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Relevant bibliographies by topics / Greek revival (Architecture)

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Academic literature on the topic 'Greek revival (Architecture)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Greek revival (Architecture)"

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Daniell, Jere, and Joyce K. Bibber. "A Home for Everyman: The Greek Revival and Maine Domestic Architecture." Journal of the Early Republic 10, no. 1 (1990): 112. http://dx.doi.org/10.2307/3123303.

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Severens, Kenneth. "Review: Greek Revival America by Roger G. Kennedy." Journal of the Society of Architectural Historians 50, no. 1 (March 1, 1991): 90–91. http://dx.doi.org/10.2307/990558.

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Lowrey, John. "From Caesarea to Athens: Greek Revival Edinburgh and the Question of Scottish Identity within the Unionist State." Journal of the Society of Architectural Historians 60, no. 2 (June 1, 2001): 136–57. http://dx.doi.org/10.2307/991701.

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In the early nineteenth century, the city of Edinburgh cultivated a reputation as "the Athens of the North." The paper explores the architectural aspects of this in relation to the city's sense of its own identity. It traces the idea of Edinburgh as a "modern Athens" back to the eighteenth century, when the connotations were cultural, intellectual, and topographical rather than architectural. With the emergence of the Greek revival, however, Edinburgh began actively to construct an image of classical Greece on the hilltops and in the streets of the expanding city. It is argued that the Athenian identity of Edinburgh should be viewed as the culmination of a series of developments dating back to the Act of Union between the Scottish and English Parliaments in 1707. As a result, Edinburgh lost its status as a capital city and struggled to reassert itself against the stronger economy of the south. Almost inevitably, the northern capital had to redefine itself in relation to London, the English and British capital. The major developments of Edinburgh in the eighteenth and early nineteenth centuries, including the New Town and the urban proposals of Robert Adam, are interpreted in this light. As the eighteenth century progressed, the city grew more confident and by the early nineteenth century had settled upon its role within the Union and within the empire, which was that of cultural capital as a counterbalance to London, the political capital. The architectural culmination of the process of the redefinition of Edinburgh, however, coincided with the emergence of another mythology of Scottish identity, as seen through the Romantic vision of Sir Walter Scott. It implied a quite different, indigenous architecture that later found its expression in the Scots Baronial style. It is argued here, however, that duality does not contradict the idea of Edinburgh as Athens, nor, more generally, does it sit uneasily with the Scottish predilection for Greek architecture, but rather that it encapsulates the very essence of Scottish national identity: both proudly Scots and British.

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Pabich, Marek. "THE BEGINNINGS OF MUSEUM ARCHITECTURE IN THE UNITED STATES." Space&FORM 2020, no. 50 (June 30, 2022): 177–94. http://dx.doi.org/10.21005/pif.2022.50.b-06.

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Contrary to Europe, where museums were created from transformed collections, in America the first museums were founded on the basis of scientific institutions. Only in the second half of the nineteenth century, museums are formed based on private collections. Objects were erected to house the collections, which for a long time, almost until the middle of the 20th century, stylistically referred to the architecture of ancient Greece. From the mid-nineteenth century, museums began to be built, for which architects looked for inspiration in later styles. And although neo-gothic, neorenaissance and neo-baroque objects appeared, the Greek Revival dominated museum architecture in the United States, created by graduates of the Parisian École des Beaux-Arts.

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Kishkinova, Eugenia M. "The Style of the Neo-Greek (Neo-Grec) in the Historical and Cultural Context of the Southern Region of Russia by the Example of the Cities of Rostov-on-Don and Yessentuki." Materials Science Forum 931 (September 2018): 705–10. http://dx.doi.org/10.4028/www.scientific.net/msf.931.705.

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In European architecture the Neo-Grec style, based on a revival of Greek principles and motifs, is an independent stage in rediscovering of classical antique heritage. It is one of the “new styles” of a historicist phase in architecture that claimed to find national identity in the architecture of independent Greece. In Russian architecture of the mid-19th – early 20th centuries this style is represented in a wide range of monuments that are mostly located in the South of Russia. However insufficient knowledge and research on the monuments of this style create difficulties for their maintenance and restoration. The purpose of the paper is to identify distinctive features of neo-grec in the region. The main task is to determine the reasons for a turn to neo-grec in the South of Russia, to identify and analyze neo-grec buildings in the cities of Rostov-on-Don and Yessentuki, to examine their composition and décor, to identify their ancient prototypes, to differentiate constant and variable elements in the architecture of the Neo-Grec.

