Painting, architecture and sculpture of British designers - Essay Example

Introduction In the 20th century Britain played a minor role in initiating art and architecture in the country, however in the same period there was a profound impact from the art and architecture in the country. In 1933 a group of painters, sculptors and architects formed a movement which was branded as unit one, this group’s main aim was to spearhead the principles and motives of art in the society. It is this journey of the British art in relation to the baroque era which is explained in this paper and the impacts on borrowed concepts from the Italian counterparts. Baroque period and relation to Britain The period is dated back to the 17th century however; its immense impact was felt in Britain and Germany in the 18th century. The origin of the era is traced to Italy where the stylistic complexity was depicted in the work. Arts done in this period can be termed as emotion evoking art since they associated with appealing nature. Some other factors that underlie the artefacts, art and architecture of the era are: sensuous richness, vitality, movement, tension, emotional exuberance and the tendency to conceal the distinction between the arts (Harris 89). Counter Reformation was one of the distinct characteristics depicted at the time. In Britain this is recognized by the religious emblem of the Roman Catholic Church. After the decline in artistic stages of the cultural and traditional artistic concepts there was need to have a new method of expression. The church adopted a conscious artistic concept whose impression was to make a huge difference in the Christian category. The other aspect which was closely linked to the baroque era was the crystallization of the monarchies; palaces were built on an expanded scale of power and authority. The last tendency was the broadening of human intellectuality in accordance with the developmental stages (Palmer 79). A huge spectrum of the art in the 17th century was introduced in Britain from Italy which relied heavily on the physical impression the art depicted. Annibale Carracci and Caravaggio are some of the first Italian painters who ushered the baroque style into Italy. They ensured that naturalism and classicism coexisted to bring the required impression through art and architecture. Churches were painted and decorated in the first baroque style at the time. The spiral staircases can be witnessed in a number of present day buildings in the UK; this was one of the first architect’s works of the baroque period (Benjamin, 90). British arts and crafts movement In Britain art began with stone carving and engraving by the Celtic tribes. Some of the artefacts in the national museum illustrate the beautiful shapes on swords and household goods, this continued until it was conquered by the Romans. The Roman regime introduced the patterned and mosaic approaches in constructions of some of the buildings in the UK. This period is closely followed by the influence of religion which brings into perspective the concepts of illuminating manuscripts. In 1066 after the invasion by William of Normandy the buildings in London were characterised by rounded columns and semi-circular arches which a system is referred to as the Romanesque (Palmer 100). Medieval and Gothic architectural styles were later ingrained in Britain’s art system. It is a specific class affair as depicted by the type of people who practiced the concepts, for instance William Morris was a trained architect from the Oxford University (Benjamin 100). During the reign of King Henry VII and King Henry VIII a new concept was introduced which was basically the fundamental starting point for the English art. Tudor art was an amalgamation of the Italian reconnaissance and the English Gothic aspects. The core and characterising feature of Tudor art was the half-timber style (Palmer 70). Britain and Italian art and architecture amalgamation English architecture in the 17th century was characterised by a continuous use of the classical forms which later gave way to a uniform style borrowed from Italy. This Italian perspective can be traced to such individuals like Inigo Jones. After the great fire of London Italian baroque took an inner circle in English art and became the most prevalent art technique in the era. Italianate renaissance was introduced in England by a number of artists who had left the country and worked in other foreign nations especially Italy (Harris 89). Some of the amalgamations of the Italian art in Britain include:- Queens house, Greenwich, London This is a transplant of the Italian villa by Jones which was superimposed by a Palladianism concept. It involves a plain, regular, white painted block which depicts Palladio. The building involves a classy expression, a mimic of the wealthy in the society. It has clearly polished walls that depict the real impression the building was erected to serve. Palladian architecture is a rich form of art which engulfs symmetrical and classical architecture of the ancient Greeks and Romans in the 17th century. This design was first seen in England and attached to Jones in the 17th and 18th centuries (Luxford 112). Banqueting House, Whitehall, London Rather than just copying the Italian art, Britain through Jones had a grip on the Italian renaissance in the 17th century. This building