Baroque Movement and Adoption in Britain - Essay Example

Student Name: (please insert here) Student Number: (please insert here) Course Name: (please insert here) Course Code: (please insert here) Assignment Number/Title Year of Student(s): (please insert here) Due Date Area of Learning Skill: Baroque Movement and Adoption in Britain Baroque Movement and Adoption in Britain Introduction In as much as the Baroque movement is documented by scholars to have had its origin in Rome around 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 has 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 conceptualise the statement, this essay critically examines 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 significant stake in the success of Catholic Church. According to Carol (2000), what is seen as British Baroque were as a result of Italic and French borrowed ideas which 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 artistic 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 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. Image 1: St Peter's Square in Rome Source: St Peter’s Basilica Gallery 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. Image 2: Interior of Maria Della Salute Source: Fondamenta Salute Gallery Additionally, the Sculpture leading up to St Peter’s Basilica (curved by Bernini) was reflected in British Baroque painting which was again different from Christopher Wren’s paintings that had some slight difference to accommodate key elements of Catholic dogma (Kristeller and Kranz 1971). Image 3: Sculpture at St Peter’s Basilica Source: Bernini photo gallery This study has noted such elements as ‘dogma’ to justify the fact that from history, Britain, particularly England was not engulfed in catholic doctrines and as such, when designers in England started designing houses and churches based on italic borrowed ideas then it shows that such were not well thought of. In fact, Brian (2007) argues that designs and sculptures in Britain were indeed Baroque in their artistic designs but were merely showing biblical works directly and in some instances, indirectly depicting allegorical or mythological compositions. In as much, painters showed that after intrusions of Baroque ideas from Italy and France they gave their work a different taste and high minded approach. High minded approach in this case represented an idea borrowed from Italic and French Baroque art but resurfaced uniquely to bring a strong sense of movement, swirling spirals and upward diagonals as well as strong sumptuous colour schemes that aimed to dazzled and surprise. As noted by Alison (2011) melodrama and theatricality of Baroque painting as practiced in Britain brought a sense of dynamic movement, other than its apparent active use of space. Assessing Baroque architectures as borrowed and practiced in Britain, one notable amalgamation is that it created illusion and spectacle. For instance, comparing Palace of Versailles in Italy and a number of sculptures in England, one notable change or improvement was that the straight lines of Baroque designs as seen in Italy was replaced with English flowing curves, while roofs/domes were enlarged, and careful construction of interiors that produced spectacular effects of shade and light. These sculptures, on a careful observation, brings an emotional style, which, whenever possible, was made to exploit the theatrical of emperor and urban landscape (such exploitation of the theatrical urban landscape shows uniqueness when related with St Peter's Square in Rome, that leads up to St Peter’s Basilica. Secondly, some of the greatest architectural designs in England ringed the square with colonnades. This according to analysis from Denis (1994) was meant to deviate from architectural Baroques in Italy by conveying the impression to its visitors that they are being embraced by the arms of the Catholic Church. With regard to some of the works of Chambers, critics emanating from scholars such as Marjorie (1959) show that what was seen in Britain in terms of painting, sculpture and architecture were not artistic Baroque since they were by no means monolithic style. On the other hand, it may be as a result of a common interest in affect and effect in Italian and British Baroque art that one of the painters, Jonathan Richardson believed that it was worth listing as one of two essential examples of the sublime in art an annunciation by the Italian painter Federico Zuccaro. This point brings the argument about Easel Art as one of the strands of Baroque amalgamated in British after such intrusion. Unlike the public, religious and large-scale works of Baroque works that were seen in some regions in England, Wales and Northern Ireland, the period of Easel Art as witnessed in Britain saw introduction of new stylistic principles and devices through the glossy form of genre painting. The main aim of introducing such principles after adopting the Baroque art was to give the prosperous bourgeois householders a different texture and look. Looking at these architectures, it is easy to understand that it is closely related with the works of religious painting by Velazquez, a new form of movement and exuberance pioneered by Annibale Carracci (Jonathan Richardson 2000). As already noted, what was seen in Britain as Baroque art significantly differed from the work of Velazquez when it came to their glossy form of genre painting. Image 4: The Coronation of the Virgin 1645 Source: Velazquez Gallery Critics have also pointed out that what was seen in Britain lacked the integration of newer dimensions of Baroque art as witnessed in Italy and France in the sense that it a realistic form of rustic Biblical or political genre painting that ought to have included animals as evolved by Castiglione---it is noted from studies such as Jonathan Richardson (2000) that what showed ideal amalgamation of Italic or French Baroque ideas was to include Biblical genre painting. It has been realised that every architect in Britain had their own individual approach in as much as their designs had one thing in common. The commonness with their designs was that after being influenced by Italic and French Baroque art, the designs depicted Rome and Italic classical elements. This trend was noticed by Edmond (2005) when he discussed about “Grand Tour” of European cities where they influenced by classical architecture and design. It therefore remains that in as much all these arts had the same resemblance when it came to classical elements, there one some modification of their Baroque works after the “Grand Tour”. Looking at the works of Chambers, it is apparent that what “Grand Tour” taught British artists were classical ornamentation as well as motifs in rather opulent, free-for-all techniques. However, their adoption of the same was seen to accommodate the same classical motifs but is a more rigid and composed structure. Researches have argued that there were typical Georgian styles that expressed understatement and simplicity. In connection to this, there were different forms of Georgian Britain immediately after the “Grand Tour” (Denis 1994). When the artists came from these tours, there were spurt of urban development as well as sudden large number of people staying in relatively limited space. Such social development was given a reflection in design---especially towards the birth of the townhouse. A good example