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Neoclassical architecture
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The neoclassical movement that produced Neoclassical architecture
began in the mid-18th century, as a reaction against both the
surviving Baroque and Rococo styles, and as a desire to return to
the perceived "purity" of the arts of Rome, the more vague
perception ("ideal") of Ancient Greek arts (where almost no Western
artist had actually been) and, to a lesser extent, 16th century
Renaissance Classicism. There is an anti-Rococo strain that can be detected in some European architecture of the earlier 18th century, most vividly represented in the Palladian architecture of Georgian Britain and Ireland, but also recognizable in a classicizing vein of Late Baroque architecture in Paris (Perrault's east range of the Louvre), in Berlin, and even in Rome, in Alessandro Galilei's facade for S. Giovanni in Laterano. It is a robust architecture of self-restraint, academically selective now of "the best" Roman models. |
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Neoclassicism first gained influence in London, through the examples
of Paris-trained Sir William Chambers and James "Athenian" Stuart,
and in Paris, through a generation of French art students trained at
the French Academy in Rome and influenced by the presence of
Charles-Louis Clérisseau and the writings of Johann Joachim
Winckelmann; it was quickly adopted by progressive circles in
Sweden. In Paris, many of the first generation of neoclassical
architects received training in the classic French tradition through
a series of exhaustive and practical lectures that was offered for
decades by Jacques-François Blondel. At first, in thec 1760s and 70s, classicizing decor was grafted onto familiar European forms, as in Gatchina's interiors for Catherine II's lover Count Orlov, designed by an Italian architect with a team of Italian stuccadori (stucco workers). A second neoclassic wave, more severe, more studied (through the medium of engravings) and more consciously archaeological, is associated with the height of the Napoleonic Empire. In France, the first phase of neoclassicism is expressed in the "Louis XVI style" of architects like Ange-Jacques Gabriel (Petit Trianon, 1762–68); the second phase, in the styles we call "Directoire" or "Empire", might be characterized by Jean Chalgrin's severe astylar Arc de Triomphe (designed in 1806). In England the two phases might be characterized first by the structures of Robert Adam, the second by those of Sir John Soane. Italy clung to Rococo until the Napoleonic regimes brought the new archaeological classicism, which was embraced as a political statement by young, progressive, urban Italians with republican leanings. The center of Polish classicism was Warsaw under the rule of the last Polish king Stanisław August Poniatowski. The best known architects and artists, who worked in Poland were Dominik Merlini, Jan Chrystian Kamsetzer, Szymon Bogumił Zug, Jakub Kubicki, Antonio Corazzi, Efraim Szreger, Christian Piotr Aigner, Wawrzyniec Gucewicz and Bertel Thorvaldsen. Neoclassical architecture was exemplified in Karl Friedrich Schinkel's buildings, especially the Old Museum in Berlin, Sir John Soane's Bank of England in London and the newly-built "capitol" in Washington, DC. The Scots architect Charles Cameron created palatial Italianate interiors for the German-born Catherine II the Great in Russian St. Petersburg: the style was international. Indoors, neoclassicism made a discovery of the genuine Roman interior, inspired by the rediscoveries at Pompeii and Herculaneum, which had started in the late 1740s, but only achieved a wide audience in the 1760s, with the first luxurious volumes of tightly-controlled distribution of Le Antichità di Ercolano. The antiquities of Herculaneum showed that even the most classicizing interiors of the Baroque, or the most "Roman" rooms of William Kent were based on basilica and temple exterior architecture, turned outside in: pedimented window frames turned into gilded mirrors, fireplaces topped with temple fronts, now all looking quite bombastic and absurd. The new interiors sought to recreate an authentically Roman and genuinely interior vocabulary, employing flatter, lighter motifs, sculpted in low frieze-like relief or painted in monotones en camaïeu ("like cameos"), isolated medallions or vases or busts or bucrania or other motifs, suspended on swags of laurel or ribbon, with slender arabesques against backgrounds, perhaps, of "Pompeiian red" or pale tints, or stone colors. The style in France was initially a Parisian style, the "goût Grèc" ("Greek style") not a court style. Only when the young king acceded to the throne in 1771 did Marie Antoinette, his fashion-loving Queen, bring the "Louis XVI" style to court. From about 1800 a fresh influx of Greek architectural examples, seen through the medium of etchings and engravings, gave a new impetus to neoclassicism that is called the Greek Revival. Neoclassicism continued to be a major force in academic art through the 19th century and beyond— a constant antithesis to Romanticism or Gothic revivals— although from the late 19th century on it had often been considered anti-modern, or even reactionary, in influential critical circles. By the mid-19th century, several European cities - notably St Petersburg and Munich - were transformed into veritable museums of Neoclassical architecture. In American architecture, neoclassicism was one expression of the American Renaissance movement, ca 1890-1917; its last manifestation was in Beaux-Arts architecture, and its very last, large public projects were the Lincoln Memorial (highly criticized at the time), the National Gallery in Washington, D.C., and the American Museum of Natural History's Roosevelt Memorial. These were white elephants as they were built. In the British Raj, Sir Edwin Lutyens' monumental city planning for New Delhi marks the glorious sunset of neoclassicism. |
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