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English Neoclassicism

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

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English Neoclassicism

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  1. English Neoclassicism 1760 - 1800 responds to interiors of ancient Rome

  2. Herculaneum and Pompei discovered—1736 & 1749

  3. Discovery of Pompeii (1749) and Herculaneum (1736)

  4. atrium Pompeii interiors—much lighter in scale, brighter in color light of Pompeii is main inspiration of English Neoclassicism

  5. painting of a fresco from Pompeii with fanciful architecture & attenuated columns

  6. 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

  7. arch frame Giovanni Battista Piranesi, engravings from Vedute di Roma, Italy, 1750-60s Nature vs. Man—nature is winning pleasurable fear

  8. more fanciful work

  9. supposed to be a college

  10. personal artistic venture Giovanni Battista Piranesi, engravings from, Carcerai, Italy, 1750-60s

  11. Robert Adam English architect—one of first to go on a “Grand Tour” to finish his studies

  12. sketch by Adam Hadrian’s Villa at Tivoli

  13. The Section and the Ruin Adam revives the use of section

  14. Giovanni Battista Piranesi, engravings from Vedute di Roma, Italy, 1750-60s “frames” or “screens” the view

  15. Robert Adam likes the idea of a screen— considers the experience before the columns versus after the columns

  16. The Works in Architecture Robert & James Adam, London, 1773-79 gesamtkunstwerk—designing everything

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

  18. Kenwood House classical design vocabulary—basilica shaped; vaulted with columns

  19. Kenwood House Library color scheme inspired by Pompeii

  20. honeysuckle motif • Aegean spiral • arabesques

  21. Rinceau—low relief plasterwork

  22. Pier Mirror— enhances the reflection of light

  23. details are attenuated and fanciful—inspired by Pompeii emphasis on interiors, not structure

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

  25. classical urns are a popular motif ormolu frames the mirror

  26. Keddleston Hall Derbyshire, Eng., Robert Adam for Lord Scarsdale, 1759-60s

  27. dome triumphal arch pallazo Garden Facade

  28. Entry Hall very ordered and restrained

  29. classical features? Adam features?

  30. paintings by Angelica Kauffmann—favored artist of Adam fireplace tripartite construction—hole, tablet, pediment

  31. saloon hall

  32. Saloon inspiration? Angelica Kauffman paintings

  33. furniture?

  34. Dining Room problem with exploded floor plan— fake doors to maintain symmetry

  35. Osterley Park Middlesex, Eng., Robert Adam for Lord Child, 1760s-70s Elizabethan building—100-150 yrs old

  36. Osterley Park, Middlesex , Eng., Robert Adam for Lord Child, 1760s-70s Adam took an interior scale and put it on the outside

  37. ogee curve

  38. 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

  39. ogee curve

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

  41. Entry Hall LOVES urns on pedestals as decorative elements

  42. monochromatic—grey and cream • everything is compartmentalized • panels reflect windows on other wall • corinthian columns • implied coffered ceiling Entry Hall

  43. Long Gallery added neoclassical touches—crown molding, wall textile, fireplace surround, ormolu molding (adheres to the textile)

  44. criticized for detail of doorknob

  45. male domain—materials are hard, nothing to “soften” space fruits & foliage in response to use of room (linenfold) Dining Room

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