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The irregular garden in late eightee...

Hays, David Lyle.

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The irregular garden in late eighteenth-century France (Carmontelle, George-Louis Le Rouge, Pierre Panseron, Francesco Bettini).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The irregular garden in late eighteenth-century France (Carmontelle, George-Louis Le Rouge, Pierre Panseron, Francesco Bettini)./
作者:	Hays, David Lyle.
面頁冊數:	432 p.
附註:	Director: Judith Colton.
Contained By:	Dissertation Abstracts International61-05A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9973695
ISBN:	0599791039

The irregular garden in late eighteenth-century France (Carmontelle, George-Louis Le Rouge, Pierre Panseron, Francesco Bettini).
Hays, David Lyle.

The irregular garden in late eighteenth-century France (Carmontelle, George-Louis Le Rouge, Pierre Panseron, Francesco Bettini). - 432 p.

Director: Judith Colton.

Thesis (Ph.D.)--Yale University, 2000.

Over the course of the eighteenth century, the formal paradigm of French garden design underwent a radical transformation. Until the mid-1760s, the typical layout was regular and featured a framework of axes within which the designer could structure formal and symbolic content. Around the mid-1760s, however, a reaction against those practices began to take shape. In the new mode, the axes of regular design were suppressed as structuring and generating armatures and their place was assumed, in plan, by irregular shapes and freely curving lines. The new preponderance of asymmetrical forms differed radically from anything seen in French garden design before that time. In spite of that novelty, however, the mode flourished throughout the 1770s and 1780s and became the dominant style in and around Paris within a decade of its first appearance.

ISBN: 0599791039Subjects--Topical Terms:

635474
Art History.

The irregular garden in late eighteenth-century France (Carmontelle, George-Louis Le Rouge, Pierre Panseron, Francesco Bettini).
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245 1 0 $a The irregular garden in late eighteenth-century France (Carmontelle, George-Louis Le Rouge, Pierre Panseron, Francesco Bettini).
300 $a 432 p.
500 $a Director: Judith Colton.
500 $a Source: Dissertation Abstracts International, Volume: 61-05, Section: A, page: 1655.
502 $a Thesis (Ph.D.)--Yale University, 2000.
520 $a Over the course of the eighteenth century, the formal paradigm of French garden design underwent a radical transformation. Until the mid-1760s, the typical layout was regular and featured a framework of axes within which the designer could structure formal and symbolic content. Around the mid-1760s, however, a reaction against those practices began to take shape. In the new mode, the axes of regular design were suppressed as structuring and generating armatures and their place was assumed, in plan, by irregular shapes and freely curving lines. The new preponderance of asymmetrical forms differed radically from anything seen in French garden design before that time. In spite of that novelty, however, the mode flourished throughout the 1770s and 1780s and became the dominant style in and around Paris within a decade of its first appearance.
520 $a Ever since the eighteenth century, the origins and meaning of irregular garden design in France have been highly disputed. Yet, the many speculations share the idea that the development was an aberration within the fabric of French garden history, whether as a concession to foreign taste or a repudiation of national tradition. Irregular design was never called “français,” even when it was a representative style in France. Historians typically characterize the mode as a superficial phenomenon without meaningful implications for French style.
520 $a The idea that irregular design was an aberration has chronically overshadowed evidence that the new approach was framed by concerns completely in keeping with principles of classical French design. The most important of those concerns included the idea of the garden as a place of urbane sociability, even in rural settings; the idea of a correspondence between French garden style and an image of national landscape (i.e., the <italic>territoire</italic>); and the idea that the plan was the best format for conceiving and representing French garden design, regardless of its form. Far from being obstacles, those conservative positions helped make irregular design possible in France by providing a structure within which the new mode could take root and develop. In other words, irregular design seems to have emerged in France not through a reversal of broad principles but through shifting emphases within a framework of traditional conditions. That interpretation suggests that the development is best understood not as an historical aberration but as an attempt to formulate a new style of germanely French design.
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