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Muccigrosso, Robert, and Robert K. Sutton. "Americans Interpret the Parthenon: The Progression of Greek Revival Architecture from the East Coast to Oregon, 1800-1860." American Historical Review 98, no. 3 (June 1993): 945. http://dx.doi.org/10.2307/2167704.

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McMurry, Sally, and Robert K. Sutton. "Americans Interpret the Parthenon: The Progression of Greek Revival Architecture from the East Coast to Oregon, 1800-1860." Journal of American History 80, no. 2 (September 1993): 659. http://dx.doi.org/10.2307/2079915.

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Titchener, Frances B., and Robert K. Sutton. "Americans Interpret the Parthenon: The Progression of Greek Revival Architecture from the East Coast to Oregon, 1800-1860." Western Historical Quarterly 24, no. 1 (February 1993): 105. http://dx.doi.org/10.2307/970043.

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Vlach, John Michael, and Robert K. Sutton. "Americans Interpret the Parthenon: The Progression of Greek Revival Architecture from the East Coast to Oregon, 1800-1860." Journal of the Early Republic 14, no. 1 (1994): 125. http://dx.doi.org/10.2307/3124621.

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Siry, Joseph M. "Roche and Dinkeloo's Center for the Arts at Wesleyan University." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 339–65. http://dx.doi.org/10.1525/jsah.2016.75.3.339.

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From 1965 to 1973, Kevin Roche and John Dinkeloo created the Center for the Arts at Wesleyan University in Middletown, Connecticut. The center appears to be an essay in mid-twentieth-century modernism, directly expressing its varied interior programs in cubic volumes of limestone walls and reinforced concrete spans for floors and roofs. As Joseph M. Siry demonstrates in Roche and Dinkeloo's Center for the Arts at Wesleyan University: Classical, Vernacular, and Modernist Architecture in the 1960s, the Wesleyan Center for the Arts is a condensation of ideas from its context, including the seventeenth-century regional vernacular and the local Greek revival and contemporaneous modern architecture, including works of Le Corbusier, Ludwig Mies van der Rohe, and Louis Kahn. This article broadens both our understanding of the creative process as an integration of multiple sources and our view of modernism's potential to innovate while fittingly engaging with earlier periods without duplicating their historical vocabularies.

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Dissertations / Theses on the topic "Greek revival (Architecture)"

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Kidd, Benton. "The Doric revival under the Attalids of Pergamon /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3115561.

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McPherson, Beth Ann Spiryson. "Fort Hill: A Representative of the Structural and Social Hierarchy and Harmony of Greek Revival Architecture." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626022.

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Bristol, Kerry A. C. "James 'Athenian' Stuart (1713-1788) and the genesis of the Greek Revival in British architecture." Thesis, Courtauld Institute of Art (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299166.

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Books on the topic "Greek revival (Architecture)"

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Kennedy, Roger G. Greek revival America. New York: Stewart, Tabori & Chang, 1989.

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Kennedy, Roger G. Greek revival America. New York: Rizzoli, 2010.

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Stamp, Gavin. Alexander 'Greek' Thomson. London: Laurence King Pub. in association with Glasgow 1999, 1999.

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Gavin, Stamp, and McKinstry Sam, eds. 'Greek' Thomson. Edinburgh: Edinburgh University Press, 1994.

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Bibber, Joyce K. A home for everyman: The Greek revival and Maine domestic architecture. Lanham, Md: AASLH Library, 1988.

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Crook, J. Mordaunt. The Greek revival: Neo-classical attitudes in British architecture 1760-1870. London: John Murray, 1995.

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Soros, Susan Weber. James "Athenian" Stuart, 1713-1788: The rediscovery of antiquity : gallery guide. Edited by Arbuthnott Catherine and Bard Graduate Center of Studies in the Decorative Arts, Design, and Culture. New Haven: Bard Graduate Center for Studies in the Decorative Arts, Design and Culture, 2006.

