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Differences between Neo-Classicism and Baroque
For some it was mass movement against frivolity of baroque and rococo, for other excavation of Herculaneum and Pompeii was an inspiration as much as European publications about ancient world such as ‘The Ruins of Palmyra’ and ‘The Ruins of Baalbek’ written by J. Dawkins and R. Wood or ‘The Antiquities of Athens’ by Stuart and Revett, for example, or perhaps establishment new republics of France or America, for which universal, classical and intellectual model of rules was required?
There is no synonymous answer but social, political as cultural complexity of 18th century in particular countries had a reflection in main motivations of neoclassical movement and next varieties of neo-classical style.
Neoclassicism was present in each kind of art or human activity on material and intellectual level, but one the most spectacular discipline was architecture. First of all, because ancient Roman and Greek buildings were a sources of discovering classical form of ideal, harmony and purity of contemporary artist. Secondly, because of development of wealth of modern Europe with growing consciousness of their citizens in ‘NEW’ countries in the whole world with new politicians visions, demanding many new types of public buildings as town halls, offices, governments buildings, academic institutions, museums and also ‘new’ type of private objects like villas. As we could see, ancient world was not only inspiration for artists. It was also a great example for big ideas of NEW WORLD.
After, over one hundred years of French domination over entire Europe, where despotism was a rule, start of 18th century brought great social, political, cultural and industrial changes for Europe and further. Classical ideas of purity and harmony, restrain and idealism were ideal match up for demanding intellectual independent and enlightened people. Mostly, to describe neoclassical movement in Europe we accept 1750 year as a beginning, but to discuss at least architecture it is necessary to move back nearly 40 years earlier to England, where architect Lord Burlington was studying Palladio’s plans, where in 1715 C. Campbell’s publication ‘Vitruvius Britannicus’ and G. Leoni’s edition of Palladio’s ‘Four Books’ determined English and later European architecture forever. Palladio’s and others’ 17th century architects such as I. Jones ideas were reflected in works of architects like Lord Burlington, who collaborated with William Kent, Colen Campbell and later Robert Adam who was connected with main-stream of Neoclassicism. Palladio’s ‘Villa Rotonda’ was a great inspiration for Burlington’s architecture and others. It represents pure style, symmetrical plan, domed central hall, four porticos entrances with pediments supported by 6 Ionic columns each, completed with 3 statues on the top. Similar ideas of clarity, restrain and great taste could be recognised in works like Burlington House or Chiswick House Villa of Lord Burlington’s, Mereworth Castle and Wanstead House of Colen Campbell. Main principles were harmony and classical proportion, lightness of facades and symmetry. Typical elements were rustication of made facades, smooth and roughly textured with impression of solidity, porticos, and roof balustrades, in most cases, finishes by statues. Facades were created with mathematical precision, with great taste, always divided symmetrically by Ionic or Doric columns or pilasters. ‘Palladian windows’ in which arched opening part in centre was extended by two smaller rectangular, even open windows consisted with architraves springing the arch, supported by two columns each, rusticated arcades, blocked surrounded windows or doors, pedimented with keystones in central were common. It was the time in which baroque was still obligatory style in Europe with its muscular facades because of King’s glory.
First European phase of Neoclassicism comes from France again, where young students of Academie Royale d’Architecture and L’Ecole des Arts were trained at the Academie de France in Rome as well, influenced by artist and communicator Charles-Louisa Clerisseau and German antiquarian scholar Joachima Winckelmana, after ruin of Herculaneum and Pompeii were discovered. Most of artists include architects travelling to Rome and other ancient places in Italy. In neighbourhoods classical ruin of temples or villas, they were studying ideas of antique world and uncovering orders in ancient architecture. First, French theorist and next architects developed the classical principle used by ancient masters known as primitive hut. It was simple structure in which horizontal lintels were supported by vertical elements – columns. On top the lintels, sloping pieces were formed the roof in pediment shape. Part of section of ‘primitive hut’ extended consisted architrave, frieze and cornice composed entablature which was even essential for ancient buildings. Just, this section of ancient buildings used by neoclassical architects, was totally different from baroque constructions. Columns in neoclassicism were used as construction elements of porticos, porticoes fronts as part of entablatures with decorative friezes or as a part of windows or doors to compare in baroque version in which it was only decorative element used for impression. Other important elements were pediments and friezes, finished in carvings, classical key patterns or innovative by particular architects with his own pattern-elements as medallions, scrolling patterns, abacus, and circular wreaths of flowers. Sometimes reliefs were depending on type of building or particular purpose of commissioners (industrialists, bankers, academics or governments institutions) could be named as ‘new patronages’ next to still existed royal’s or pope’s.
As main type of baroque buildings were palaces, chateaus and hotels with heavy ornamented facades, distortion renaissance classical motifs created for glory, reflected dynamism, got up anxiety, in Neoclassicism, villas, town halls, museums or other educational buildings were created with restrain, put main emphasis for nobility and taste. Friezes and roofs were finishes with balustrades, statues of humans and creatures or other very common shape of vase. Most popular order of column was Ionic but Doric, Corinthian or mixed were also used. Neoclassical interiors reflected same classical ideas of beauty and purity as ancient interiors but with new demand for comfort, development of civilization and personal interests. Similar like outside, inside the main elements were columns and number of sculptures which were situated on pedestals or in niches.
Richness of most comfortable furniture, exclusive porcelain homewares from Sevres or Wedgwood manufactures, strong coloured walls always tastefully painted and ornamented ceilings were not only characteristics of neoclassical interiors but were also masterpieces designed and created by neoclassical masters.
About the Author
Christopher Adach