Traditions in Art, Architecture, Design and the Making of Artifacts, Part 16

Question 1: Discuss the different types of landscape scenes common to Dutch landscape painting.

Answer 1: The Dutch were prolific landscape artists who worked on a variety of subjects. Among these were:Panoramas – featured vast plains stretching into the distance; characteristic of Dutch terrainWoods – representations of entire forests under a variety of interpretationsDunes and Country Roads – depictions of villages, trees, dunes, farms and roads Rivers and Canals – depictions of the vast waterways that traverse HollandBeaches – became a popular subject late in the 17th century; was a backdrop in much earlier workWinter – depictions of winter scenes, ice skating, fallen snow, etc.Sea – featured distant views of towns from sea, as well as nearby buildings and streetsNocturnal Views – allowed for experimentation with various effects regarding moonlight, fire and reflections; depicted normal activities of people at night – fishing, walking, etc.Views of Foreign Lands – Dutch painters were frequent travelers, particularly to Italy, Germany, Scandinavia, Brazil and Tyrol Imaginary Views – fanciful works intended to evoke a variety of moods including awe and melancholy; affirming the regularity and certainty of nature rather than its harsher, more violent aspects.

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Question 2: The period beginning in the mid-18th century following the demise of Baroque and Rococo styles has been referred to as the Classic Revival. Discuss this period and the style exemplified by it.

Answer 2: The Western Classic Revival or Neoclassicism began as a resurrection of Roman architectural form through about 1815 when it was replaced with a Greek style thereafter.The entire movement was promoted by continued archeological discovery as much as an increased interest on the part of society at the time in the ancient ruins of Rome and Greece. Work of the period exhibits a blend of both fact and Romantic idealism. An example of this is the Doric Temple at Hagley Park in Worcestershire, England. Completed in 1759 by James Stuart, it appears designed as if already in a state of ruin.Indeed, the ruinous appearance of ancient structures served as an inspiration for otherwise unrelated works such as those of Italian architect and engraver, Giovanni Battista Piranesi. His Carceri (Prisons) published in 1750 is considered an imaginative piece based upon themes suggested by the enormous vaults of Roman ruins.

Question 3: Explain the importance of the mid-18th century publications, “The Antiquities of Athens” and “Ruins of the Palace of the Emperor Diocletian at Spalatro”.

Answer 3: Publications began to appear around 1748 describing the sculptures, paintings and household furnishings discovered at Pompeii and Herculaneum.Following this, English architects James Stuart and Nicholas Revett visited Greece to study and sketch ancient ruins for their publication, “The Antiquities of Athens”. Views of the sites in their existing, decayed condition were drawn as well as views of many of the structures in a restored state according to the authors’ theorization. Robert Adam, another English architect, visited Dalmatia where he made a study of the largest known example of surviving Roman domestic architecture. His publication, “Ruins of the Palace of the Emperor Diocletian at Spalatro” contains engravings of Roman decorative designs that would ultimately serve as a basis for much of his later work.These publications and others were common to the private libraries of the period and were instrumental in influencing the patronage of the time.

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