1-20 of 26 results  for:

  • Architecture and Urban Planning x
  • Romanticism x
Clear all

Article

Lucília Verdelho da Costa and Sandro Callerio

(b Lisbon, Aug 26, 1839; d Genoa, Nov 30, 1915).

Portuguese painter, architect and restorer, active in Italy. He came from a middle-class family with trading interests in Italy. In 1854 Andrade went to Genoa, and friendships there with such artists as Tammar Luxoro (1824–99) led him to study painting with Alexandre Calame and later to study architecture at the Accademia Ligustica di Belle Arti. He travelled widely, and in Italy he came into contact with Antonio Fontanesi and Carlo Pittura (1835/6–91), with whom he became one of the most active painters of the Scuola di Rivara. According to Telamaro Signorini, Andrade was among the painters who frequented the Caffè Michelangiolo in Florence. The influence of the macchiaioli painters is also evident from 1863 in his paintings, especially in Return from the Woods at Dusk (1869; Genoa, Mus. Accad. Ligustica B.A.)

Lucília Verdelho da Costa

Andrade’s work represents a transition from the Romantic school of Calame to the Naturalism of the Barbizon school. His landscapes show careful observation of nature. The locations in northern Italy seem to have been chosen for their melancholy and serenity, as in the landscapes of Fontanesi. Andrade’s pastoral scenes at dawn or dusk are seen through morning mists or against sunsets, or they depict uninhabited countryside. Most of these works, for example ...

Article

Nathalie Volle

(b Laon, March 5, 1743; d Paris, March 1, 1811).

French painter and draughtsman. In 1764 he entered the studio of Noël Hallé, whose work strongly influenced his early paintings. Alexander Cutting the Gordian Knot (Paris, Ecole N. Sup. B.-A.), with which he won the Prix de Rome in 1767, is a brilliant exercise in the grand academic style as conceived by the followers of François Boucher. After a period at the Ecole Royale des Elèves Protégés he completed his training at the Académie de France in Rome from 1771 to 1774. Although he impressed the then director of the Académie, Charles-Joseph Natoire, and formed friendships with the painters François-Guillaume Ménageot, François-André Vincent and Joseph-Benoît Suvée and the architects Pierre-Adrien Pâris and Jean-Jacques-Marie Huvé (1742–1808), his artistic activity during his years in Rome is obscure. A number of spectacular drawings in red chalk, such as those of the Villa d’Este, Tivoli (Orléans, Mus. B.-A.) and the Villa Colonna and Villa Negroni...

Article

Miles Lewis

(b Upton, Essex, 1803; d Melbourne, March 3, 1854).

Australian architect of English birth. He was employed in London as an inspector for the commissioners of sewers for Holborn and Finsbury, until his transportation to Hobart Town, Van Diemen’s Land (now Tasmania), with his wife and daughter in 1835, after forging a cheque. He was immediately employed in the Department of Roads and Bridges and was responsible for a great proportion of the colony’s road building, surveying and engineering work. When the department was merged into the Department of Public Works (1839), he began designing important government buildings; he was also able to operate privately in partnership with James Thjomsonn, as both architects and building contractors.

Although his buildings show the influence of John Claudius Loudon, Blackburn was also a powerful and innovative designer in his own right and was the first major exponent of the Picturesque in the Australian colonies (e.g. the Italianate extension of Rosedale of ...

Article

(b Falun, April 11, 1860; d Stockholm, May 7, 1946).

Swedish architect, draughtsman and painter. After studying at the Kungliga Tekniska Högskolan and the Kungliga Akademien för de fria Konsterna (1878–84), with his artist-wife Anna Boberg (b 1864) he made extensive journeys in Italy, France, Spain and the rest of the Mediterranean region, also visiting Britain. Early on he was impressed by the work of H. H. Richardson, and this was reinforced by his visit to the World’s Columbian Exposition in Chicago (1893) and to the studio of Louis Sullivan. Boberg’s highly personal style amalgamated these American influences with impressions from Italy, Spain and North Africa, and his ornamentation in particular is connected both to Sullivan and to the Moorish and Byzantine. Gävle Fire Station (1890) shows clearly the Richardsonian use of the Romanesque with round-arched doorways in heavy granite, picturesque asymmetry and colonette motifs. Industrial buildings for the Stockholm Gas and Electricity Works in the 1890s demonstrate Boberg’s effective use of colourful brick and stone. The surviving portal of an electricity station (destr.) in central Stockholm is decorated by ornamentation of electric light-bulbs with a Sullivanesque sharpness, and postal motifs of a similar nature adorn the Central Post Office (...

