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3 - Neoclasicismo en Inglaterra — Transcript · YTtoTranscript

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3 - Neoclasicismo en Inglaterra

H2ABOY · 1,443 words · 7 min read · EN

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If we return to this idea of being more linear and more precise in the beginnings of the stages, the currents, or the styles, Neoclassicism, the emergence of Neoclassicism, can be attributed to the figure of Dean Joachim Winkelmann, an art historian in what is now Germany, who, as Benevolo says, made a trip to Rome in 1755, and

the study of that trip, the history of ancient art, appears almost 10 years later. And that is what Benevolo had anticipated: for the first time, the artistic production of the ancients is presented objectively and not according to the interpretation of the fashion of each time; that is to say, this rediscovery of antiquity in a more

scientific way. In fact, Winkelmann is credited as a kind of founder of anthropology and of demanding a more meticulous study of the ruins. He proposes, and even manages to distinguish and discern, moments of Greek architecture; the architecture of that period is not the same as that of other periods. such a period of such and such another when in the

classicism of the Renaissance it was a bit, uh, not because of that universal validity that they had, there was n't much discernment between at what moment in the history of Greece that had developed, and Benevolo says he becomes the theorist of the new movement, Neoclassicism. The truth is that during this period, from the second half of the

17th century, there was going to be a fascination of artists and architects to travel to Greece, Rome, and other destinations to represent the ruins, perhaps the engravings of Piranesi, which if we look at the bottom left are the most recognized and famous, and these works and illustrations spread and permeated the academic training of

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artists and architects at the time and were going to have a great influence on the architecture that was produced here. We see some drawings by—well, I'm going back, sorry—of Cleris, who is that artist who is being caricatured, precisely illustrating in Rome at that time, and these illustrations, these ideal recreations of of life, not the baths,

the thermal baths, uh. And it was very common at the time. This is a square, not a painting with squares, which is also enormous, in reality, like, I don't know if 6 meters by 6 meters, something like that. It's called the Grand Tour. I think it reflects precisely those prizes that were awarded to architects. I

think it's the genesis, if I'm not mistaken, of the word tourism. Architects or artists who traveled on the Grand Tour of Rome as a prize for some competition they had won, some merit they had obtained, to see firsthand the ruins or the architecture that was still standing from antiquity or even the Renaissance

and so on. And one of the most recognized works in England, which is what we're going to see in this chapter, Neoclassicism in England, is the Antiquities of Athens. They created a book published by James Stuart and Nicholas Rebet where they first show us some images of life in... Greece again with the

ruins, but then there's also a more detailed, more rigorous, more, if you will, scientific work on that architecture that was found here. We see, for example, that not all of them correspond, but those above do, to the Acropolis, the Parthenon, some details of sculptures, columns, etc. And obviously, this has the consequence that

architecture is based on these discoveries. This is what we've seen: historicist architecture. But to go into more detail, we're going to highlight the work of two of these architects: Robert Adam, who is also credited with having his own style, the Adam style. And this is interesting; you can find in some of Collins' chapters

how the word "style" has different exceptions and sometimes refers not to an architecture in a specific period, so it can be the Neo-Gothic style, the Neo- Byzantine style, the Neoclassical style, etc. But sometimes it also refers to a particular person. Adam, for example, or Palladian architecture, in the case of Palladium, and the

other is John Sone, who is actually younger, born later. We'll see him first. Anyway, he has his own house, not like in that one here, the saying "the shoemaker's children go barefoot" doesn't apply here. He builds a neoclassical house that he later donates after his death as a museum, the Architect's Museum, and that is the seed from which

the British Museum will grow years later. We see first the difference that we will find between his engravings. We will see many of these illustrations of an architecture that was no longer intended to be built, where the idealization reaches the limits of the fantastical. But he works for a long time at the Bank of England,

for many years, for decades. He is one of the architects of the Bank of England, generating different reforms, and he leaves us a very interesting engraving. The Bank of England, as you will see, is a magnificent building; it covers an entire city block, if not more. I don't have the dimensions right now. In my memory, but in

the engraving on the right, it's very interesting how he creates an axonometric view of the bank to see how it functioned, how the layout of the bank's interior spaces is surrounded by nature, with what appears to be rain or mist. The surrounding city is very, very blurred to obviously maintain focus on the bank, but the bank seems... I mean, it looks like

ruins. It would seem to be the ruins of the Bank of England, and this isn't an apocalyptic intention or a sign of being tired of working there, but rather this romantic notion, as we saw even within Neoclassicism, the Romanticism of Neoclassicism, of trying to do what Piranesi does, what other illustrators do with

Roman ruins, to do it with the Bank of England itself. So we see these close links between this, this thing that's happening, the journeys of rediscovering ruins, and the architecture that is applied. It doesn't go beyond simply applying or replicating the style; it's precisely like... It is often said that this spirit of the times gives us

gems like these, and in the case of Robert Adam, the connection is even closer because he himself is one of those travelers who recorded and published a work where, for example, he studied the ruins of Diocletian's Palace. Yes, around 1764, he has his engravings and illustrations of ruins he had visited, not only from

classical antiquity but also others that seem to be more medieval. And when he returned to England, he obviously dedicated himself to applying the architecture that he had visited and admired. In this first work, upon his return, he had a minor commission, which was to design the facade of the Admiralty Office building. The building already

existed; he simply added that neoclassical front. But as his stature grew, so did the relevance of his commissions. Here, he used the Arch of Constantine and the Pantheon in Rome for this house that he developed. This is something we saw as recurring in the... Renaissance classicism uses various elements or works from the past and attempts to

transform or adapt them to the architecture of the present. He has a rather extensive repertoire of completed and drawn works. He also works extensively on the reformulation of interior spaces. In this case, he also creates one of the gates for one of the entrance doors. But we see in the plan how he

transforms the square courtyard that the house already had, adding a dome and constructing a sort of circle. He makes various recommendations and adaptations, but he has this quote which is quite interesting because it offers a certain invitation to rethink: "It is more sterile and unpleasant than to see forever the boring repetition of

Doric, Ionic, and Corinthian entablatures in their usual proportions." Why do we say it is a kind of contradiction? Because it conflicts precisely with the idea that Neoclassicism is the discovery of precise rules, etc., and their subsequent application. Robert Adam points out that this would be tedious, so he returns to that same margin of maneuver that

the architects of the time allowed themselves in relation to those classical rules. In the case of Robert Adam, even as a parting note before we see this same thing for France, on one occasion he managed to recover, I believe, some Roman-era columns from the River Thames and applied them in a work, almost as if doing...