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| pugin contrasts: Contrasts Augustus Welby Northmore Pugin, 1836 |
| pugin contrasts: Contrasts Augustus Welby Northmore Pugin, 2018-10-15 This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. |
| pugin contrasts: The True Principles of Pointed Or Christian Architecture Augustus Welby Northmore Pugin, 1853 |
| pugin contrasts: God's Architect Rosemary Hill, 2008-01-01 God's Architect is the first modern biography of Augustus Welby Northmore Pugin (1812-1852), one of Britain's greatest architects. The author draws on thousands of unpublished letters and drawings to recreate Pugin's life and work as architect, propagandist, and Gothic designer, as well as the turbulent story of his three marriages, the bitterness of his last years, and his sudden death at forty. -- Inside cover. |
| pugin contrasts: Recollections of A. N. Welby Pugin, and His Father Augustus Pugin Benjamin Ferrey, 1861 |
| pugin contrasts: The Nature of Gothic: A Chapter of The Stones of Venice John Ruskin, William Morris, Kelmscott Press, 2022-10-27 This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. |
| pugin contrasts: An Apology for the Revival of Christian Architecture in England Augustus Welby Northmore Pugin, 1843 |
| pugin contrasts: The Rise and Fall of Art Needlework Linda Cluckie, 2008 Cluckie explores the growth and development of Art Embroidery in Britain circa 1870-1890, giving special consideration to the support received from the art establishment in designing for and educating embroiderers. This thesis demonstrates the hidden workforce's contribution to the British economy. |
| pugin contrasts: Microcosm of London Rudolph Ackermann, 1904 |
| pugin contrasts: A Companion to Medieval Art Conrad Rudolph, 2019-05-07 A fully updated and comprehensive companion to Romanesque and Gothic art history This definitive reference brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe and provides a clear analytical survey of what is happening in this major area of Western art history. The volume comprises original theoretical, historical, and historiographic essays written by renowned and emergent scholars who discuss the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Part of the Blackwell Companions to Art History, A Companion to Medieval Art, Second Edition features an international and ambitious range of contributions covering reception, formalism, Gregory the Great, pilgrimage art, gender, patronage, marginalized images, the concept of spolia, manuscript illumination, stained glass, Cistercian architecture, art of the crusader states, and more. Newly revised edition of a highly successful companion, including 11 new articles Comprehensive coverage ranging from vision, materiality, and the artist through to architecture, sculpture, and painting Contains full-color illustrations throughout, plus notes on the book’s many distinguished contributors A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Second Edition is an exciting and varied study that provides essential reading for students and teachers of Medieval art. |
| pugin contrasts: The Collected Letters of A.W.N. Pugin: 1849 to 1850 Augustus Welby Northmore Pugin, 2001 The importance of A. W. N. Pugin (1812-52) in the history of the Gothic Revival, in the development of ecclesiology, in the origins of the Arts and Crafts Movement, and in architectural theory is incontestable. A leading British architect who was also a designer of furniture, textiles, stained glass, metalwork, and ceramics, he is one of the most significant figures of the mid-nineteenth century and one of the greatest designers. His correspondence is important because it provides more insight into the man and more information about his work than any other source. In this volume, the third of five, which spans the years 1846 to 1848, Pugin's two most important churches are completed and the first part of the House of Lords is opened. He makes his only trip to Italy, and he marries for the third time. His correspondence sheds light too on the religious life of the time, especially ecclesiastical politics. --Book Jacket. |
| pugin contrasts: The Cambridge Companion to Medievalism Louise D'Arcens, 2016-03-02 Medievalism - the creative interpretation or recreation of the European Middle Ages - has had a major presence in the cultural memory of the modern West, and has grown in scale to become a global phenomenon. Countless examples across aesthetic, material and political domains reveal that the medieval period has long provided a fund of images and ideas that have been vital to defining 'the modern'. Bringing together local, national and global examples and tracing medievalism's unpredictable course from early modern poetry to contemporary digital culture, this authoritative Companion offers a panoramic view of the historical, aesthetic, ideological and conceptual dimensions of this phenomenon. It showcases a range of critical positions and approaches to discussing medievalism, from more 'traditional' historicist and close-reading practices through to theoretically engaged methods. It also acquaints readers with key terms and provides them with a sophisticated conceptual vocabulary for discussing the medieval afterlife in the modern. |