Article

Raquel Henriques da Silva

[José]

(b Siena, 1808; d Lisbon, July 23, 1879).

Italian stage designer and architect, active in Portugal. He studied in Milan and was a stage designer in Lyon before being invited to Lisbon (1836) by Francisco Lodi, the impresario of the Teatro S Carlos there. For more than 40 years he worked in Lisbon as a stage designer, in partnership with another Italian designer, Achille Rambois (c. 1810–82), contributing to a brilliant period in Portuguese opera. Cinatti, who was essentially a Romantic, also practised as an architect, attempting to turn the landscapes and buildings of his imaginary stage designs into reality with strictly academic Neo-classical forms and an eclectic fusion of motifs and ornament. His Palacete Bessone (1856), Rua Vitor Cordon, Palacete Nunes Correia (1865), Avenida da Liberdade, and Palacete Anjos Praça do Príncipe Real are among the most distinguished eclectic buildings in Lisbon, with elegant proportions, discrete decoration and sensitivity to context. Outside Lisbon his Palácio Valenças at Sintra has an Italianate design with contrasting neo-Manueline details, and the Casa Bessone (...

Article

Dewey F. Mosby

(b Paris, May 23, 1810; d Paris, March 1860).

French painter and draughtsman. His father was the architect Pierre-Anne Dedreux (1788–1849); Alfred’s sister, Louise-Marie Becq de Fouquières (1825–92), was also an artist. His uncle, Pierre-Joseph Dedreux-Dorcy (1789–1874), a painter and intimate friend of Gericault, took Dedreux frequently to the atelier of Gericault whose choice of subjects, especially horses, had a lasting influence on him. During the 1820s he studied with Léon Cogniet, although his early style was more influenced by the work of Stubbs, Morland, Constable and Landseer, exposure to which probably came through Gericault and the painter Eugène Lami who lived in London in the mid-1820s.

Dedreux’s stylistic development can be traced from 1830 with the White Stallion (exh. Salon 1831; sold London, Sotheby’s, 31 March 1965, lot 87), which recalls both the work of Gericault and Stubbs’s Horse Attacked by a Lion (1770; New Haven, CT, Yale U. A.G.). This style remained unchanged in the ...

Article

Margaret Henderson Floyd

(b Boston, MA, 1802; d Brookline, MA, Nov 26, 1872).

American architect and engineer. After leaving Harvard University in 1821, he travelled in England, France and Germany during the following decade. He was impressed by the evidence of Romanticism that he saw in England and by the work of Karl Friedrich Schinkel in Germany, where he studied engineering. In Paris he bought architectural books for the Boston Athenaeum and the library of the architect and civil engineer Alexander Parris. In the 1830s Dexter trained as an engineer in Boston. His engineering studies enabled him to undertake major commissions with advanced engineering requirements, but his technical competence was combined with a romantic sensibility. He designed the houses in Pemberton Square (1836; destr.), Boston, which resembled Charles Bulfinch’s Tontine Crescent in plan. He designed two important railway stations in Boston, the Haymarket and the Fitchburg (1844 and 1848 respectively; both destr.), which solved the transport problems of the Boston peninsula. He won the competition of ...

Article

Arthur Channing Downs

(b Newburgh, NY, Oct 31, 1815; d Hudson River, NY, July 28, 1852).

