flying Dutchmen: motion in architecture (Vol. 16). Springer Science & Business Media.
Kornberger, M., & Clegg, S. (2003). The architecture of complexity. Culture and Organization, 9(2), 75-91.
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.
Ndalianis, A. (2003). Architectures of Senses: Neo-baroque Entertainment Spectacles. Rethinking media change the aesthetics of transition.
Samuel, Monk (1960), The Sublime: A Study of Critical Theories in XVIII-Century England, Ann Arbor, pp.1–9, 18–22, 27.
Worsley, G. (1995). Classical architecture in Britain: the heroic age. Paul Mellon Centre for Studies in British Art.