| pugin contrasts: True Principles A.W. Pugin, Augustus Welby Northmore Pugin, 2003 True Principles of Pointed or Christian Architecture was first published in 1841, when Pugin was 29 years old. Here he presents coherent arguments for the revival of the Gothic style, the case for which he had made pictorally in his sensational book Contrasts (1836). For Pugin, the Gothic Revival was 'not a style, but a principle' and this he laid down in his most influential architectural treatise, True Principles, which introduced functionalist and rationalist as well as moral criteria into architectural discourse, much of it still resonant in the twentieth-century Modern Movement. It is reprinted together with his Apology for the Revival of Christian Architecture, first printed in 1843. Much of his thought here is on architectural education, and in shuffling off the straitjacket of neoclassical architectural principles Pugin exercised a great influence in mid-Victorian architecture and the applied arts, and in a wider design reform movement. These two seminal books, presented in one volume, are introduced by the architectural historian and Pugin authority Dr Roderick O'Donnell |
| pugin contrasts: A.W.N. Pugin Augustus Welby Northmore Pugin, Megan Aldrich, Megan Brewster Aldrich, Paul Atterbury, Barry Bergdoll, Margaret H. Floyd, Bard Graduate Center for Studies in the Decorative Arts, 1995-01-01 Pub. for Bard Grad. Ctr. for Studies in Decorative Arts, NY, Exhibition catalog. |
| pugin contrasts: Contrasts Augustus Welby Northmore Pugin, 1841 With an additional titlepage, engraved. |
| pugin contrasts: Loudon's Architectural Magazine John Claudius Loudon, 1837 |
| pugin contrasts: Recollections of A. N. Welby Pugin, and His Father Augustus Pugin. With Notices of Their Works. ... With an Appendix by E. S. Purcell Benjamin FERREY, 1861 |
| pugin contrasts: The Illustrator and the Book in England from 1790 to 1914 Gordon Norton Ray, 1991-01-01 Combines essays, bibliographical descriptions, and 295 illustrations to chronicle a golden era in the art of the illustrated book. Artists range from Blake, Turner, Rowlandson, and Morris to Caldecott, Greenaway, Beardsley, and Rackham. |
| pugin contrasts: Classical Constructions S. J. Heyworth, 2007-10-04 Classical Constructions is a collection of ground-breaking and scholarly papers on Latin literature by a number of distinguished Classicists, produced in memory of Don Fowler, who died in 1999 at the age of 46. The authors were all inspired by the desire to commemorate a beloved colleague and friend and have produced papers of great freshness and insight. The essays, including that by Don Fowler himself, are much concerned with the reception of the classical world, extending into the realms of modern philosophy, art history, and cultural studies. There are fundamental studies of Horace's style and Ovid's exile. The volume is unusual in the informality of the style of a number of pieces, and the openness with which the contributors have reminisced about the honorand and reflected on his early death. |
| pugin contrasts: Reply to “Contrasts,” by A. W. Pugin. By an Architect , 1837 |
| pugin contrasts: Beyond Arthurian Romances J. Palmgren, L. Holloway, 2005-06-03 Leaving the traditional focus on Arthurian romance and Gothic tales, the essays in this collection address how the Victorians looked back to the Middle Ages to create a sense of authority for their own ideas in areas such as art, religion, gender expectations, and social services. This book will interest specialists in the Victorian period from various fields and will also be a welcome addition to any library serving substantial humanities divisions. Because of the interdisciplinary nature of the essays, this collection would be useful in a wide range of humanities classes beyond the traditional literature class. |
| pugin contrasts: Power and Pauperism Felix Driver, 2004-08-26 A new perspective on the place of the workhouse in the history and geography of nineteenth-century society and social policy. |
| pugin contrasts: Painting the Sacred in the Age of Romanticism Cordula Grewe, 2017-07-05 After a century of Rationalist scepticism and political upheaval, the nineteenth century awakened to a fierce battle between the forces of secularization and the crusaders of a Christian revival. From this battlefield arose an art movement that would become the torchbearer of a new religious art: Nazarenism. From its inception in the Lukasbund of 1809, this art was controversial. It nonetheless succeeded in becoming a lingua franca in religious circles throughout Europe, America, and the world at large. This is the first major study of the evolution, structure, and conceptual complexity of this archetypically nineteenth-century language of belief. The Nazarene quest for a modern religious idiom evolved around a return to pre-modern forms of biblical exegesis and the adaptation of traditional systems of iconography. Reflecting the era's historicist sensibility as much as the general revival of