Hollandse Renaissance als bron van de Nieuwe Kunst

Although S.T. Malden in his Sources of Art Nouveau excludes Dutch Renaissance style in the 19th century as source of Dutch Art Nouveau, J.M. Jacobus and L. Gans, rightly pointed out that Art Nouveau encloses rationalism as well as the decorative, picturesque style. By P.H.J. Cuypers and H.P. Berlage's orientation on the rationalist E.E. Viollet-le-Duc and their application of the Dutch Renaissance the question can be asked if the 'picturesque Dutch Renaissance' can strictly be separated from Amsterdam rationalism. This article tries to mark the development of Dutch 19th century architecture as... Mehr ...

Verfasser: Marijke L.A.J.T. Brekelmans
Dokumenttyp: Artikel
Erscheinungsdatum: 1989
Reihe/Periodikum: Bulletin KNOB, Pp 22-41 (1989)
Verlag/Hrsg.: KNOB
Schlagwörter: Architecture / NA1-9428 / Architectural drawing and design / NA2695-2793 / History (General) and history of Europe / D
Sprache: Englisch
Niederländisch
Permalink: https://search.fid-benelux.de/Record/base-27488045
Datenquelle: BASE; Originalkatalog
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Link(s) : https://doi.org/10.7480/knob.88.1989.2.553

Although S.T. Malden in his Sources of Art Nouveau excludes Dutch Renaissance style in the 19th century as source of Dutch Art Nouveau, J.M. Jacobus and L. Gans, rightly pointed out that Art Nouveau encloses rationalism as well as the decorative, picturesque style. By P.H.J. Cuypers and H.P. Berlage's orientation on the rationalist E.E. Viollet-le-Duc and their application of the Dutch Renaissance the question can be asked if the 'picturesque Dutch Renaissance' can strictly be separated from Amsterdam rationalism. This article tries to mark the development of Dutch 19th century architecture as 'organic' unity by analysis of designs of Berlage and his less well-known colleague G. van Arkel. The stylistic progress of Van Arkel's architectural career strongly resembles Berlage's, but at his application of Dutch Renaissance (with Isaac Gosschalk as predecessor) and from 1894 following Berlage, his work distinguishes by great picturesqueness and originality. After visiting a congress at Brussels (1897) also Belgian Art Nouveau motifs can be recognized in his oeuvre. Already indication of the long for a new Dutch 19th century architecture is the foundation of the Maatschappij tot Bevordering der Bouwkunst (1842). The picturesque eclectic designs of her members still did not lay the basis for Art Nouveau, but Neo Gothic rationalism as represented by P.J.H. Cuypers and Dutch Renaissance with l. Gosschalk on the other hand. Both styles unite the three foreign architectural traditions, which have been highly influential in 19th century Holland: the Renaissance minded Schinkel School, French rationalism and the British picturesque tradition. Picturesqueness dominates in the Dutch Renaissance building of the 1870's, mingled with other Renaissance styles. Bricks and details are used as painting-like means and the frequently placed stepped gables and towers match the phantasies on townscape paintings. Although studies of 16th and 17th century Dutch Renaissance increase during the eighties and the application of this style was ...