By Bressani, Martin; Viollet-le-Duc, Eugène-Emmanuel
Notre-Dame in Paris, the walled urban of Carcassone, the fort at Pierrefonds, visionary initiatives utilizing iron construction...Eugene-Emmanuel Viollet-le-Duc's significance inside of sleek structure can't be overstated. Hailed as one of many key theoreticians of modernism, he used to be additionally the main popular recovery architect of his age, a celebrated medieval archaeologist and a fervent champion of Gothic revivalism. He released essentially the most influential texts within the background of contemporary structure corresponding to the Dictionnaire raisonne de l'architecture francaise du XIe au XVIe siecle and Entretiens sur l'architecture, but in addition reports on war, geology and racial background. Martin Bressani expertly lines Viollet-le-Duc's complicated highbrow improvement, mapping the attitudes he followed towards the earlier, exhibiting how recovery, in all its layered which means, formed his outlook. via his lifestyles trip, we keep on with the path in which the technological topic was once born out of nineteenth-century historicism
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Additional info for Architecture and the historical imagination : Eugène-Emmanuel Viollet-le-Duc, 1814-1879
Viollet-le-Duc. Facade of the Doge’s Palace, Venice. 1836. Watercolor. 0 cm. MAP. © Ministère de la Culture / Médiathèque du Patrimoine, Dist. -E. Viollet-le-Duc. Bottom of the Azun Valley taken from the Pourges Mountain, Hautes-Pyrénées. 1833. Watercolor. 3 cm. MAP. © Ministère de la Culture / Médiathèque du Patrimoine, Dist. -E. Viollet-le-Duc. Bottom of the Cirque de Gavarnie. 1833. Ink wash and gouache. 0 cm. MAP. © CNAC/MNAM/Dist. -E. Viollet-le-Duc. Penne de Lhéris. 1833. Watercolor. 5 cm.
2 Pierre-Luc Charles Cicéri. Stage set for the “Ballet of the Nuns” in Meyerbeer’s opera Robert le Diable as designed by scenery painter Pierre Luc Charles Cicéri and stage designer Henri Duponchel for the premiere production at the Paris Opera’s Salle Le Peletier in 1831. Opera Garnier, Paris. 3 Attributed to Henri le Secq. New Sacristy at Notre-Dame. Published 1851–1853. Salted paper print from waxed paper negative. 4 cm. Pl. 4 in Paris Photographique, a photographic album edited by Blanquart-Evrard.
Study of cats originally planned for a children’s book to be published by Hetzel. Undated. Ink. 2 cm. MAP. © Ministère de la Culture / Médiathèque du Patrimoine, Dist. -E. Viollet-le-Duc. Cat chimera at upper gallery of Notre-Dame in Paris. Postcard. -E. Viollet-le-Duc. Portrait of a woman after Leonardo da Vinci. Wood engraving by unidentified engraver. Fig. 77 from Histoire d’un dessinateur, 1879. -E. Viollet-le-Duc. Tomb of Prince Mikhail Semyonovich Vorontsov in Odessa’s Orthodox Cathedral, Odessa, 1859.
Architecture and the historical imagination : Eugène-Emmanuel Viollet-le-Duc, 1814-1879 by Bressani, Martin; Viollet-le-Duc, Eugène-Emmanuel