orthodoxy in the various Christian denominations, the Nazarenes responded with great acumen to pressing contemporary concerns. Consequently, the artists did not simply revive Christian iconography, but rather reconceptualized what it could do and say. This creativity and flexibility enabled them to intervene forcefully in key debates of post-revolutionary European society: the function of eroticism in a Christian life, the role of women and the social question, devotional practice and the nature of the Church, childhood education and bible study, and the burning issue of anti-Judaism and modern anti-Semitism. What makes Nazarene art essentially Romantic is the meditation on the conditions of art-making inscribed into their appropriation and reinvention of artistic tradition. Far from being a reactionary move, this self-reflexivity expresses the modernity of Nazarene art. This study explores Nazarenism in a series of detailed excavations of central works in the Nazarene corpus produced between 1808 and the 1860s. The result is a book about the possibility of religious meanin |
| pugin contrasts: Stained glass and the Victorian Gothic revival Jim Cheshire, 2017-06-01 Stained glass reached the height of its popularity in the Victorian period. But how did it become so popular and who was involved in this remarkable revival? The enthusiasm for these often exquisite pieces of artwork spread from specialist groups of antiquarians and architects to a much wider section of the Victorian public. By looking at stained glass from the perspective of both glass-painter and patron, and by considering how stained glass was priced, bought and sold, this enlightening study traces the emergence of the market for stained glass in Victorian England. Thus it contains new insights into the Gothic Revival and the relationship between architecture and the decorative arts. Beautifully illustrated with colour plates and black and white illustrations, this book will be valuable to those interested in stained glass and the wider world of Victorian art. |
| pugin contrasts: Signs for the Times Chris Brooks, 2016-07-01 First published in 1984. Signs for the Times explores imaginative and creative relationships between three major areas of mid-Victorian arts: literature, painting and architecture. Through the detailed critical analysis of particular novels, prose writings, paintings and buildings, Chris Brooks establishes a fusion of realistic and symbolic values that he sees as central to the Victorian creative imagination. He argues that the creative achievement of the mid-nineteenth century needs to be seen far more as a whole than it has previously, and that fundamental imaginative terms are common to art and architecture, to major theoretical writers such as Carlyle, Ruskin and Rugin as well as to the central literary figure of Dickens. All those interested in literature, art, or architecture will welcome this interpretation of symbolic realism within the mid-Victorian world. |
| pugin contrasts: Thinking with History Carl E. Schorske, 2014-07-14 In this book, the distinguished historian Carl Schorske--author of the Pulitzer Prize-winning Fin-de-Siécle Vienna--draws together a series of essays that reveal the changing place of history in nineteenth-and twentieth-century cultures. In most intellectual and artistic fields, Schorske argues, twentieth-century Europeans and Americans have come to do their thinking without history. Modern art, modern architecture, modern music, modern science--all have defined themselves not as emerging from or even reacting against the past, but as detached from it in a new, autonomous cultural space. This is in stark contrast to the historicism of the nineteenth century, he argues, when ideas about the past pervaded most fields of thought from philosophy and politics to art, music, and literature. However, Schorske also shows that the nineteenth century's attachment to thinking with history and the modernist way of thinking without history are more than just antitheses. They are different ways of trying to address the problems of modernity, to give shape and meaning to European civilization in the era of industrial capitalism and mass politics. Schorske begins by reflecting on his own vocation as it was shaped by the historical changes he has seen sweep across political and academic culture. Then he offers a European sampler of ways in which nineteenth-century European intellectuals used conceptions of the past to address the problems of their day: the city as community and artifact; the function of art; social dislocation. Narrowing his focus to Fin-de-Siécle Vienna in a second group of essays, he analyzes the emergence of ahistorical modernism in that city. Against the background of Austria's persistent, conflicting Baroque and Enlightenment traditions, Schorske examines three Viennese pioneers of modernism--Adolf Loos, Gustav Mahler, and Sigmund Freud--as they sought new orientation in their fields. In a concluding essay, Schorske turns his attention to thinking about history. In the context of a postmodern culture, when other disciplines that had once abandoned history are discovering new uses for it, he reflects on the nature and limits of history for the study of culture. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. |
