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English Neoclassicism 1760 - 1800 responds to interiors of ancient Rome

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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 Presentation

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Page 1: English Neoclassicism

English Neoclassicism

1760 - 1800responds to interiors of ancient Rome

Page 2: English Neoclassicism

Herculaneum and Pompei discovered—1736 & 1749

Page 3: English Neoclassicism

Discovery of Pompeii (1749)

and Herculaneum

(1736)

Page 4: English Neoclassicism

atrium

Pompeii interiors—much lighter in scale, brighter

in color

light of Pompeii is main inspiration of English

Neoclassicism

Page 5: English Neoclassicism

painting of a fresco from Pompeii with fanciful

architecture & attenuated columns

Page 6: English Neoclassicism

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

Page 7: English Neoclassicism

Giovanni Battista Piranesi,

engravings from

Vedute di Roma, Italy,

1750-60s

Nature vs. Man—nature is winning

pleasurable fear

arch framearch frame

Page 8: English Neoclassicism

more fanciful work

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supposed to be a college

Page 10: English Neoclassicism

Giovanni Battista Piranesi, engravings from, Carcerai, Italy, 1750-60s

personal artistic venture

Page 11: English Neoclassicism

Robert Adam

English architect—one of first to go on a “Grand

Tour” to finish his studies

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Hadrian’s Villa at Tivoli

sketch by Adam

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The Section and the RuinAdam revives the use of section

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Giovanni Battista Piranesi, engravings from Vedute di Roma, Italy, 1750-60s

“frames” or “screens” the view

Page 15: English Neoclassicism

Robert Adam likes the idea of a screen—

considers the experience before the columns versus after

the columns

Page 16: English Neoclassicism

The Works in Architecture

Robert & James Adam, London,

1773-79

gesamtkunstwerk—designing everything

Page 17: English Neoclassicism

Kenwood House

Hampstead Heath, Eng., Robert Adam for Lord Mansfield, 1764-79

Page 18: English Neoclassicism

Kenwood House

classical design vocabulary—basilica shaped; vaulted with columns

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Kenwood House Library

color scheme inspired by Pompeii

Page 20: English Neoclassicism

•honeysuckle motif

•Aegean spiral

•arabesques

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Rinceau—low relief plasterwork

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Pier Mirror— enhances the reflection of light

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emphasis on interiors, not structure

details are attenuated

and fanciful—inspired by

Pompeii

Page 24: English Neoclassicism

Adam stays close to the surface— details are not deeply carved

Page 25: English Neoclassicism

ormolu frames the mirror

classical urns are a popular motif

Page 26: English Neoclassicism

Keddleston Hall

Derbyshire, Eng., Robert Adam for Lord Scarsdale,

1759-60s

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Garden Facade

domedome

triumphal triumphal archarch

pallazopallazo

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Entry HallEntry Hallvery ordered and restrained

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classical features?

Adam features?

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paintings by Angelica

Kauffmann—favored artist of Adam

fireplace tripartite construction—hole, tablet,

pediment

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hall saloon

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Saloon

inspiration?

Angelica Kauffman paintings

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furniture?

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Dining Roomproblem with exploded floor plan—

fake doors to maintain symmetry

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Osterley Park

Middlesex, Eng., Robert Adam for Lord Child, 1760s-70s

Elizabethan building—100-150 yrs old

Page 41: English Neoclassicism

Osterley Park, Middlesex , Eng., Robert Adam for Lord Child, 1760s-70s

Adam took an interior scale and put it on the outside

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ogee curveogee curve

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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

Page 44: English Neoclassicism

ogee curveogee curve

Page 45: English Neoclassicism

slender and attenuated similar to Pompeii—not true to classical Greece

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Entry HallEntry HallLOVES urns on pedestals as decorative elements

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•monochromatic—grey and cream

•everything is compartmentalized

•panels reflect windows on other wall

•corinthian columns

•implied coffered ceiling

Entry HallEntry Hall

Page 48: English Neoclassicism

Long GalleryLong Galleryadded neoclassical touches—crown molding, wall textile,

fireplace surround, ormolu molding (adheres to the textile)

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criticized for detail of doorknob

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Dining Room

male domain—materials are hard, nothing to “soften” space

fruits & foliage in

response to use of room

(linenfold)

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Adam furniture typically delicate and ornamented— casters start to be seen

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screen—Piranesi delicate festoons & swags

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light fixtures incorporated into

overall design

corinthian columns on main floor more showy than ionic

columns on second floor

Page 54: English Neoclassicism

LibraryLibrarymale domain—all hard surfaces except valances

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wildly colorful—creates a “jigger” tool used to shape plaster

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Withdrawing RoomWithdrawing Roomfemale domain—all French Rococo; softer surfaces, wall textile & rug; ceiling and floor respond to one another

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Tapestry Room

akin to the antechamber –tapestries made

specifically for the room

female or male?

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much warmer, softer space

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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

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The Etruscan Room

akin to French cabinet— his dressing room

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•color scheme—Pompeiian orange, cream & black•inspired by Etruscan vase from Pompeii

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•walls are all canvas painted by Angelica Kauffman•green band on ceiling helps to create “square” of ceiling

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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

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classic Robert Adam furniture arrangement—uses marquetry and ormolu for ornamentation

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commode

•clear symmetry & geometry

•honeysuckle

•urns

•Angelica Kauffman paintings

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Commode, Osterley Park, Middlesex , Eng., Robert Adam for Lord Child, 1760s-70s

more ormolu indicates wealth; marquetry more expensive than painting

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Lyre Back Chair

•Aegean spiral

•satinwood

•caned seats—Adam doesn’t generally upholster

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The Glass Drawing Room, Northumberland House, London, 1773-5

red foil wallpaper, glass mounted on top of that, ormolu holding it in place

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kind of Adam’s Mannerist period

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model of the space in the Victorian and Albert museum