Viollet-le-Duc e la scoperta delle origini dell’architettura gotica

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Abstract

In 1836, the young Viollet-le-Duc travelled to Italy with the purpose of completing his studies on art and architecture, which he had interrupted in France as he did not agree with the classicistic orientation of the Académie des Beaux-arts. In Sicily, he turned a distracted eye to Doric architecture, but concentrated on analysing the archaic forms of Gothic architecture. Following the intuitions of Séroux D’Agincourt, Ignaz Hittorf and Ludwig von Zanth, he identified the archetypes of Gothic architecture, which was to be the principal interest in his career as architect, in some Medieval buildings in Palermo, such as the so-called palaces of Zisa and Cuba. In that period, some protagonists of French Romanticism, such as Viollet-le-Duc’s uncle Ètienne Jean Delécluze, Prosper Mérimée, Victor Hugo and René de Chateaubriand, turned their attention to Gothic architecture and its preservation amidst demolitions and damage due to ignorance. Through the studies of these protagonists, the essay tries to trace this important moment in the history of architecture, which precedes the long period when medieval architecture was to be restored following the “character” and supposed original style.
Lingua originaleItalian
pagine (da-a)180-219
Numero di pagine40
RivistaARCHISTOR
Stato di pubblicazionePublished - 2017

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title = "Viollet-le-Duc e la scoperta delle origini dell’architettura gotica",
abstract = "In 1836, the young Viollet-le-Duc travelled to Italy with the purpose of completing his studies on art and architecture, which he had interrupted in France as he did not agree with the classicistic orientation of the Acad{\'e}mie des Beaux-arts. In Sicily, he turned a distracted eye to Doric architecture, but concentrated on analysing the archaic forms of Gothic architecture. Following the intuitions of S{\'e}roux D’Agincourt, Ignaz Hittorf and Ludwig von Zanth, he identified the archetypes of Gothic architecture, which was to be the principal interest in his career as architect, in some Medieval buildings in Palermo, such as the so-called palaces of Zisa and Cuba. In that period, some protagonists of French Romanticism, such as Viollet-le-Duc’s uncle {\`E}tienne Jean Del{\'e}cluze, Prosper M{\'e}rim{\'e}e, Victor Hugo and Ren{\'e} de Chateaubriand, turned their attention to Gothic architecture and its preservation amidst demolitions and damage due to ignorance. Through the studies of these protagonists, the essay tries to trace this important moment in the history of architecture, which precedes the long period when medieval architecture was to be restored following the “character” and supposed original style.",
author = "Francesco Tomaselli",
year = "2017",
language = "Italian",
pages = "180--219",
journal = "ARCHISTOR",
issn = "2384-8898",

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T1 - Viollet-le-Duc e la scoperta delle origini dell’architettura gotica

AU - Tomaselli, Francesco

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AB - In 1836, the young Viollet-le-Duc travelled to Italy with the purpose of completing his studies on art and architecture, which he had interrupted in France as he did not agree with the classicistic orientation of the Académie des Beaux-arts. In Sicily, he turned a distracted eye to Doric architecture, but concentrated on analysing the archaic forms of Gothic architecture. Following the intuitions of Séroux D’Agincourt, Ignaz Hittorf and Ludwig von Zanth, he identified the archetypes of Gothic architecture, which was to be the principal interest in his career as architect, in some Medieval buildings in Palermo, such as the so-called palaces of Zisa and Cuba. In that period, some protagonists of French Romanticism, such as Viollet-le-Duc’s uncle Ètienne Jean Delécluze, Prosper Mérimée, Victor Hugo and René de Chateaubriand, turned their attention to Gothic architecture and its preservation amidst demolitions and damage due to ignorance. Through the studies of these protagonists, the essay tries to trace this important moment in the history of architecture, which precedes the long period when medieval architecture was to be restored following the “character” and supposed original style.

UR - http://hdl.handle.net/10447/224493

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