Related Papers
CAA Reviews
Review of Yves Pauwels L’Architecture et le livre en France à la Renaissance: “Une magnifique décadence”?
2015 •
Elisabeth Narkin
“The Raison d’architecture and Architectural ‘Theory’ in Early Sixteenth-Century France,” Renaissance and Reformation 27 (2003): 115-43.
Sandra Richards
Cet article analyse le premier traité d'architecture écrit en français, La Raison d'architecture antique, extraicte de Vitruve (Paris, 1537), un opuscule sur la question des ordres classiques. Malgré son immense popularité au milieu du XVI e siècle, on lui a consacré peu d'études, sans doute en raison du fait qu'il s'agit d'une traduction de la première édition du Medidas del Romano de Diego de Sagredo, texte lui-même obscur. Cependant plusieurs modifications du texte et des illustrations indiquent une réécriture de l'oeuvre source, dont les implications éclairent notre compréhension de l'architecture de cette époque.
L\u27Affaire des Princes : Baroque Architecture and Factional Politics in Regency Paris, 1715-1723
2014 •
Jordan Hallmark
It has long been noted by architectural historians that the exuberant stylistic idiom of the Roman Baroque, which spread throughout most of Europe in the seventeenth and early eighteenth centuries, failed to exert much of an influence on the architecture of early modern France. Scholars have traditionally interpreted this failure as a conscious rejection of the Roman Baroque style on the part of the French monarchy, which, with the rise of royal absolutism during the personal reign of Louis XIV (1661-1715) , adopted the classical style of architecture and design as a formal language with which to assert the absolute authority of the French Bourbon dynasty. Although a considerable body of recent scholarship has sought to reevaluate the impact of the Roman Baroque movement on the architecture of early modern France, the majority of these studies take a strictly formalist approach, examining the presence of Baroque formal elements in French architecture as isolated cases of Italian sty...
“Before the Academy: Research Trends in the History of French Early Modern Architecture before the Age of Louis XIV,” Perspective 2013 n. 1: 43–65
Sara Galletti
jean-Philippe Garric
Building Knowledge, Constructing Histories
Accouplement: vicissitudes of an architectural motif in classical France
2018 •
Pedro P Palazzo
Coupled columns in French architecture and the reaction to their use from the Renaissance up to the classical rationalism of the early twentieth century hinged on the debates regarding the relation- ship between structural stability and visual delight, over the backdrop of the search for a national classical tradition. This architectural motif was variously put forward under the argument of the load-bearing performance of materials, as a logical derivation of column spacing rules in the classical canon, or even as a reinterpretation of gothic bundled piers. The practical usefulness and moral suitability of iron reinforce- ment in the wide spans entailed by coupled columns accompanied these debates from the seventeenth- century Louvre Colonnade up to Perret’s case for the monumental use of reinforced concrete.
Journal of Art Historiography
Beds and thrones: the reform of aulic space in late eighteenth-century France
2013 •
Jean-François Bédard
Studies in Eighteenth Century Culture 36, no. 1 (2007): 235-59.
The hut and the altar: architectural origins and the public sphere in eighteenth-century France
2007 •
Richard Wittman
IKON
Architecture as Portrait: Exotism and the Royal Character of the Louvre, 1380–1668
2012 •
Pedro P Palazzo
The architectural evolution of the Louvre between the 15th and 17th centuries is characterized by systematic attempts to single out the building against the broader context of French styles. In the 15th and early 16th centuries, this is achieved by producing grander and more elaborate versions of then-current French architectural solutions. From the late 16th century on, the affectation of an Italian manner becomes the most significant way of achieving this distinction. This article goes over the interventions on the Louvre under Charles V, Francis I, and Henry IV, then stresses the importance of resorting to an Italian style in the process of building Louis XIV’s East façade. Its famous colonnade, before coming to be seen as a hallmark of French classicism, owes its existence to the intent of differentiating the King’s palace from then-prevalent standards of French aristocratic architecture, thus marking the monarch’s uniqueness.
Reaching the Edge of Infinity: Philosophical, Theological, and Aesthetic Discourse on the Theory of the Sublime in Nineteenth-Century France
Michaela Eskew
This paper will attend to the nineteenth-century cultural and theological milieu of fin-de-siècle France, focusing specifically on the theological, philosophical, and artistic interpretations of the theory of the sublime. Since the major writers of the sublime (Edmund Burke, Immanuel Kant, and Arthur Schopenhauer) are writing in the eighteenth century from England and Germany, this paper will focus upon these authors’ influences upon the aesthetic and theological thinkers of France in the nineteenth-century (Victor Hugo and Charles Baudelaire). In addition to the written sources listed above, this paper will draw from various nineteenth-century landscape pieces, from France specifically, but also Europe overall, to debate the conflict between mankind and nature as exemplified in these theories of the sublime. The paper will contend that the spiritual struggles of nineteenth-century Europe are to be found in the aesthetic products of this period, particularly in representations of the sublime landscape.
