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Characteristics of italian baroque
Styles and trends of baroque architecture
Characteristics of italian baroque
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Louis Le Vau: The Architect of France
The 1600’s were influential years for interior design and architecture throughout the world, specifically in France. Design was becoming something to be celebrated, and with the Council of Trent calling for art that was less academic and more appealing to the public it was the perfect setting for a new era of design.
Born in 1612 in Paris, Louis Le Vau would live on to become Chief Architect to the King. Originally from a wealthy family, Le Vau was trained by his father; a stone mason employed at Fontainebleau; and developed his skills in stone masonry. His career began by designing elegant hotels for the bourgeoisie in France.
He predominately designed hotels and townhouse on the Ile Saint-Louis where he incorporated French and Baroque styles. One his most prominent designs on the Ile Saint-Louis were the remodel of the Hotel Lambert. Begun in 1640, Le Vau extended the main floor gallery towards the river allowing for a pleasant scenic view. When climbing the staircase the viewers enter an oval shaped vestibule which allows them to look down the enfilade layout rooms, through the vestibule, gallery and out to the Seine.
The Le Vau name began to garner more traction and became synonymous with extraordinary and opulent designs. Despite that, his past project paled in comparison to his newest feat, the Chateau of Vaux-le-Vicomte, which was designed for wealthy finance minister to the king Nicholas Fouquet. His ideas were revolutionary and so grandiose it was unlike anything seen in France before. The salon was two stories with an oval dome and was placed on the garden façade. It conveys a sense symmetry and power through the use of large pediment, oval dome as well as alternating windows...
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...ommon in public buildings such as, banks, museums and even national buildings like the White House. Grand opulent staircases like the Escalier des Amassadeurs are popular in focal pieces in public spaces such as theaters and performing art centers.
Le Vau talent as a designer was apparent in magnificent buildings he was able to create and build. His success is attributed to his sheer talent, classical influences, and Baroque aesthetic. He was able to define and categorize the Louis Quatorze style truly making him the architect of France.
References
Curl, J. S. (2006). A dictionary of architecture and landscape architecture. 2nd ed. Oxford [England]: Oxford University Press.
Placzek, A. K. (1982). Macmillan encyclopedia of architects. New York: Free Press.
Yarwood, D. (1993). International dictionary of architects and architecture. Detroit: St. James Press.
In order to finance the wars, taxation had to be raised, and everyone including the nobility had to pay (they used to be an exempt). Nearing the end of King Louis’s reign, France was bankrupt, resulting the people of the state to be at odds with their king. “France’s resources and finances were ultimately drained, leading King Louis and the state of France in debt, which made the people turn against him” (Eggert). Regardless, when it came to the arts, his rule as an absolute monarch has led him to contribute so much in various branches of creative activity today. Comparing the given examples, his use of the arts was one of the most important ways King Louis XIV introduced and glorified his rule as an absolute monarch to his people.
One of the most important elements of Versailles that affected Louis XIV’s reign was the use of propaganda. The Palace contained “paintings, statues, tapestries” (Page) and a general grandness that significantly promoted Louis’ name. Louis himself was a “prominent subject in the artwork” (Montclos 330) and was portrayed as handsome and god-like. Even in the aspects of the Palace where Louis wasn’t literally being represented, the grand nature of Versailles sent out a message that the King was living lavishly, and was therefore very powerful. Louis XIV used the grandiosity of his Palace and the art inside to promote himself to his people.
Louis' cultural goals were a large success. He changed French trends and etiquette, and was a major patron of the arts, meaning, he supported the art movements and artists, encouraging them and financing them. Because of Louis, France led Europe in the arts. He loved music and theatre. Louis was a great patron of the arts; he exceeded Augustus of Rome in his art aiding. He created the city of Versailles by turning his father's hunting cabin into a magnificent palace in the village of Versailles. Construction began in 1668, and wasn't done until 1710, but Louis moved in on May 6, 1682--showing his impatience.
Interior Decorators such as Elsie de Wolfe, Eleanor McMillen Brown, and Dorothy Draper helped to pave the way for the Interior Design profession today. Their influential decisions to stray away from the Victorian style of design helped guide both the interior decorating profession, as well as architects who no longer wanted to design in the bulky and cluttered Victorian Style. Elsie de Wolfe designed during the Victorian movement, however “had adopted the 1890’s preference for Neoclassicism” (Smith, 22). Unlike the cluttered and dark interiors of an average Victorian interior, her interiors were, “in the words of one visitor, ‘[models] of simplicity’” (Smith, 20).