| pugin contrasts: Reinventing Medieval Liturgy in Victorian England David Jasper, Jeremy J. Smith, 2023 In 1879, Canon Thomas Frederick Simmons edited the late medieval poem now known as The Lay Folks' Mass Book creating what remains the standard edition of the text. This volume shows how Simmons' interest in the text was related profoundly to contemporary debates about worship in the Church of England, and how he used his medievalist researches as the basis for the most important attempt at Prayer Book revision between the Reformation and the twentieth century. |
| pugin contrasts: A.W.N. Pugin David Frazer Lewis, 2021-03-01 A.W.N. Pugin transformed the Gothic Revival from an architectural style into an international movement. He decorated and furnished the Houses of Parliament, creating one of the icons of modern British identity in the process. His church designs were vastly influential, and although he was staunchly Roman Catholic, he did much to set the aesthetic tone of modern Anglicanism. The house he designed for himself at Ramsgate transformed the Victorian Gothic villa, demonstrating the ways a thoroughly modern house could draw integral lessons from the Middle Ages. And although his whole ideal was woven around a conception of English identity, his influence was international. Architects in the United States, northern Europe, and across the British Empire followed his lead, drawing from elements of his aesthetic and ideals, and in doing so, altered the look and feel of the nineteenth-century city. Despite the popularity of Pugin’s work, this is the first single-volume overview of his architecture to be published since 1971. It summarises much new scholarship and provides a good introduction to his career as well as new insight for those who might already be familiar with it. |
| pugin contrasts: Stained Glass and the Victorian Gothic Revival Jim Cheshire, 2004 By looking at stained glass from the perspective of both glass-painter and patron, and by considering how stained glass was priced, bought and sold, this enlightening study traces the emergence of the market for stained glass in Victorian England. Thus it contains new insights into the Gothic Revival and the relationship between architecture and the decorative arts.Beautifully illustrated with color plates and black and white illustrations, this book will be valuable to those interested in stained glass and the wider world of Victorian art. |
| pugin contrasts: The Oxford Handbook of Victorian Medievalism Joanne Parker, Corinna Wagner, 2020-09-15 In 1859, the historian Lord John Acton asserted: 'two great principles divide the world, and contend for the mastery, antiquity and the middle ages'. The influence on Victorian culture of the 'Middle Ages' (broadly understood then as the centuries between the Roman Empire and the Renaissance) was both pervasive and multi-faceted. This 'medievalism' led, for instance, to the rituals and ornament of the Medieval Catholic church being reintroduced to Anglicanism. It led to the Saxon Witan being celebrated as a prototypical representative parliament. It resulted in Viking raiders being acclaimed as the forefathers of the British navy. And it encouraged innumerable nineteenth-century men to cultivate the superlative beards we now think of as typically 'Victorian'—in an attempt to emulate their Anglo-Saxon forefathers. Different facets of medieval life, and different periods before the Renaissance, were utilized in nineteenth-century Britain for divergent political and cultural agendas. Medievalism also became a dominant mode in Victorian art and architecture, with 75 per cent of churches in England built on a Gothic rather than a classical model. And it was pervasive in a wide variety of literary forms, from translated sagas to pseudo-medieval devotional verse to triple-decker novels. Medievalism even transformed nineteenth-century domesticity: while only a minority added moats and portcullises to their homes, the medieval-style textiles produced by Morris and Co. decorated many affluent drawing rooms. The Oxford Handbook of Victorian Medievalism is the first work to examine in full the fascinating phenomenon of 'medievalism' in Victorian Britain. Covering art, architecture, religion, literature, politics, music, and social reform, the Handbook also surveys earlier forms of antiquarianism that established the groundwork for Victorian movements. In addition, this collection addresses the international context, by mapping the spread of medievalism across Europe, South America, and India, amongst other places. |