American writer, horticulturist, landscape gardener and architect. From the age of seven he was trained in the family nursery garden by his elder brother Charles Downing (1802–85), an experimental horticulturist. Before he was 15, Downing came under the influence of André Parmentier (1780–1830), a Dutch-trained landscape gardener, and he studied the 700-acre estate that Parmentier had landscaped in the English manner at Hyde Park, NY. Downing was also influenced by the mineralogist Baron Alois von Lederer (1773–1842) and the landscape painter Raphael Hoyle (1804–38). In 1834 Downing’s first article, ‘Ornamental Trees’, appeared in journals in Boston, MA, and France. His article ‘The Fitness of Different Styles of Architecture for Country Residences’ (1836) was the first important discussion of the topic in America. He expressed enthusiasm for a variety of styles and insisted they must be used in appropriate settings. His ...

Article

David van Zanten

(b Paris, Oct 14, 1797; d Bordeaux, Oct 12, 1870).

French architect. He was the oldest of a celebrated generation of French designers who were credited with revolutionizing the government architectural services under the banner of ‘Romanticism’ around 1830. Unlike his friend Henri Labrouste, however, Duban had actually built little by the end of his career and remains today a somewhat nebulous personality, a symbol of potential more significant to his contemporaries than to modern observers.

Duban was the son of an ironmonger. His training began in 1813 in the studio of his older sister’s husband, the successful government architect François Debret. In 1823 he won the competition for the Prix de Rome with a brilliant design for a custom-house, comprising broad square utilitarian masses boldly juxtaposed. During his subsequent five-year pension at the Académie de France in Rome he worked with his immediate predecessors Guillaume Abel Blouet and Emile Gilbert, and especially his successors Labrouste, Louis Duc and Léon Vaudoyer, to formulate an archaeologically precise but aesthetically unexpected vision of ancient Classical design that marked the beginning of the ‘...

Article

Antoinette Le Normand-Romain

(b Paris, March 20, 1808; d Chaville, Seine-et-Oise, July 14, 1888).

French sculptor, painter, etcher, architect and writer. The son of a decorative sculptor, he entered the Ecole des Beaux-Arts, Paris, in 1824 as a pupil of Charles Dupaty (1771–1825), moving in 1825 to the studio of James Pradier. Ingres also took an interest in his education, and Etex’s gratitude towards him and Pradier was later expressed in projects for monuments to them (that to Pradier not executed, that in bronze to Ingres erected Montauban, Promenade des Carmes, 1868–71).

Etex failed three times to win the Prix de Rome, but in the aftermath of the Revolution of 1830 his Republican sympathies gained him a government scholarship that enabled him to spend two years in Rome. There he sculpted the intensely tragic group Cain and his Children Cursed by God, the plaster version of which (Paris, Hôp. Salpêtrière) was one of the great successes of the 1833 Paris Salon. During this period Etex asserted the Republican views that were to earn him the distrust of many of his fellow artists and of the establishment but also gain him the support of the influential critic and politician Adolphe Thiers. He behaved in Romantic fashion as a misunderstood artist, but nevertheless displayed a remarkable tenacity in forwarding his pet projects, including, for instance, schemes for sculptures representing ...

Article

Susanne Kronbichler-Skacha

(b Vienna, July 7, 1828; d Vienna, July 14, 1883).

Austrian architect. He was a member of the second generation of historicist architects in Vienna, who continued and developed the pioneering work of such architects as Karl Rösner, Eduard Van der Nüll and August von Siccardsburg. These three, who represented the Romantic period of early historicism in Austria, were Ferstel’s teachers from 1848 to 1850 at the Akademie der Bildenden Künste in Vienna, and Van der Nüll & Siccardsburg in particular were important early influences. After leaving the academy, Ferstel joined the architectural firm of his uncle Friedrich Stache (1814–95), whom he assisted until 1853 in building castles and country houses for the high nobility in Bohemia. Domestic architecture continued to play an important part in his work. Before long, however, he was winning major architectural competitions, such as the international competition (1855) for the Votivkirche (1856–79) in Vienna.

Built to commemorate the rescue of Emperor Francis Joseph (...

Article

British, 18th – 19th century, male.

Born 25 December 1771, in London; died 1843, in Devon, in a lunatic asylum.

Painter, watercolourist, draughtsman, architect. Religious subjects, landscapes, architectural views.

Romanticism.

