Romanian Revival architecture
.jpg)  .jpg) Top: The Cihoski House on Bulevardul Dacia, in Bucharest (Romania); Centre: The Cloister of the Stavropoleos Monastery by Ion Mincu, in Bucharest; Bottom: Part of the façade of the Marmorosch Blank Bank Palace on Strada Doamnei, in Bucharest (1754) | |
| Years active | late 19th century–first half of the 20th century |
|---|---|
Romanian Revival architecture (a.k.a. Brânovenesc Revival, Neo-Romanian, or Neo-Brânovenesc; Template:Lang-ro) is an architectural style that has appeared in late 19th century in Romanian Art Nouveau,[1] initially being the result of the attempts of finding a specific Romanian architectural style. The attempts are mainly due to the architects Ion Mincu (1852-1912), and Ion N. Socolescu (1856-1924). The peak of the style was the interwar period. The style was a national reaction after the domination of French-inspired Classicist Eclecticism. Apart from foreign influences, the contribution of Romanian architects, who reinvented the tradition, creating, at the same time, an original style, is manifesting more and more strongly.[2] Ion Mincu and his successors, Grigore Cerchez, Cristofi Cerchez, Petre Antonescu, or Nicolae Ghica-Budești declared themselves for a modern architecture, with Romanian specific, based on theses such as those formulated by Alexandru Odobescu around 1870:
"Study the remains - no matter how small - of the artistic production of the past and make them the source of a great art (...) do not miss any opportunity to use the artistic elements presented by the Romanian monuments left over from old times; but transform them, change them, develop them ..."
Of course, such a program was not easy to accomplish. All the more so as the new types of urban architecture, especially those with many floors, demanded simple solutions, which hardly supported the world of medieval forms and ornaments or that of folklore, the main sources of inspiration of the style.[3]
19th century nationalism combined without problems with Europeanism and admiration for the West, Romania wanting to prove that it is an European country. After 1900, without abandoning European trends, the emphasis is more on values with Romanian specific. As a result, the Parisian and Viennese buildings of the late nineteenth century are contrasted with a "Romanian style". The popularity of the Romanian Romanian style continues and intensifies in the interwar period.[4]
Characteristics
The influences of peasant houses were manifested through ornaments and elements used under various interpretations, but which retain their origin. Some elements include the gazebo, the trilobate arch, wooden pillars, a treatment of the cornices as eaves of peasant houses, big tiled roofs, carved wooden awnings, and the use of ceramic tiles. Commonly used ornaments include knots and ropes, and columns with twisted flutings, façades being sometimes decorated with polychrome glazed ceramics being.[5]
In some cases, especially at some churches, the Romanian Revival style is combined with the Armenian Revival one, both being similar. This category includes the Armenian Church and Amza's Church, both in Bucharest. Other buildings may have a strong Byzantine Revival influence. The Romanian Romanian style is similar in many ways to the Russian Revival one.
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Amza's Church in Bucharest, which combine the Romanian Revival style with the Armenian Revival one -
House no. 27 on Strada Plantelor in Bucharest, with a wooden awning at its entrance
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Detail of an escutcheon plate decorated with the rope motif, at the door of the Holy Synod Library, part of the Antim Monastery in Bucharest -
The lower part of a streetlight decorated with the rope motif, in the intersection of Streets Popa Tatu and Mircea Vulcănescu in Bucharest -
The use of ceramic tiles on the roof of the seat of the Public Finance Sector 6 Administration, in Bucharest -
House at which the corniche is treated as an ordinary eaves of a peasant house, on Strada General H. M. Berthelot in Bucharest
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The entrance of a house on Strada Ienăchiță Văcărescu, near the Metropolitanate Hill in Bucharest
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Detail of the Gheorghe Petrașcu House in the Roman Square (Bucharest), where there is a band of polychrome glazed ceramic under the eaves
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See also
Notes
- ^ Paul, Constantin (1977). Mică Enciclopedie de Arhitectură, Arte Decorative și Aplicate Moderne (in Romanian). Editura Științifică și Enciclopedică. p. 109.
- ^ Popescu, Alexandru (2018). Casele și Palatele Bucureștilor (in Romanian). Editura Cetatea de Scaun. p. 69. ISBN 978-606-537-382-2.
- ^ Lucian, Boia (2016). România, Țară de Frontieră a Europei (in Romanian). Humanitas. p. 103 & 104. ISBN 978-973-50-5470-0.
- ^ Lucian, Boia (2016). România, Țară de Frontieră a Europei (in Romanian). Humanitas. p. 103 & 104. ISBN 978-973-50-5470-0.
- ^ Popescu, Alexandru (2018). Casele și Palatele Bucureștilor (in Romanian). Editura Cetatea de Scaun. p. 69. ISBN 978-606-537-382-2.
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