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Joselita, Raspi Serra, Mascilli Migliorini Paolo, and Platania Margherita 1948-, eds. Paestum, idea e immagine: Antologia di testi critici e di immagini di Paestum, 1750-1836. Modena: F.C. Panini, 1990.

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Zanten, David Van. Designing Paris: The architecture of Duban, Labrouste, Duc, and Vaudoyer. Cambridge, Mass: MIT Press, 1987.

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Benjamin, Asher. The architect, or, Practical house carpenter. New York: Dover Publications, 1988.

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Book chapters on the topic "Greek revival (Architecture)"

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"The Greek Revival." In Changing Ideals in Modern Architecture 1750–1950, 79–95. McGill-Queen's University Press, 1998. http://dx.doi.org/10.1515/9780773567054-013.

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Faraone, Christopher A. "Revival." In The Stanzaic Architecture of Early Greek Elegy, 138–55. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199236985.003.0007.

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Abstract In the Hellenistic period poets often compose elegiac verse, not only in the popular miniaturist form known as ‘ epigram’ , but also in longer genres, such as hymns, epinicia, and historical narratives. They seem to do so, however, after a signiWcant hiatus in elegiac production in the middle of the fourth century, a hiatus that serves as a convenient caesura between the orally composed and improvised elegies of the archaic and classical periods and the written and selfconsciously literary poems of the Hellenistic period, which begin to appear in at the end of the fourth century, for example, the famous (lost) elegiac Hymn to Demeter by Philetas of Cos.

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Watkin, David. "Architecture." In The Legacy of Rome, 329–66. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198219170.003.0012.

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Abstract Roman architecture is known to us most directly through two sources: the surviving ruins, and Vitruvius’ De architectura, which is the only treatise on architecture to survive from the ancient world. As we shall sec, both the ruins and the writing have been interpreted down the ages in an astonishingly wide variety of ways. None the less, the legacy of Roman architecture is today often interpreted as having reached its climax during the Renaissance, after which it was superseded by the Greek Revival, the Gothic Revival, and finally by the Modern Movement. This chapter should demonstrate the falsity of this view by showing how the achievement of ancient Rome in planning, building, and decoration underpins most of the main developments of Western architecture. What makes the process of exploring this legacy exciting is that it becomes clear that each age has to rediscover for itself the message of ancient Rome.

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Kostof, Spiro, Greg Castillo, and Richard Tobias. "Architectural Art and the Landscape of Industry, 1800-1850." In The History of Architecture: Settings and Rituals, 571–604. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195083781.003.0026.

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Abstract Classicism was still the leading creed, but it had by now given up all pretense to orthodoxy. A number of readings were current, but none conforming to strict canonical rules. Napoleon's fancy leaned toward the Roman Empire. (Fig. 23.1) A Greek revival, experimentally launched before 1800 in garden "fabricks" and res idential architecture, went public with ceremonial city gates and buildings like Downing College at Cambridge by William Wilkins, begun in 1806. (Fig. 23 .2) The archaeological savor of this Grecian style came from a spate of new publications, among them the later volumes of Stuart and Revett's Antiquities of Athens issued in 1787 and 1794, the team's Ionian Antiquities, and Wilkins' studies of Greek temples in Sicily and southern Italy which appeared in Antiquities of Magna Craecia (1807). At the same time the Greeks' war of independence against their Turkish masters, a popular cause in Western Europe since the first rising of 1769, enhanced the romantic appeal of the revival.

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Lambrinou, Lena. "The Parthenon from the Greek Revival to modern architecture." In Hellenomania, 126–61. Routledge, 2018. http://dx.doi.org/10.4324/9781315277370-7.

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Johannsen, Robert W. "Illinois’s Old State Capitol A Tale Lf Twl Speeches." In American Places, 185–200. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195130263.003.0015.

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Abstract In the heart of downtown Springfield, Illinois, flanked by modern office buildings, stands the Old State Capitol. I cannot now recall my sensations when I first noted the incongruity of the scene-the small, stately building amid all the noise and movement of a modern city-but in subsequent years, whenever I mounted the steps into the cool, quiet interior, insulated from the bustle, it was like stepping back in time. Constructed in the r830s and r840s of a warm yellowish-brown dolomite limestone cut from a nearby quarry, the building became known beyond the state’s borders as a distinctive example of early nineteenthcentury Greek Revival architecture.