Joseph Michael Gandy studied architecture at the Royal Academy of Art. He was sent on a study trip to Rome but returned to London in ...

Article

Pekka Korvenmaa

Finnish architectural partnership formed in 1896 by Herman Gesellius (1874–1916), Armas Lindgren and Eliel Saarinen (see Saarinen family, §1), the year before they graduated from the Polytekniska Institutet in Helsinki. It dissolved in 1907, although Lindgren left the office in 1905. National and international recognition came in 1900, when they designed the Finnish pavilion for the Exposition Universelle in Paris, having won the competition for its design in 1898. The design linked a number of international influences as well as particularly Finnish elements (motifs such as bears, squirrels and pine cones) and forms from Art Nouveau. It also included neo-Romanesque elements reminiscent of the H. H. Richardson school in the USA. The interior of the pavilion’s cupola was decorated with paintings by Akseli Gallen-Kallela. The overall effect was of an Arts and Crafts ambience. It was one of the first examples of the architecture of ...

Article

Hans-Christoph Dittscheid

(b Kassel, Dec 9, 1754; d Kassel, July 26, 1825).

German architect. He studied architecture from 1778 at the Collegium Carolinum in Kassel under Simon Louis Du Ry. His earliest surviving designs show a close allegiance to the architecture of the Prussian court in Berlin and Potsdam. At about this time he taught architecture under Du Ry. In 1783 Jussow received a bursary from Landgrave Frederick II of Hesse-Kassel (reg 1760–85), which enabled him to stay in Paris until 1785. There he was a pupil of Charles de Wailly, who had produced various designs for a new residential palace and a pleasure palace, both at Weissenstein (later Wilhelmshöhe), for the Kassel court. In de Wailly’s studio Jussow drew up his first scheme for Schloss Wilhelmshöhe, which exhibits the direct influence of Claude-Nicolas Ledoux, who was also working on projects for Landgrave Frederick at the time. Jussow also spent a year in Italy (1785–6) and was one of the first German architects to study and draw the ancient temples at Paestum. Landgrave ...

Article

S. G. Fyodorov and B. M. Kirikov

(Ivanovich) [Lidval, Johann-Friedrich]

(b St Petersburg, June 1, 1870; d Stockholm, March 14, 1945).

Swedish architect, active in Russia. He studied at the Academy of Arts, St Petersburg, from 1890 to 1896, where he spent his final years in the studio of Leonty Benois. He subsequently established a reputation as one of the most important architects in St Petersburg in the early 20th century. In his early works there he created an original version of northern European Art Nouveau (Rus. modern), related to Swedish and Finnish National Romantic architecture but distinguished by its strict restraint and elegant forms. In the block of flats on Kamennoostrovsky Prospect 1–3 that belonged to his mother (1899–1904), he used a deep cour d’honneur to form a spacious nucleus to the well-equipped and comfortable complex. The sophisticated plastic quality of the buildings, which are of various heights, the free design and textural variety of the façades and the stylized motifs of flora and fauna all distinguish this as northern ...

Article

Paula Kivinen

(b Tampere, May 20, 1872; d Helsinki, Dec 27, 1966).

Finnish architect. She qualified as an architect in 1896, and in 1898 she travelled on a scholarship in central Europe, England and Scotland studying stone and brick construction, as well as school architecture. Lönn was based in Tampere between 1898 and 1911. Her first projects were houses and schools in various parts of Finland—for which she adapted the innovations she had seen in Britain. The Tampere Central Fire Station (1908), her best building, is still in use: its picturesque, loose massing reflects a ground-plan that enhances the building’s efficiency. It also suits the castle-like character lent by such details as the turrets, characteristic of National Romanticism in Finland—of which this station is a good example. She was in Jyväskylä from 1911 to 1918 and was invited to design buildings for Johannes Parviainen Factories Ltd in Säynätsalo. She in fact designed them all. Estonia Theatre in Tallinn (1913...

Article

Elisabeth Cederstrøm

(b Copenhagen, Feb 13, 1818; d Paris, Jan 10, 1875).