was one of a kind and still remains a phenomenon to date. The rounded and radical patterns engraved on its windows depict the present impression of structures. It expresses how English designers have effectively come up with designs which have had a lasting impact on society. The interior of the structure is restrained with Reuben’s ceiling which complements the beautiful sculpture design of the structure. Inigo Jones has become a strong point of reference within the art society in trying to bring together the international art designs (Luxford 113). Wilton House, Wiltshire This is a country building which was constructed during in the 17th century, it is characterised by a baroqueornaments, carved foliage paintings and Van portraits. This countryside design is attributed to the work of Jones which amalgamates British Architecture and the Italian renaissance. It portrays a two-way perspective between two far reaching cultures the Italian culture and the English culture. Hampton Court Palace, Surrey This building is composed of Italian sculptors which introduced the Florentine finishes in the structure. The building encompasses the fashionable renaissance style, an improvement of the Italian architecture in the 18th century. Geometrical and symmetrical principles are adequately followed in the design of the building. It is a high degree of the English designers’ amalgamation of the different approaches in the region. It takes into perspective a number of opinions and knowledge of the English designers subject to other external influences. Hardwick Hall, Derbyshire This is a more class model than mere wall, the entire framework implicated in this structure by seems absurd but the real fact is that it happened. The Italian concept is apparent on the loggia looking roof top of the building and the front entrance. The English architect and mason Robert Smythsons has added various features in the building to give it the present outlook. For instance it is composed of two storeys with a meeting ground and other public and private common rooms. The stone work of the building is a highly and technically done work and it encompasses the ES initials as the logo which designates Smythsons powerful art and design in the building (Luxford 23). Architecture and art amalgamation in Britain In 1950s there was an introduction of a new technique in designing of the structures in the UK, this movement involved the amalgamation of new and old techniques to come up with appealing buildings which were more stable and away from the criticism of over used technological levels. The modern formalized shapes are replaced with the aesthetic styles: the architects and designers of the time wanted to hold back the symbolic attributes of the ancient period which were more meaningful than the modern aspects. Post-modern architecture can thus be described as a non-eclectic which involves the return of various traditional attributes and properly integrates them into the current developmental stages in the society. The eclecticism is mostly combined with the unusual shapes and surfaces for instance those in the Stuttgart state gallery. There is a fight between the prominences of both modernism and postmodernism where modernism advocates for true use of materials in buildings and on the other hand postmodernism takes into perspectives the symbolic inference of the art in structures, it tends to look at the whole picture on broad perspective. The English designers thus have tried to come up with a formula to integrate the ancient design and the modern architecture. British designers have been compelled to adopt a technique that is in line with the present society and takes care of the conservative individuals like churches and other worship centres who hold the old methods of symbolism closely. Time is a factor the British designers had to take into consideration for their art to remain relevant in the present form. In this manner the designers brought together the whole art concept either traditional or modern to make one huge structure out of the whole concept. Fontainebleau is one example of a well-integrated architecture and art in the UK. The first instance of this spectacular structure was introduced by King Francis I; it is typically an amalgamation of the Italian and English designs. The well-structured surfaces and the symbols engraved on the walls depict the real functionality and approaches taken by the English designers in the country. Basically the English designers would tend to look for meaningful artefacts and portray the right message to the society. For instance in 1970s the churches and mosques were built on purely meaningful agendas, the cross constructed on the modern catholic churches and the different manuscripts engraved on the walls are a depiction of the movement of art and architecture in the UK (Benjamin 200). Although England was slow to react to changes brought about by the Italian renaissance, the process was however sped by the immigration of the Italians into the country. The Italians brought with them the designs which were practiced in Italy in return the UK designers made a choice on the best practices they were to choose in the process. With the help of such individuals like Jones, the Italian renaissance gained roots immensely in Britain. The current England has taken a lot of major steps in ensuring