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    Neo Renaissance

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    pujari sai kumar babu
    The Neo-Renaissance style first emerged in the 1840s and was popular across Europe and North America in the late 19th century. Some key characteristics included the use of motifs from 15th century Italian architecture by architects like Alberti, including rusticated masonry and quoins. Major buildings in the style included the Peace Palace in the Netherlands (1913) and numerous public and institutional buildings across Germany, Hungary, Russia, and the United States in the later 1800s. Wealthy Americans adapted the style for large mansions like The Breakers in Newport, Rhode Island (1892). By the early 20th century, the style had declined in popularity.

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    Neo Renaissance

    Uploaded by

    pujari sai kumar babu
    186 views3 pages
    The Neo-Renaissance style first emerged in the 1840s and was popular across Europe and North America in the late 19th century. Some key characteristics included the use of motifs from 15th century Italian architecture by architects like Alberti, including rusticated masonry and quoins. Major buildings in the style included the Peace Palace in the Netherlands (1913) and numerous public and institutional buildings across Germany, Hungary, Russia, and the United States in the later 1800s. Wealthy Americans adapted the style for large mansions like The Breakers in Newport, Rhode Island (1892). By the early 20th century, the style had declined in popularity.

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    Neo renaissance

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    The Neo-Renaissance style first emerged in the 1840s and was popular across Europe and North America in the late 19th century. Some key characteristics included the use of motifs from 15th century Italian architecture by architects like Alberti, including rusticated masonry and quoins. Major buildings in the style included the Peace Palace in the Netherlands (1913) and numerous public and institutional buildings across Germany, Hungary, Russia, and the United States in the later 1800s. Wealthy Americans adapted the style for large mansions like The Breakers in Newport, Rhode Island (1892). By the early 20th century, the style had declined in popularity.

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    © All Rights Reserved
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    186 views3 pages

    Neo Renaissance

    Uploaded by

    pujari sai kumar babu
    The Neo-Renaissance style first emerged in the 1840s and was popular across Europe and North America in the late 19th century. Some key characteristics included the use of motifs from 15th century Italian architecture by architects like Alberti, including rusticated masonry and quoins. Major buildings in the style included the Peace Palace in the Netherlands (1913) and numerous public and institutional buildings across Germany, Hungary, Russia, and the United States in the later 1800s. Wealthy Americans adapted the style for large mansions like The Breakers in Newport, Rhode Island (1892). By the early 20th century, the style had declined in popularity.

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    As a consequence, a self-consciously "Neo-Renaissance" manner first began to appear circa

    1840. By 1890 this movement was already in decline. The Hague's Peace Palace completed in
    1913, in a heavy French Neo-Renaissance manner was one of the last notable buildings in this
    style.
    Charles Barry introduced the Neo-Renaissance to England with his design of the Travellers
    Club, Pall Mall (1829–1832). Other early but typical, domestic examples of the Neo-Renaissance
    include Mentmore Towers and the Château de Ferrières, both designed in the 1850s by Joseph
    Paxton for members of the Rothschild banking family. The style is characterized by original
    Renaissance motifs, taken from such Quattrocento architects as Alberti. These motifs
    included rusticated masonry and quoins, windows framed by architraves and doors crowned
    by pediments and entablatures. If a building were of several floors, the uppermost floor usually
    had small square windows representing the minor mezzanine floor of the original Renaissance
    designs. However, the Neo-renaissance style later came to
    incorporate Romanesque and Baroque features not found in the original Renaissance
    architecture which was often more severe in its design. John Ruskin's panegyrics to architectural
    wonders of Venice and Florence in the 1850s contributed to shifting "the attention of scholars
    and designers, with their awareness heightened by debate and restoration work"[3] from Late
    Neoclassicism and Gothic Revival to the Italian Renaissance.
    Like all architectural styles, the Neo-Renaissance did not appear overnight fully formed but
    evolved slowly. One of the first signs of its emergence was the Würzburg Women's Prison, which
    was erected in 1809 designed by Peter Speeth. It included a heavily rusticated ground floor,
    alleviated by one semicircular arch, with a curious Egyptian style miniature portico above, high
    above this were a sequence of six tall arched windows and above these just beneath the slightly
    projecting roof were the small windows of the upper floor. This building foreshadows similar
    effects in the work of the American architect Henry Hobson Richardson whose work in the Neo-
    Renaissance style was popular in the USA during the 1880s. Richardson's style at the end or the
    revival era was a severe mix of both Romanesque and Renaissance features.[2]:300–318 This was
    exemplified by his "Marshall Field Warehouse" in Chicago (completed in 1887, now demolished).
    Neo-Renaissance was adopted early in Munich, often based directly on Italian Palazzi, first
    appearing in the Palais Leuchtenberg (1817–21), by Leo von Klenze, then adopted as a state
    style under the reign of Ludwig I of Bavaria for such landmarks as the Alte Pinakothek (1826–
    36), the Konigbau wing of the Munich Residenz (1825–35), and the Bavarian State
    Library (1831–43).
    While the beginning of Neo-Renaissance period can be defined by its simplicity and severity,
    what came later was far more ornate in its design. This period can be defined by some of the
    great opera houses of Europe, such as Gottfried Semper's Burgtheater in Vienna, and his Opera
    house in Dresden. This ornate form of the Neo-Renaissance, originating from France,[2]:311 is
    sometimes known as the "Second Empire" style, by now it also incorporated
    some Baroque elements. By 1875 it had become the accepted style in Europe for all public and
    bureaucratic buildings.[2]:p. 311; caption 938 In England, where Sir George Gilbert Scott designed the
    London Foreign Office in this style between 1860 and 1875, it also incorporated
    certain Palladian features.
    Starting with the orangery of Sanssouci (1851), "the Neo-Renaissance became the obligatory
    style for university and public buildings, for banks and financial institutions, and for the urban
    villas" in Germany.[4] Among the most accomplished examples of the style were Villa Meyer in
    Dresden, Villa Haas in Hesse, Palais Borsig in Berlin, Villa Meissner in Leipzig; the German
    version of Neo-Renaissance culminated in such turgid projects as the Town Hall
    in Hamburg (1886–1897) and the Reichstag in Berlin (completed in 1894).
    The Renaissance Revival City Hall from 1890 in Tampere, Finland