Danish painter. He had originally wanted to be a sailor, but abandoned this ambition because of bad eyesight. Similarly, he later gave up training as a shipbuilder, deciding instead to become a marine painter. In 1838 he entered the Akademi for de Skonne Kunster in Copenhagen. He received private tuition from C. W. Eckersberg, and was one of several of his pupils who devoted themselves to marine painting. He exhibited for the first time in 1840, provoking an immediate response from the public. His early pictures followed the style of Eckersberg’s marine paintings, which are characterized by a heightened calm and clear colour, but Melbye soon moved towards a more international, Romantic style.

Melbye went on several voyages in order to study the sea at close range; one of his major works, Eddystone Lighthouse (1846; Copenhagen, Stat. Mus. Kst), resulted from a voyage to Morocco. In the painting an evocative atmosphere is created by the interplay between dramatic waves and a threatening sky. The lighthouse is a fixed point in the troubled seas. His studies of the sea, together with his thorough knowledge of shipbuilding, enabled him to produce a large number of paintings, many of them on a large scale. Melbye’s dramatic compositions and choice of colours were close to the genre style of painters of the Düsseldorf school, such as Johann Peter Hasenclever and Ludwig Knaus. From ...

Article

Geoffrey C. Tyack

(b London, 1752; d E. Cowes, Isle of Wight, May 13, 1835).

English architect and urban planner. Immensely prolific, he enjoyed the patronage of George IV, and the architecture of the Regency period is particularly associated with his work. He followed the ideas of the Picturesque movement and produced some of its best-known and most influential architectural effects at Blaise Hamlet, near Bristol, the Royal Pavilion, Brighton, and Regents Park and Regent Street, London.

Nash was the son of a Lambeth millwright and came from a family of Welsh origins. He spent some time in the office of Robert Taylor in London before setting up practice as a speculative builder and architect in 1774 or 1775. In 1777–8 he designed and built a pair of palazzo-fronted houses in Bloomsbury Square, London (Nos 16–17: now the German Historical institute), and an adjoining row of smaller houses in Great Russell Street, into one of which he moved. These houses were notable for their precocious use of stucco, but the speculation failed, and, following the collapse of a disastrous first marriage, Nash went bankrupt in ...

Article

Patricia G. Berman

Term that suggests the merging of national boundaries and the indigenous ‘ethnic essence’ of a nation rather than a particular school or style. National Romanticism was a mid- and late 19th-century coalescence of two potent ideologies and was linked to the struggle for political legitimacy for a circumscribed geographic region. Its tenet was that the indigenous arts, history, music and folk traditions of a nation contributed to the spiritual and political survival of its people. It was manifest in the arts of those countries or regions of northern and central Europe, such as Scandinavia and Germany, that were once subject to foreign domination or had experienced recent unification. Thus, National Romanticism arose in response to a sense of intrusive internationalism that was perceived to weaken a sense of unity within a single geographic group. With its sources in German Romantic philosophy, this theoretical movement was introduced in the mid-19th century to Denmark through the writings of ...

Article

Constance M. Greiff

(b Edinburgh, July 22, 1810; d Philadelphia, PA, March 3, 1865).

American architect of Scottish birth. He was prominent among the emigré architects of the first half of the 19th century who introduced into America new styles, a greater professionalism, and more sophisticated approaches to design.

According to an anonymous manuscript biography (ex-Hist. Soc., Philadelphia, PA, now lost), Notman served an apprenticeship as a carpenter in Edinburgh. He then worked for the architect William Henry Playfair (see Playfair family §(2)), whose early essays in the Italianate style Notman later introduced in the USA. In 1831, following a period of economic depression in Edinburgh and the consequent collapse of its construction industry, Notman immigrated to the USA, settling in Philadelphia, where he supported himself as a carpenter. His first major design commission was for the Laurel Hill Cemetery (1836–9), Philadelphia, PA. Derived from Kensal Green Cemetery, London, Laurel Hill was the earliest architect-designed Picturesque rural cemetery in the USA. Rural cemeteries and other landscape designs continued to be an important aspect of his work. Later cemeteries included Hollywood Cemetery (...