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European Architecture 1750-1890 (Oxford History of Art) Paperback – 14 Sep 2000

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Product details

  • Paperback: 336 pages
  • Publisher: Oxford Paperbacks (14 Sept. 2000)
  • Language: English
  • ISBN-10: 0192842226
  • ISBN-13: 978-0192842220
  • Product Dimensions: 23.1 x 2.5 x 15.2 cm
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Bestsellers Rank: 161,726 in Books (See Top 100 in Books)
  • See Complete Table of Contents

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Product Description

Review

it has an unrivalled consistency of argument ... this book makes a substantial contribution to present knowledge and provides a clear window on the one art form you cannot ignore.

About the Author

Barry Bergdoll is Professor of Art History at Columbia University in New York. Author and editor of numerous works on 19th century architecture, particularly in France and Germany, his publications include: Le Panthéon: Symbole des Revolutions (Paris, 1989), Léon Vaudoyer: Historicism in the Age of Industry (MIT, 1994), Karl Freidrich Schinkel: An Architecture for Prussia (Rizzoli, 1994) and Mastering McKim's Plan (Columbia University Press, 1997). Bergdoll has served as curator or curatorial consultant at the Musée d'Orsay, Canadian Centre for Architecture, the Metropolitan Museum of Art, and the Museum of Modern Art in New York, and has served as exhibitions editor of the Journal of the Society of Architectural Historians

Inside This Book

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First Sentence
In the mid-eighteenth century, antiquity was upheld as a standard for architecture as never before. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Most Helpful Customer Reviews

5 of 5 people found the following review helpful By Artsreadings on 27 Mar. 2010
Format: Paperback
This volume, like all volumes of this OUP collection, is widely illustrated in black and white and mostly in colour so that the reading is really pleasant.

The illustrations are also a great mix of all kinds of architectural documentation: photographs, picturesque and technical drawings, plans, diagrams, engravings.

The author makes a great contribution with introducing this complex period of European architecture with a cross of thematic and chronological chapters.

The text is well written, combining broad cultural considerations with specific points about architectural publications and particular buildings taken as case studies.
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4 of 4 people found the following review helpful By Colin Melia on 7 May 2010
Format: Paperback
As an architecture student writing an essay on the origins of modern city planning in Europe (focusing on Haussmann's Parisian reforms)this was a great overview on a very complicated period. Obviously I had to use many other books but the relevant sections in this book provided a very good grounding in the relevant topics (which were: Paris, Barcelona, Vienna & Camillo Sitte).

This is a clear and concise overview of the period with lots of illustrations such as plans, sections, sketches, paintings, photographs etc. I can't recommend it enough for anyone studying or just interested in European architectural history during the eighteenth and nineteenth centuries.
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Format: Paperback Verified Purchase
A must-have book with many historical references for buildings during the period and tons of illustrations. The basic historical reference for your historical theory classes in university.
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By samantha evans on 12 Nov. 2013
Format: Paperback Verified Purchase
This was so helpful for my first year at UNI studying architecture, it covers the ground of most of the key movements and talks about how both culture and art changed architecture.
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1 of 4 people found the following review helpful By planner on 11 Nov. 2011
Format: Paperback
This book is not an easy read. The author's use of language is generally difficult and frequently obscure.
The purpose of a book is to communicate ideas. This book fails miserably. Obscurity in the use of language does not indicate intellectual depth. Rather the contrary. This volume needs a drastic re-write. Come on Barry. If you understand your subject I'm sure you can express your ideas in a manner we can understand. Unfortunately this is a common failing of writings on art history and criticism. It is inexcusable.
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