that there is a splendid correlation between art and architecture. After the Second World War there was a shortage of construction materials this about a shortage of housing in the country, people were forced to take shelters in public places which was absurd. Moore internationally recognized artists decided to undertake a different approach in ensuring that people had enough cover during the time. This approach by Moore brought up a different combination of art and architecture in the country. Moore could make drawings which depicted the misery in the country in form of small sculptures and paintings on the various happenings in the country. For instance he visited the coal mines and drafted its impressions clearly; these paintings are still present in the museums in England. Different designers in the country have tried to model the paintings into real artefacts in the UK (Harris 50). Tuner prize has been publicized as a highly showcase of contemporary art in England. It is a forum which seeks to uphold those great values depicted in art and architecture. The royal academy also takes the initiative to ensure that art and architecture are effectively ingrained in the society in the best possible ways. It is through such forums that the British designers try to come up with a common ground on art and architecture. The royal academy trains designers on the best practices and best techniques to play along with art to achieve a desired goal (Bloom, Jonathan, and Sheila Blair 90). Paintings and architecture in the UK has taken a different approach, for instance after the great fire in England numerous structures were burnt down this compelled the English designers to come up with models which would replace the destroyed structures. The Palace of Westminster is such an example which agglomerates the splendid architecture and paintings of the time. William who was working on the reconstruction endeavours carried out a number of unknown stone reshaping which was to allow for the amendment of the crumpled walls, the walls were remodelled in the 14th century to allow for new paints and hanging portraits. This reconstruction depicts the harmonious co-existence of the art and architecture in England (Bloom, Jonathan, and Sheila Blair 100). Huge buildings constructed in the UK encompass some level of allowances for matching paints and drawing, the walls are designed in a way to allow other designers in their respective fields to undertake their roles in decorations and beautification. During the construction of the Holy Sepulchre Chapel, the British designers demonstrated a high degree of covalence between the architects and the artists. It is one huge phenomenon in the country which depicts the extent of architecture and painting can go to achieve a finished and splendid product. The church illustrates the pictures of Christ taken from the cross and put in the grave; it is a symbolic representation of the death of Christ and the resurrection. It can be stated that art and architecture are very influential in the current society, the adverse monuments in England and the well laid foundations on the British square depict the real power contained and shadowed by art. Inspired by the earlier people in the industry like William Morris the British artists and architects have resorted to the use of medieval systems. However, there underlies a number of challenges in the present society since the designs are still expensive and can only be affordable to the few rich people in the society. There are a number of common characteristics which can be traced back in time which have aided in laying the foundations of Bauhaus and modernism. The styles adopted by most of the artists include; handmade, simple forms with limited ornamentation, natural material, copper and pewter. Conclusion It is apparent that the British designers have taken a number of steps to ensure that art and architecture in Britain still remains relevant and meaningful. The continued trends in the industry can be traced back in time in the 17th century in the baroque period when different house models were laid down. It is not just a matter of making construction models that matter, but the depth of the model is taken into consideration as observed from a number of earlier artists and architects who spearheaded the movement of the art in England. Jones and William Morris are some of the influential figures who have traded with the concept in their life time. William Morris setup a company which was to indulge in pure art in the society and train other artists on the best practices in the industry. Art and architecture can be traced back to the time of Charles Dickens who wrote about the great expectations which was to occur in the society. Works Cited Benjamin, Andrew E. Writing Art and Architecture. Melbourne: re.press, 2010. Internet resource. Bloom, Jonathan, and Sheila Blair. The Grove Encyclopaedia of Islamic Art and Architecture. Oxford: Oxford University Press, 2009. Print. Harris, Ann S. Seventeenth-century Art and Architecture. London: King, 2005. Print. Luxford, Julian M. The Art and Architecture of English Benedictine Monasteries, 1300-1540: A Patronage History. Woodbridge: Boydell, 2005. Print. Palmer, Allison L. Historical Dictionary of Neoclassical Art and Architecture. Lanham [Md.: Scarecrow Press, 2011. Internet resource. Read More