of the townhouse was the housing built in long, neat terraces, which made streets resemble tidy architectural units. Denis (1994) also noted that British Baroque arts were not only influenced by such visits but also Palladianism. Denis (1994) notes that Palladianism originated from Italian architect Andreas Palladio who made ancient Roman architecture popular in Italy during the Renaissance. This is where Inigo Jones learnt a different version of Baroque in England. The image below shows one of his works. Image 5: Inigo Jones Caernarfon Gwynedd-North Wales Source: Gallery of architectural works - Inigo Jones Inigo Jones integrated facades, pillars and using mathematical formulae for proportion and layout of the building. Still on Palladianism, the Baroque art within Britain manifested slant on their gesture. For instance, while Palladianism had square in their villas the design that was adopted in Britain preferred longer and rectangular architectural structures with an intention of creating an impression. Denis (1994) also notes that wings of British building, unlike Baroque arts that were adopted from French and Italy, they had larger wings as well as being connected with large rooms instead of what was seen as colonnades in Italy and French. Carol (2000) documents that after the Grand Tour and period stretching 1760s, Baroque art adopted in other parts of Europe was adopted and integrated differently in Britain. Taking different examples, English architects like Sir William Chambers, James Stuart Scottish architect Robert Adam developed a different dimensions of Baroque art as was seen in their amalgamation of painting, architecture and sculpture within their own work. In fact most of their arts were also influenced by archeological findings at Herculanium and Pompei. The new focus on Baroque art became typical for design during the mid-Georgian period. The best approach to understand how the British artists as named above amalgamated painting, architecture and sculpture within their own work is to briefly consider each artist separately. Beginning with James Stuart, emulating other architects of his period, he took the Grand Tour of Baroque art leading European cities including Rome. Based on the Baroque ideas borrowed from these towns, James Stuart work was amalgamated with Italic motifs as a clear influence from his time in Italy. Earning the nickname Athenian Stuart his works resembled the arts as seen in Rome but with English finishes---a good example of this is antiquities of that were published in separate volumes from 1762. Hook (2011) adds that such designs helped ancient British artists understood ancient Rome. James Stuart’s works such as 15 St James’s Square in London and Belvedere House in Kent had a great influence in later 18th century and early 19th century British architecture. The second architect is Sir William Chambers. Having spent most of his time in China and France, he mixed neoclassicism with Baroque art and Chinese touches. Unlike Stuart, Chambers displayed Roman and Greek forms but with a blend with characteristic of French neoclassicism and Baroque arts. This amalgamation was intended to give a new look to otherwise Palladian-influenced architecture. This study finds architectural designs such as Chinese Pagoda in Kew Gardens and Somerset House both in London. Another different work was seen by Robert Adam; his teaming up with his brother James helped in establishing a different set of Baroque art but lighter than the Palladian and sculptures in Rome and France. Working differently and uniquely on his architectures and sculptures, he adopted Roman, Gothic and Roman motifs and décors. The main intention of his work was to convey a feeling of movement though diversity of forms with his sculptures and structures. Looking at Syon House in West London it is apparent that what Robert Adam did with the borrowed Baroque art from Rome was that he added sphinx and griffins, ribbons, arabebesque scrolls, wreaths, pilasters and beading. In as much, questions have been asked whether Baroque arts as portrayed by Robert Adam and as borrowed from Rome and France was reflected in England. As was seen during Grand Tour, Baroque art was sensual with decorative elements appealing almost viscerally to the senses in a manner no other architectural or design matches. What was represented by Robert Adam was rather theatrical, grotesque and intensely three-dimensional. Bernard (1950) adds that works of Robert Adam did not represent any stylish representation of Baroque art as borrowed during the tour. Instead, it only focused on overwhelming the viewer with exaggeration. Comparing works of Robert Adam with architectural designs from Nicholas Hawksmoor (good examples are the Castle Howard and Blenheim Place); there is apparent absence of decorative touches and the embellishment that was so common with continental Baroque arts and architectural designs.’ This study revisits architectural designs and sculptures that were developed after the visit and settlement of artists and architects. While scholars have noted this period to have been dominated by Baroque art fusing Regency, the official Regency period in Britain may not have been captured after the spread of Baroque arts therefore examples that will be given will negate the fact that such structures were more of Regency period. During the period in time (settlement of the artists after the Grand Tour) what was established in Britain were sculptures, paintings and architectural designs that retained neoclassical elements of Baroque arts but was open to French, Greek and Egyptian influences that it was previously seen through the works of Sir William Chambers and others during the period. Brian (2007) notes that the stylistic principles and devices British architects and designers drew from Italian and French tours were slightly negated and instead, they adopted somewhat heavier ornamentation in their painting which was also fused with far showier approach than earlier Baroque arts. A good example of this was the work of Nicholas Hawksmoor where it was observed that buildings of the period had facades layered in stucco plaster instead of visible brick as it was with earlier works of Baroque arts in Italy and France. Additionally, interiors were more airy and open, windows becoming larger and the conservatory becoming a fashion, making a movement towards a union with the outside world and nature. An example given is the work of John Nash and Henry Holland’s and Thomas Hope and Brighton Pavillion’s interiors. Conclusion This study notes that the Baroque era significantly contributed to the great buildings, paintings and other artistic structures that are seen today. In as much, this study also realises that the beginning of 18th century saw the decline of Baroque art as it was brought from Italy. Regardless of this, the coming Europe power was France which was hugely adopted in British. Other than what was adopted from Italy, the dominance of Baroque art as adopted from France was light-hearted style that British soon enveloped into refined architecture. In summary, the stylistic principles and devices British architects and designers drew from Italian and or French Baroque remains to be multifaceted and so does amalgamation of painting, architecture and sculpture within their own work. 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. Read More