First and foremost are the architectural elements. These encompass the structural components that Chareau uses to emphasize the current site’s condition, the regularity of the grid used, the characteristics of the materials, the spatial alignment of the program, and so forth. The Maison de Verre would not have been designed the same way if it had been erected elsewhere. The same design principles would have been apparent, but there were extenuating circumstances that the client and the architect encountered at the site. The clients, Dr. and Mrs. Dalsace, inherited the building and the surrounding property from her father, and had the sole intention of tearing down the existing building and resurrecting a new, modern structure that would showcase Chareau’s furniture designs. (Vellay 63). The only thing stopping them was an elderly woman who lived on the second floor of the existing building who refused to leave her apartment (Frampto...
middle of paper ... ... Bolton, Arthur T. The architecture of Robert & James Adam. London, Country Life. 1922.
But these contrived differences give rise to esthetic difficulties too. Because inherent differences—those that come from genuinely differing uses—are lacking among the buildings and their settings, the contrivances repre...
It is a very reflective place for the French and shows a basis of culture for the people. The small structure became the base on which was constructed into one of the most extravagant buildings in the world. The Palace of Versailles is a famous French landmark due to its elaborate construction, its role as a center of government, and its influence on French culture. The architecture of Versailles makes it one of the most elaborate and detailed structures in history. Its amazing detail gives it the royal feeling that it sends to people every day. "
There is a Romanesque style in the arched windows and the brick walls. The Beaux-Arts tradition is a T-shaped floor plan. The building measures 75 feet in diameter with three wings. The Rotunda’s walls are made of Italian marble and the floors have mosaic tile. The statue in the center of the floor is called “Three Muses.”
Ludwig Mies van der Rohe, later addressed as Mies, was born in the German town of Aix La Chapelle. At a young age he gained fundamental experience in the craftsman’s tradition and skills, later after commissioning his first project as an independent architect, Mies “executed in the then popular traditional style of steep roofs, gables and dormer windows with precision and careful attention to detail.” Next, he had the opportunity to train under Peter Behrens, where Mies learned to appreciate order and fine detail, as well as new ideas on proportion, simplicity, and the use of steel and glass. Mies acquired a romantic language from Behrens that derived from “ his domestic architecture from Karl Friedrich Schinkel. It was characterized by a unique sense of rhythm and proportion, a purity of form, and a nobility that stemmed from the practice of placing structures on wide platforms or pedestals.” T...
..., transcendental lighting, and color contrast. No less is this a religious experience than the visits to classic cathedrals that dominate the French landscape from the shores of Mont St. Michel, to the Ile de la Cite’s Notre Dame, to the countless other examples of the French expression of faith through architecture. I must admit to surprise at this overwhelming reaction on my part to Matisse’s talent as an architect and designer. Winding up the mountains to this remote convent, my mind questioned the wisdom of the trek as my comrades enjoyed the Riviera once more at the beach and I thought to myself, just one more church. Never did I expect such a transcendental experience as my visit to this modern masterpiece. Long after the suntans will fade, my memory of this place will deepen my appreciation of Matisse’s art and the importance of the effect of art on culture.
Born in a cold winter day of 1841, in Lomoges, France, Pierre Augustine Renoir lived a long and happy life of more than eight decades. Being one of the six children in the poor family of a tailor and seamstress, Renoir from childhood understood what he is up to in his future life. From early age he was drawing and self studied art in free time. Renoir’s parents arranged him to work in a Porcelain Factory, where he was working as a decorator of plates and other objects. The fortune came up in such a way that when Renoir was five his family moved to Paris and lived in a house right by the famous French Louvre. Most of his free time, Renoir spent in Louvre trying to copy the famous works from the walls of the museum. As the time passed more and more people started recognising his talent which made him many wealthy friends. His talent of great drawing allowed him to enter the famous during
Mies created established characteristics that became essential for modern architecture. “Less is more”. These three words really jump started the modernist movement in architecture and embodies the philosophy of minimalism. Stripping away the ornament and décor to get to the essence of a building. Mies van der Rohe changed architecture through these radical ideas. Many of these concepts we still see today in modern and minimalist styles. The simple and open plan has been replicated
O’Donnell, Sr., Joseph J.. “Art and the French Revolution”. The Eerie Digest, May 2013. Web. 5th May 2013.
The further you go back in history, it can be seen how interior design has blended with artistic societies such as during the Italian Renaissance. It has