![]() Second, the evolution of Garnier's classicism is integrated with a study of the social, economic, political, industrial and institutional conditions which affected his education, career and work. ![]() The archeological studies of classical art by the contemporary scholar, Charles-Ernest Beule, parallel Garnier's work, while the structurally rational theory of architecture formulated by his Gothicist opponent, Eugene-Emmanual Viollet-le-Duc, identifies the alternative to Garnier's solution. Identifying the Neoclassical theoretician, Antoine-Chrysostome Quatremere de Quincy, and the Romantic architect, Felix Duban, as the principal contributors to Garnier's ideas, this examination explains his comprehension of style as the materially ideal product of historical reality. First, his intellectual debts to Neoclassicism and Romanticism are defined by examining both the Neoclassical derivation of style from the imitation of an ideal natural order and the Romantic belief that style was the materially real product of history. Methodologically, this dissertation reconstructs Garnier's renaissance on two levels. His renaissance of classicism depended upon an astylistic, form-generating principle of architecture which replaced formally taxonomic stylistic types with formally expressive stylistic values. Garnier's position as the leading representative of French classicism during the second half of the century was due to his successful restoration of coherence to a tradition which had been fragmented by the preceding fights between Neoclassicism and Romanticism. ![]() ![]() ![]() This dissertation argues that such a categorization misapprehends nineteenth-century French architecture. CHARLES GARNIER'S PARIS OPERA AND THE RENAISSANCE OF CLASSICISM IN NINETEENTH-CENTURY FRENCH ARCHITECTURE (BEAUX-ARTS)ĬHRISTOPHER CURTIS MEAD, University of PennsylvaniaĬharles Garnier's Paris Opera (1861-1875) is usually categorized as an example of Second Empire Baroque architecture whose stylistically eclectic revivalism combines motifs from Renaissance and Baroque architecture. ![]()
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