| pugin contrasts: Gothic Antiquity Dale Townshend, 2019-09-26 Gothic Antiquity: History, Romance, and the Architectural Imagination, 1760-1840 provides the first sustained scholarly account of the relationship between Gothic architecture and Gothic literature (fiction; poetry; drama) in the late eighteenth and early nineteenth centuries. Although the relationship between literature and architecture is a topic that has long preoccupied scholars of the literary Gothic, there remains, to date, no monograph-length study of the intriguing and complex interactions between these two aesthetic forms. Equally, Gothic literature has received only the most cursory of treatments in art-historical accounts of the early Gothic Revival in architecture, interiors, and design. In addressing this gap in contemporary scholarship, Gothic Antiquity seeks to situate Gothic writing in relation to the Gothic-architectural theories, aesthetics, and practices with which it was contemporary, providing closely historicized readings of a wide selection of canonical and lesser-known texts and writers. Correspondingly, it shows how these architectural debates responded to, and were to a certain extent shaped by, what we have since come to identify as the literary Gothic mode. In both its 'survivalist' and 'revivalist' forms, the architecture of the Middle Ages in the long eighteenth century was always much more than a matter of style. Incarnating, for better or for worse, the memory of a vanished 'Gothic' age in the modern, enlightened present, Gothic architecture, be it ruined or complete, prompted imaginative reconstructions of the nation's past--a notable 'visionary' turn, as the antiquary John Pinkerton put it in 1788, in which Gothic writers, architects, and antiquaries enthusiastically participated. The volume establishes a series of dialogues between Gothic literature, architectural history, and the antiquarian interest in the material remains of the Gothic past, and argues that these discrete yet intimately related approaches to vernacular antiquity are most fruitfully read in relation to one another. |
| pugin contrasts: Recollections of A.N. Welby Pugin Benjamin Ferrey, 2022-06-25 Reprint of the original, first published in 1861. |
| pugin contrasts: Catholic Converts Patrick Allitt, 2018-08-06 From the early nineteenth to the mid-twentieth century, an impressive group of English speaking intellectuals converted to Catholicism. Outspoken and gifted, they intended to show the fallacies of religious skeptics and place Catholicism, once again, at the center of western intellectual life. The lives of individual converts—such as John Henry Newman, G. K. Chesterton, Thomas Merton, and Dorothy Day—have been well documented, but Patrick Allitt has written the first account of converts' collective impact on Catholic intellectual life. His book is also the first to characterize the distinctive style of Catholicism they helped to create and the first to investigate the extensive contacts among Catholic convert writers in the United States and Britain. Allitt explains how, despite the Church's dogmatic style and hierarchical structure, converts working in the areas of history, science, literature, and philosophy maintained that Catholicism was intellectually liberating. British and American converts followed each other's progress closely, visiting each other and sending work back and forth across the Atlantic. The outcome of their labors was not what the converts had hoped. Although they influenced the Catholic Church for three or four generations, they were unable to restore it to the central place in Western intellectual life that it had enjoyed before the Reformation. |
| pugin contrasts: A World History of Architecture Marian Moffett, Michael W. Fazio, Lawrence Wodehouse, 2003 The Roman architect and engineer Vitruvius declared firmitas, utilitas, and venustas-firmness, commodity, and delight- to be the three essential attributes of architecture. These qualities are brilliantly explored in this book, which uniquely comprises both a detailed survey of Western architecture, including Pre-Columbian America, and an introduction to architecture from the Middle East, India, Russia, China, and Japan. The text encourages readers to examine closely the pragmatic, innovative, and aesthetic attributes of buildings, and to imagine how these would have been praised or criticized by contemporary observers. Artistic, economic, environmental, political, social, and technological contexts are discussed so as to determine the extent to which buildings met the needs of clients, society at large, and future generations. |
| pugin contrasts: The British Critic, and Quarterly Theological Review , 1839 |
| pugin contrasts: Art in an Age of Counterrevolution, 1815-1848 Albert Boime, 2004-08-18 Art for art's sake. Art created in pursuit of personal expression. In Art in an Age of Counterrevolution, Albert Boime rejects these popular modern notions and suggests that history—not internal drive or expressive urge—as the dynamic force that shapes art. This volume focuses on the astonishing range of art forms currently understood to fall within the broad category of Romanticism. Drawing on visual media and popular imagery of the time, this generously illustrated work examines the art of Romanticism as a reaction to the social and political events surrounding it. Boime reinterprets canonical works by such politicized artists as Goya, Delacroix, Géricault, Friedrich, and Turner, framing their work not by personality but by its sociohistorical context. Boime's capacious approach and scope allows him to incorporate a wide range of perspectives into his analysis of Romantic art, including Marxism, social history, gender identity, ecology, structuralism, and psychoanalytic theory, a reach that parallels the work of contemporary cultural historians and theorists such as Edward Said, Pierre Bourdieu, Eric Hobsbawm, Frederic Jameson, and T. J. Clark. Boime ultimately establishes that art serves the interests and aspirations of the cultural bourgeoisie. In grounding his arguments on their work and its scope and influence, he elucidates how all artists are inextricably linked to history. This book will be used widely in art history courses and exert enormous influence on cultural studies as well. |
