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British Books is the second book in the series cataloguing more than six hundred rare illustrated books and bound series of prints on western European architecture, design, and topography, collected by the late Mark J. Millard. Among the books, all published between the end of the fifteenth and the middle of the nineteenth centuries, are numerous first or early editions. The almost one hundred titles catalogued in British Books trace the origins and development of architectural illustration in Britain. The collection is particularly rich in the eighteenth century, and includes almost all of the great folio albums recording the archaeological investigations of antiquity and most of the volumes documenting the architecture of Britain. These books, intended for the gentleman-amateur's library rather than the architect's office or builder's workshop, reveal the British sensitivity concerning properly architectural representation of buildings. Here, too, are practical treatises for construction, ornament patterns, surveys of monuments, views of buildings in situ, and topographical surveys. Included are works by Thomas Chippendale, John Neale, Humphry Repton, and Sir Christopher Wren.
A comprehensive history of French architecture from the
Accompanying an exhibition at the Cleveland Museum of Art last fall and now at the Dahesh Museum in New York, this catalog focuses upon the French drawings in Muriel Butkin's highly specialized collection which she has promised to the Cleveland Museum. To assemble her diverse yet nicely integrated set of drawings, Butkin started buying 18th-century French drawings when they were affordable. In the mid-1970s, with the guidance of art historian Gabriel Weisberg, she expanded her collection to include 19th-century French drawings. These drawings were counter to the mainstream impressionist and postimpressionist taste of the time and focused more on academic French subject matter such as life drawings, portraits, or compositional studies. In the preface, Butkin herself reinforces her taste by saying that drawings are much more personal and spontaneous than paintings, often demonstrating the artistic process. Foster, curator of drawings at the Cleveland Museum, and other scholars present a well-researched volume that contributes new information to a very specialized field of art history. It is greatly disappointing, however, that the bulk of the reproductions are in black and white, often missing the subtly colored tones in many of the drawings. Nonetheless, this is recommended for museum and academic libraries that support graduate programs in art history. 183 b/w illustrations
Architects, Builders, and Intellectual Culture in Restoration England charts the moment when well-educated, well-resourced, English intellectuals first became interested in classical architecture in substantial numbers. This occurred after the Restoration of the Monarchy in 1660 and involved people such as John Evelyn, Robert Hooke, Sir Christopher Wren, and Roger North. Matthew Walker explores how these figures treated architecture as a subject of intellectual enquiry, either as writers, as designers of buildings, or as both. In four substantial chapters it looks at how the architect was defined as a major intellectual figure, how architects acquired material that allowed them to define themselves as intellectually competent architects, how intellectual writers in the period handled knowledge of ancient architecture in their writing, and how the design process in architecture was conceived of in theoretical writing at the time. In all, Walker shows that the key to understanding English architectural culture at the time is to understand how architecture was handled as knowledge, and how architects were conceived of as collectors and producers of such knowledge. He also makes the claim that architecture was treated as an extremely serious and important area of intellectual enquiry, the result of which was that by the turn of the eighteenth century, architects and architectural writers could count themselves amongst England's intellectual and cultural elite.
A cognitive history of the emergence of modern architecture. Cutting across disciplinarian and institutional divisions as we know them today, this book reconstructs developments within the framework of a cognitive history of the past. Modern is here taken to mean the radical re-thinking of architecture from the end of the tenth century in Europe to the end of the eighteenth century. Among the key debates that mark the period are those that oppose tradition to innovation, canon to discovery, geometrical formality to natural picturesqueness, the functional to the hedonistic.
First director of the Académie royale d’architecture, François Blondel established a lasting model for architectural education that helped transform a still largely medieval profession into the one we recognize today. Most well known for his 1676 urban plan of Paris, Blondel is also celebrated as a mathematician, scientist, and scholar. Few figures are more representative of the close affinity between architecture and the "new science" of the seventeenth century. The first full-length study in English to appear on this polymath, this book adds to the scholarship on early modern architectural history and particularly on French classicism under Louis XIV and his minister Jean-Baptiste Colbert. It studies early modern science and technology, Baroque court culture, and the development of the discipline of architecture.