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Levy, Daniel S. "London on the Hudson." In Manhattan Phoenix, 82–100. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780195382372.003.0006.

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This chapter begins by recounting Charles Dickens's visit to New York in 1842 and the huge party thrown in his honor. New Yorkers worried keenly how others saw them. They wanted to be seen as the leaders of American society, sought to be taken seriously, and worried how their city was viewed by those in places like London and Paris. Much of New York's self-celebration involved its expansion, and the boom that followed the 1825 opening of the Erie Canal and the Great Fire of 1835. The chapter details how New York's path to architectural distinction began with the success of architects Josiah Brady and Martin Euclid Thompson, and particularly with the arrival of Ithiel Town and his subsequent partnership with Alexander Jackson Davis. The presence of these designers coincided with an interest in classical architecture and the popularity of the Greek Revival style in the 1820s and 1830s. The chapter also looks at the development of posh areas like Washington Square, the growth of public and private education, and the popularity of cultural and social organizations.

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Fernández-Armesto, Felipe, and Peter Burke. "The Global Renaissance." In The Oxford History of the Renaissance, 430–64. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886699.003.0011.

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Abstract The Renaissance has traditionally been viewed as a European cultural movement. This chapter proposes a global Renaissance, one conceived as cultural exchange rather than cultural influence. This interpenetration of cultures went far beyond the so-called ‘Columbian exchange', which acknowledged the exchange of food and diseases between Europe and the Americas. It is the case that colonists, conquistadores, and missionaries were influential in parts of the world far from Europe, but European encounters with Byzantine culture and the Islamic world were in many ways reciprocal. Greek studies in Europe were revived by exiles from the Ottoman world, and Islamic culture influenced the art and architecture of Europe both from the Ottoman Empire and from Moorish Spain. There was also Chinese influence, in part mediated by the Mamluk rulers of Egypt, and influences from the Americas and Africa. There is also an important strain of cultural hybridity, often emanating from people of mixed cultural heritage.

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Conference papers on the topic "Greek revival (Architecture)"

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Зашев, Евгени. "За най-ранната топография на култа към св. Седмочисленици. Обособяване на култа." In Кирило-методиевски места на паметта в българската култура. Кирило-Методиевски научен център, 2023. http://dx.doi.org/10.59076/5808.2023.02.

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ON THE EARLIEST TOPOGRAPHY OF THE SEVEN SAINTS CULT (Summary) The current research traces and summarizes the information about the historical persons from the circle of the Seven Saints, paying special attention to the distinction between mention, enumeration and grouping. Various historical evidences are examined as focal memory points of a conjoint cult of the Seven Saints – some of them are literature sources – the Prologue life of St. John Vladimir (1690), the Berat liturgy for Seven Saints (c. 1720) and the Moschopol liturgy for Seven Saints (1742), other sources are artefacts – eight wall paintings, three icons, a carved medallion and three reliquaries. Based on the mentioned sources, the earliest topography of the Seven Saints cult is outlined, and the individual monuments are presented in their geographical, cultural-historical, and architectural context. There is an emphasis on the fact that the historical evidences of the early stage of the propagation of the Seven Saints cult derive from a relatively limited geographical area – the lands of the Berat diocese and its immediate surroundings. The images from Dratcha monastery (1735) and from the church “St. Prophet Elijah” in Siatista (1744) are rather exceptions. As a conclusion, it is noticed that the language of the entire described tradition, including both the three written monuments and the numerous images and artefacts, is Greek. This tradition cannot yet be recognized as a genuine Bulgarian national initiative of the revival type, but rather is a regional post-Byzantine cult that arose in the southwestern regions of the Ochrid Archdiocese in a multi-ethnic environment with a dominant cultural Hellenism. The artefacts preserved to present days, which are probably only a part of those actually created, testify to the inclusion of the Seven Saints in the sacral pantheon of the Ochrid Archdiocese, thereby raising its ecclesiastical authority and supporting its historical pretensions to canonical independence. The tendencies observed in the perspective of the cult development in the second half of the 19th century are the gradual transfer to the east and northeast to the lands of Macedonia, more compactly populated with Bulgarians, and the appearance of images bringing to the fore the creation of the Bulgarian alphabet.

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