| pugin contrasts: Serial Forms Clare Pettitt, 2020-06-03 Serial Forms: The Unfinished Project of Modernity, 1815-1848 proposes an entirely new way of reading the transition into the modern. It is the first book in a series of three which will take the reader up to the end of the First World War, moving from a focus on London to a global perspective. Serial Forms sets out the theoretical and historical basis for all three volumes. It suggests that, as a serial news culture and a stadial historicism developed together between 1815 and 1848, seriality became the dominant form of the nineteenth century. Through serial newsprint, illustrations, performances, and shows, the past and the contemporary moment enter into public visibility together. Serial Forms argues that it is through seriality that the social is represented as increasingly politically urgent. The insistent rhythm of the serial reorganizes time, recalibrates and rescales the social, and will prepare the way for the 1848 revolutions which are the subject of the next book. By placing their work back into the messy print and performance culture from which it originally appeared, Serial Forms is able to produce new and exciting readings of familiar authors such as Scott, Byron, Dickens, and Gaskell. Rather than offering a rarefied intellectual history or chopping up the period into 'Romantic' and 'Victorian', Clare Pettitt tracks the development of communications technologies and their impact on the ways in which time, history and virtuality are imagined. |
| pugin contrasts: The Lamp of Memory Michael Wheeler, Nigel Whiteley, 1992 |
| pugin contrasts: Detailing Worlds Eric Bellin, 2025-02-06 In the 21st century, the word detail appears constantly in discussions of building, and we use it in many different ways-yet just over 250 years ago, detail meant nothing at all particular to the work of architects, engineers, or builders. Detailing Worlds is the first book to examine the origins and evolution of detail as a concept with meanings specific to practices of building. By exploring how past meanings and roles were ascribed to detail in different worlds of practice-those of academics, technicians, students, engineers, and architects-Detailing Worlds looks to the future, illuminating the ways disciplinary knowledge and the concepts on which it is based evolve and change over time. It is a story about how such concepts are slowly but constantly reconceived, redefined, and transformed by individuals as they interact with one another, and how this process is shaped by the ever-changing sociocultural and technological dimensions of the world around us. Richly illustrated with more than 200 images, including figures from rare texts, archival student drawings, and practitioners' construction documents from the 18th through 20th centuries, Detailing Worlds ventures to tell the history of a disciplinary-specific idea and offer insights about how we think and speak about the practice of building today. |
| pugin contrasts: British Critic , 1839 |
A.W.N. Pugin - Bard Graduate Center
Sep 23, 2024 · Augustus Welby Northmore Pugin was one of the most influential architects and designers of the nineteenth century, a man whose ideas and design principles were adopted …
A. W. N. Pugin and the Progress of Design as Applied to …
Sep 23, 2024 · Pugin’s unerring eye for pattern and color enabled him to adapt natural forms appropriately to produce brilliantly innovative flat pattern which would lay the foundations on …
A.W.N. Pugin - Bard Graduate Center
A.W.N. Pugin: Master of Gothic Revival was the first American retrospective dedicated to showcasing the work of the innovative English designer and architect Augustus Welby …
BY ALLISON ECKARDT LEDES A. W. N. Pugin and the …
Pugin was never formally educated, although his father was a draftsman for the well-known architect John Nash (1752-1835). For the design of his own house near Salisbury, which …
PAGEr6r&°67 A.W.N. Pugin - Bard College
Jan 19, 1996 · The Pugin exhibition is ac companied by a 420-page cata logue illustrated with 195 color plates and 230 black-and-white photographs. A.W.N. Pugin: lUaster of Gothic …
SECTION Revisiting the Gothic Passion of Pugin - Bard College
Nov 16, 1995 · Pugin, shown below, was ex tremely versa tile, designing, from left, a glazed garden seat, the interi or of the House of Lords and wallpaper for the Palace of Westminster.
