Georgian Gothic: Medievalist Architecture, Furniture and Interiors, 1730-1840
Georgian Gothic: Medievalist Architecture, Furniture and Interiors, 1730-1840
Georgian Gothic: Medievalist Architecture, Furniture and Interiors, 1730-1840
Georgian Gothic: Medievalist Architecture, Furniture and Interiors, 1730-1840
Georgian Gothic: Medievalist Architecture, Furniture and Interiors, 1730-1840
Georgian Gothic: Medievalist Architecture, Furniture and Interiors, 1730-1840
Georgian Gothic: Medievalist Architecture, Furniture and Interiors, 1730-1840
Georgian Gothic: Medievalist Architecture, Furniture and Interiors, 1730-1840
Georgian Gothic: Medievalist Architecture, Furniture and Interiors, 1730-1840
Georgian Gothic: Medievalist Architecture, Furniture and Interiors, 1730-1840

Georgian Gothic: Medievalist Architecture, Furniture and Interiors, 1730-1840

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Georgian Gothic: Medievalist Architecture, Furniture and Interiors 1730-1840

The Gothic Revival, rich, ambitious, occasionally eccentric, but nonetheless visually exciting, is one of Britian's greatesr contributions to early modern design history, not least because for the most part it contravened approved tatse: Classicism. Schoars have tended to treat Georgian Gothic as an homogenous and immature precursor to 'high' Victorian Gothic, and centred their discussion around Walpole's Strawberry Hill. This book, conversley, reveals how the style was imaginatively and repeatedly revised and incorporated into prevailing eighteenth-century fashions: Palladianism, Rococo, Neoclassicism and antiaquarianism. It shows how under control of architects, from Wren to Pugin, Walpole and Cottingham and furniture designs, especially those of Chippingdale, and Ince and Mayhew, a shared language of Gothic motifa was applied to British architecture, furniture and interiors. Goegian Britian was awash with Gothic forms, even if the arbiters of taste criticised it vehemently. Throughout, the volume reframes the Gothic Revival'sexpression by connecting it with Georgian understandings of the medieval past, and consequently revises  our interpretation of one of the most influential, yet lampooned, forms of material culture at the time.

  • Written by Peter N. Lindfield
  • 267 Pages
  • Hardback
  • Dimensions: 15.49 x 1.78 x 23.62 cm
  • ISBN: 1783271272