    Andrássy Avenue with the Hungarian State Opera House in 1896

    Institute of Technology (today Eötvös Loránd University), Budapest by Imre Steindl

    In Austria, it was pioneered by such illustrious names as Rudolf Eitelberger, the founder of the
    Viennese College of Arts and Crafts (today the University of Applied Arts Vienna). The style
    found particular favour in Vienna, where whole streets and blocks were built in the so-called Neo-
    Renaissance style, in reality, a classicizing conglomeration of elements liberally borrowed from
    different historical periods.
    Neo-Renaissance was also the favourite style in Kingdom of Hungary in the 1870s and 1880s. In
    the fast-growing capital, Budapest many monumental public buildings were built in Neo-
    Renaissance style like Saint Stephen's Basilica and the Hungarian State Opera House. Andrássy
    Avenue is an outstanding ensemble of Neo-Renaissance townhouses from the last decades of
    the 19th century. The most famous Hungarian architect of the age, Miklós Ybl preferred Neo-
    Renaissance in his works.
    In Russia, the style was pioneered by Auguste de Montferrand in the Demidov House (1835), the
    first in Saint Petersburg to take "a story-by-story approach to façade ornamentation, in contrast
    to the classical method, where the façade was conceived as a unit".[5]:44 Konstantin Thon, the
    most popular Russian architect of the time, used Italianate elements profusely for decorating
    some interiors of the Grand Kremlin Palace (1837–1851). Another fashionable architect, Andrei
    Stackenschneider, was responsible for Marie Palace (1839–1844), with "the faceted rough-hewn
    stone of the first floor" reminiscent of 16th-century Italian palazzi.[5]:45

    United States: The Breakers, Newport, Rhode Island, 1893

    The style was further elaborated by architects of the Vladimir Palace (1867–1872) and
    culminated in the Stieglitz Museum (1885–1896). In Moscow, the Neo-Renaissance was less
    prevalent than in the Northern capital, although interiors of the neo-Muscovite City Duma (1890–
    1892) were executed with emphasis on Florentine and Venetian décor. While the Neo-
    Renaissance is associated primarily with secular buildings, Princes Yusupov commissioned the
    interior of their palace church (1909–1916) near Moscow to be decorated in strict imitation of the
    16th-century Venetian churches.
    The style spread to North America, where it became a favourite domestic architectural style of
    the wealthiest Americans. The Breakers in Newport, Rhode Island, was a residence of
    the Vanderbilt family designed by Richard Morris Hunt in 1892; it and contemporaneous Gilded
    Age mansions exemplify the ambitions of wealthy Americans in equaling and surpassing the
    ostentatious lifestyles of European aristocrats. During the latter half of the 19th century 5th
    Avenue in New York City was lined with "Renaissance" French chateaux and Italian palazzi, all
    designed in Neo-Renaissance styles. Most of these have since been demolished.

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