english neoclassicism
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English Neoclassicism. 1760 - 1800. responds to interiors of ancient Rome. Herculaneum and Pompei discovered—1736 & 1749. Discovery of Pompeii (1749) and Herculaneum (1736). atrium. Pompeii interiors—much lighter in scale, brighter in color - PowerPoint PPT PresentationTRANSCRIPT
English Neoclassicism
1760 - 1800responds to interiors of ancient Rome
Herculaneum and Pompei discovered—1736 & 1749
Discovery of Pompeii (1749)
and Herculaneum
(1736)
atrium
Pompeii interiors—much lighter in scale, brighter
in color
light of Pompeii is main inspiration of English
Neoclassicism
painting of a fresco from Pompeii with fanciful
architecture & attenuated columns
Vedute di Roma & Carcerai
Giovanni Battista Piranesi, engravings, Italy, 1750-60s
(views of Rome)
popularizes what is discovered in Pompeii—great investigator of Roman architecture
Giovanni Battista Piranesi,
engravings from
Vedute di Roma, Italy,
1750-60s
Nature vs. Man—nature is winning
pleasurable fear
arch framearch frame
more fanciful work
supposed to be a college
Giovanni Battista Piranesi, engravings from, Carcerai, Italy, 1750-60s
personal artistic venture
Robert Adam
English architect—one of first to go on a “Grand
Tour” to finish his studies
Hadrian’s Villa at Tivoli
sketch by Adam
The Section and the RuinAdam revives the use of section
Giovanni Battista Piranesi, engravings from Vedute di Roma, Italy, 1750-60s
“frames” or “screens” the view
Robert Adam likes the idea of a screen—
considers the experience before the columns versus after
the columns
The Works in Architecture
Robert & James Adam, London,
1773-79
gesamtkunstwerk—designing everything
Kenwood House
Hampstead Heath, Eng., Robert Adam for Lord Mansfield, 1764-79
Kenwood House
classical design vocabulary—basilica shaped; vaulted with columns
Kenwood House Library
color scheme inspired by Pompeii
•honeysuckle motif
•Aegean spiral
•arabesques
Rinceau—low relief plasterwork
Pier Mirror— enhances the reflection of light
emphasis on interiors, not structure
details are attenuated
and fanciful—inspired by
Pompeii
Adam stays close to the surface— details are not deeply carved
ormolu frames the mirror
classical urns are a popular motif
Keddleston Hall
Derbyshire, Eng., Robert Adam for Lord Scarsdale,
1759-60s
Garden Facade
domedome
triumphal triumphal archarch
pallazopallazo
Entry HallEntry Hallvery ordered and restrained
classical features?
Adam features?
paintings by Angelica
Kauffmann—favored artist of Adam
fireplace tripartite construction—hole, tablet,
pediment
hall saloon
Saloon
inspiration?
Angelica Kauffman paintings
furniture?
Dining Roomproblem with exploded floor plan—
fake doors to maintain symmetry
Osterley Park
Middlesex, Eng., Robert Adam for Lord Child, 1760s-70s
Elizabethan building—100-150 yrs old
Osterley Park, Middlesex , Eng., Robert Adam for Lord Child, 1760s-70s
Adam took an interior scale and put it on the outside
ogee curveogee curve
Osterley Park, Middlesex , Eng., Robert Adam for Lord Child, 1760s-70s
rooms are characterized by elaborate but restrained plasterwork, rich, highly varied color schemes, and a
degree of coordination between decor and furnishings unusual in English neoclassical interiors
ogee curveogee curve
slender and attenuated similar to Pompeii—not true to classical Greece
Entry HallEntry HallLOVES urns on pedestals as decorative elements
•monochromatic—grey and cream
•everything is compartmentalized
•panels reflect windows on other wall
•corinthian columns
•implied coffered ceiling
Entry HallEntry Hall
Long GalleryLong Galleryadded neoclassical touches—crown molding, wall textile,
fireplace surround, ormolu molding (adheres to the textile)
criticized for detail of doorknob
Dining Room
male domain—materials are hard, nothing to “soften” space
fruits & foliage in
response to use of room
(linenfold)
Adam furniture typically delicate and ornamented— casters start to be seen
screen—Piranesi delicate festoons & swags
light fixtures incorporated into
overall design
corinthian columns on main floor more showy than ionic
columns on second floor
LibraryLibrarymale domain—all hard surfaces except valances
wildly colorful—creates a “jigger” tool used to shape plaster
Withdrawing RoomWithdrawing Roomfemale domain—all French Rococo; softer surfaces, wall textile & rug; ceiling and floor respond to one another
Tapestry Room
akin to the antechamber –tapestries made
specifically for the room
female or male?
much warmer, softer space
Bedroom
•Chippendale made bed—most expensive piece of furniture in home•chinoiserie•textile on wall is pleated•female room—gave birth here•pagoda’s tester is reflected on counterpoint
The Etruscan Room
akin to French cabinet— his dressing room
•color scheme—Pompeiian orange, cream & black•inspired by Etruscan vase from Pompeii
•walls are all canvas painted by Angelica Kauffman•green band on ceiling helps to create “square” of ceiling
Desk, Osterley Park, Middlesex , Eng., Robert Adam for Lord Child, 1760s-70s
•clear classical motifs—Aegean spiral, pilasters, tripartite•satinwood—really hard, not very carveable, great for inlay•mahogany used for carved pieces+
dado
body
frieze
artist’s palette—musical
instruments
classic Robert Adam furniture arrangement—uses marquetry and ormolu for ornamentation
commode
•clear symmetry & geometry
•honeysuckle
•urns
•Angelica Kauffman paintings
Commode, Osterley Park, Middlesex , Eng., Robert Adam for Lord Child, 1760s-70s
more ormolu indicates wealth; marquetry more expensive than painting
Lyre Back Chair
•Aegean spiral
•satinwood
•caned seats—Adam doesn’t generally upholster
The Glass Drawing Room, Northumberland House, London, 1773-5
red foil wallpaper, glass mounted on top of that, ormolu holding it in place
kind of Adam’s Mannerist period
model of the space in the Victorian and Albert museum