PDF | Review of Museum of Modern Art Exhibtion, Henri Labrouste: Structure Brought to Light. Featured image is reproduced from Henri Labrouste: Structure Brought to Light< Henri Labrouste is one of the few nineteenth-century architects consistently. To cite this article: Joanna Merwood-Salisbury () Exhibition: 'Henri Labrouste: Structure Brought to Light', The Journal of Architecture, , , DOI.
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Labrouste gracefully transformed the classical language of masonry into an architecture suffused with space and light by exploiting the new structural possibilities of iron in his civic monuments. For example, digital projections and laser-cut models communicated the scale, composition, and spatial configuration of the libraries. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden.
This record is a work in progress. Help Center Find new research papers in: Mail will not be published required. Click here to sign up. Log In Sign Up. These ephemeral marks of paint and ornament traced on this everyday landscape undermined the classical conventions inherited from Johann Joachim Winckelmann, which championed a view of monumental antique architecture assembled from milky white marble.
Remember me on this computer. If you have additional information or spotted an error, please send feedback to digital moma. Museum of Modern Art Some more historical allusions come in the portal at the beginning of the exhibition and another in a wall separating two of the larger galleries; one side shows his libraries and the other side displays projects of successors influenced by Labrouste.
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Next to their graphic and virtual these animations gave us a different understanding riches, the third feels almost redundant. Focusing on the lived environment of the library interiors. Structure Brought to Light.
Essays by a range of international architecture scholars explore Labrouste’s work and legacy through a variety of approaches. But, finally, what seems to matter less of architectural form as a shaper of social behaviour, than genealogical connections between the mid- the exhibition also included works that are much nineteenth-century and today, is the effort to more nuanced in their understanding of the relation- promote Labrouste as eternally contemporary.
Pen, ink, graphite, wash and watercolor on paper. The third section of the exhibition sketched an ambitious history of late nineteenth and early twentieth-century architecture, which placed Labrouste at the heart of architectural developments in Europe and the United States. The post-modern nature of the tables comes across in the fact that many of the drawings do not rest on the rails at the bottom of each table; they are mounted above.
Structure Brought to Light. Such scholarship will service his drawings echo theirs in scale, simplicity and geo- and expand the historiography of modern architec- metric rigour. The photo above is looking toward the latter, as if the stacks the same sort of structural system used at the New York Public Library that Norman Foster and NYPL want to remove are the most modern aspect of Labrouste’s libraries.
Created using than the final one on his nineteenth- and early-twen- research by Martin Bressani and Marc Grignon, tieth-century legacy. The New York Times Michael Kimmelman These Americans recognized Labrouste as a provocateur and poet with a pen and pencil whose influence reverberated across the centuries.
The photo of the corridor, above, was taken on my way out, in a slow moment. In the second section, historical photographs and drawings were deftly intermingled with contemporary modes of bfought representation.
Featured image is reproduced from Henri Labrouste: Published to accompany the first exhibition devoted to Labrouste in the United States–and the first anywhere in the world in nearly 40 years–this publication presents nearly works in all media, including drawings, watercolors, vintage and modern photographs, film stills and architectural models.
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In his brilliant longitudinal cross-section of the reconstructed basilica of on view in the MoMA gallery, Labrouste employed ephemeral decorations, including graffiti on its walls and a string of shields running along the length of its interior cornice to propose that secular rituals had taken place inside the building.
The framing of Labrouste as an early modern architect henrl necessarily come to the fore in the first of the larger exhibition spaces, pictured above. Global contemporary art events and news observed from New York City.
Labrouste made an invaluable impact on 19th-century architecture through his exploration of new paradigms of space, materials, and luminosity in places of great public assembly. Account Heri Sign in. This entry was posted on Wednesday, June 12th, at A celebrated protagonist of nineteenth-century Bgought architecture, Henri Labrouste — has been rigorously reappraised by subsequent generations of architects and architectural historians.
Together these projects illustrate the possi- historical photographs to illustrate those effects. For access to motion picture film stills please contact the Film Study Center.
Structure Brought to Lighton display in the third floor’s special exhibition’s gallery until June 24, Artforum Edward Eigen A catalogue with essays by each curator, as well as by Levine and David Van Zanten, will further illuminate the solecistic inventiveness of this student of the Ecole who at once brilliantly articulated and subtly but forcefully undermined its classical labrouwte.
Tuesday, March 26, Henri Labrouste: Structure Brlught to Light Exh. Henri Labrouste is one of the few nineteenth-century architects consistently lionized as a precursor of modern architecture throughout the twentieth century and into our own time.