Design Reform in Britain: From Pugin to Mackintosh
Design Reform in Britain: From Pugin to Mackintosh Fired by a concern that British exports were suffering in the international market, the British government launched a campaign in the 1830s …
A.W.N. lJuotn - Bard College
The career of A.W.N. Pugin (1 812-1852) will be celebrated at the Bard Graduate Center with an exhibition featuring 144 examples of Pugin's ceramics, furniture, metalwork, textiles, …
ART MAR(STEVENK S . Gothic Romance
Jan 29, 1996 · For Pugin, Gothic design was a way to challenge the increasingly abstract char acter of modern life. He disliked "the classical" partly because it seemed to him an imported …
REVIVED - Bard College
82 A.W.N. Pugin Master of Gothi* c Itevival The Bard Graduate Center tor Studies in tlie Decorative Arts 18 West 86th Street New York, NY 10024 212-501-3000 Until February 25, …
A.W.N. Pugin - Bard Graduate Center
Sep 23, 2024 · Augustus Welby Northmore Pugin was one of the most influential architects and designers of the nineteenth century, a man whose ideas and design principles were adopted …
A. W. N. Pugin and the Progress of Design as Applied to …
Sep 23, 2024 · Pugin’s unerring eye for pattern and color enabled him to adapt natural forms appropriately to produce brilliantly innovative flat pattern which would lay the foundations on …
A.W.N. Pugin - Bard Graduate Center
A.W.N. Pugin: Master of Gothic Revival was the first American retrospective dedicated to showcasing the work of the innovative English designer and architect Augustus Welby …
BY ALLISON ECKARDT LEDES A. W. N. Pugin and the Gothic …
Pugin was never formally educated, although his father was a draftsman for the well-known architect John Nash (1752-1835). For the design of his own house near Salisbury, which paved …
PAGEr6r&°67 A.W.N. Pugin - Bard College
Jan 19, 1996 · The Pugin exhibition is ac companied by a 420-page cata logue illustrated with 195 color plates and 230 black-and-white photographs. A.W.N. Pugin: lUaster of Gothic Revivalwas …
SECTION Revisiting the Gothic Passion of Pugin - Bard College
Nov 16, 1995 · Pugin, shown below, was ex tremely versa tile, designing, from left, a glazed garden seat, the interi or of the House of Lords and wallpaper for the Palace of Westminster.
Design Reform in Britain: From Pugin to Mackintosh
Design Reform in Britain: From Pugin to Mackintosh Fired by a concern that British exports were suffering in the international market, the British government launched a campaign in the 1830s …
A.W.N. lJuotn - Bard College
The career of A.W.N. Pugin (1 812-1852) will be celebrated at the Bard Graduate Center with an exhibition featuring 144 examples of Pugin's ceramics, furniture, metalwork, textiles, woodwork, …
ART MAR(STEVENK S . Gothic Romance
Jan 29, 1996 · For Pugin, Gothic design was a way to challenge the increasingly abstract char acter of modern life. He disliked "the classical" partly because it seemed to him an imported …
REVIVED - Bard College
82 A.W.N. Pugin Master of Gothi* c Itevival The Bard Graduate Center tor Studies in tlie Decorative Arts 18 West 86th Street New York, NY 10024 212-501-3000 Until February 25, …
