Romanian Revival architecture

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Romanian Revival architecture
Top:C.N. Câmpeanu House by Constantin Nănescu, in Bucharest, c.1923;[1] Centre: The Cloister of the Stavropoleos Monastery by Ion Mincu, in Bucharest, c.1899-1910;[2] Bottom: The Marmorosch Blank Bank Palace in Bucharest, 1915-1923[3]
Years activelate 19th century–first half of the 20th century

Romanian Revival architecture (a.k.a. Romanian National Style, Neo-Romanian, or Neo-Brâncovenesc; Romanian: stilul național român, arhitectura neoromânească, neobrâncovenească) is an architectural style that has appeared in the late 19th century in Romanian Art Nouveau,[4] 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.[5] Ion Mincu and his successors, Grigore Cerchez [ro], 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.

19th century nationalism combined without problems with Europeanism and admiration for the West, Romania wanting to prove that it is a European country. After 1900, without abandoning European trends, the emphasis is more on values with Romanian specificity. As a result, the Parisian and Viennese buildings of the late nineteenth century are contrasted with a "Romanian style". The popularity of the Romanian style continues and intensifies in the interwar period.[6] The heyday of the style were the 1920s, when many Romanian Revival houses, churches and institution buildings were erected, both in Bucharest and in the rest of Greater Romania. The trend had also extended into the decorative arts from the start, with examples of Neo-Romanian design of furniture and other objects appearing, but also illustrations and graphic design (including stamps and magazine covers).

Origins

Romanian Revival architecture is a revival of the

Russian architecture
.

Brâncovenesc churches usually have façades decorated with reliefs, most churches being white, while some have elaborate paintings on the façades (like the Stavropoleos Monastery from Bucharest). The walls of their interiors are filled with Byzantine style frescos. Above their main door there is a pisanie, which is an inscribed stone plaque. The inscription usually includes a religious invocation, the name of the founder or founders, the date of construction, the motivation of the building, the circumstances of the time and other data.

Characteristics

The influences of peasant houses were manifested through ornaments and elements used under various interpretations, but which retain their origin. Among the elements are the

Holy Trinity (Father, Son and Holy Spirit
).

The buildings often have a medieval castle or fortress look, with

Balkan space, including Romania, especially in Serbia and Albania. In essence, the cule were the dwellings of the boyars
, built for the defense of the owner and their family members against invasions.

Representative architects

The first generation of Romanian architects, creators and promoters of the Romanian Revival style, is composed of Ion Mincu (1852–1912), Ion N. Socolescu (1856–1924) and Grigore Cerchez (1850–1927).[10]

Ion Mincu

Main article: Ion Mincu

His first attempts in Bucharest, after his return from studies in Paris, were the

ocher, of the Luca della Robbia type, contrasts with the relative sobriety of the old Romanian architecture from which, obviously, it started. Thus, the Buffet has a happy, lively and, especially, Romanian air.[17]

Petre Antonescu

Main article: Petre Antonescu

One of the most vigorous and typical representatives of Romanian Revival architecture was

brace/kokoshniks, mixed with other ones, semicircular, retreating portals, of Romanesque or Renaissance proportions and profile, etc. This process does not completely protect the work from eclecticism, but the ansamble still tilts the balance towards a national physiognomy.[18]

In other art media

  • Romanian Revival display cases in the George Severeanu Museum, Bucharest, in which Ancient ceramic is exhibited, unknown designer, unknown date, wood and glass
    Romanian Revival display cases in the George Severeanu Museum, Bucharest, in which Ancient ceramic is exhibited, unknown designer, unknown date, wood and glass
  • Picture frame sold in the Dimitrie Gusti National Village Museum, Bucharest, unknown designer, unknown date, wood
    Picture frame sold in the Dimitrie Gusti National Village Museum, Bucharest, unknown designer, unknown date, wood
  • Coffee table, unknown designer, early 20th century, wood
    Coffee table, unknown designer, early 20th century, wood
  • Desk, unknown designer, early 20th century, wood
    Desk, unknown designer, early 20th century, wood
  • Design for living room furniture, by Nicolae Ghica-Budești, 1906, ink on paper
    Design for living room furniture, by Nicolae Ghica-Budești, 1906, ink on paper
  • Curtain design, by Ion Theodorescu-Sion, unknown date, watercolour
    Curtain design, by Ion Theodorescu-Sion, unknown date, watercolour
  • Illustration for the Ileana magazine, by Ludovic Basarab, unknown date, ink on paper
    Illustration for the Ileana magazine, by Ludovic Basarab, unknown date, ink on paper
  • Vessel design, by Apcar Baltazar, unknown date, watercolour
    Vessel design, by Apcar Baltazar, unknown date, watercolour
  • Stamp with king Carol I, unknown illustrator, 1906, ink on paper
    Stamp with king Carol I, unknown illustrator, 1906, ink on paper
  • Stamp with king Carol I, unknown illustrator, 1906, ink on paper
    Stamp with king Carol I, unknown illustrator, 1906, ink on paper
  • Stamp with queen Elisabeth, by C. Stengel, 1906, ink on paper
    Stamp with queen Elisabeth, by C. Stengel, 1906, ink on paper
  • Stamp with queen Elisabeth weaving, by C. Stengel, 1906, ink on paper
    Stamp with queen Elisabeth weaving, by C. Stengel, 1906, ink on paper
  • The Magazine of the Holy Synod from March 1927, unknown illustrator, ink on paper
    The Magazine of the Holy Synod from March 1927, unknown illustrator, ink on paper

In addition to architecture, the Romanian Revival style manifested itself in other media, including graphic design, pottery, furniture and illustration. There are good examples of Romanian Romanian furniture in the George Severeanu Museum in Bucharest, mostly display cases, where ancient Greek and Etruscan vessels are exhibited.

Besides buildings, architect Nicolae Ghica-Budești also produced Romanian Revival furniture. His example followed by artists like O. Roguschi, Gh. Lupu, A. Clevel, Hugo Storck, who made furniture in this style. During the 1900s, Apcar Baltazar is preoccupied with the creating a new Romanian style in decorative arts. In November 1908, an essay called "Spre un stil românesc" (Towards a Romanian style) is published in the Viața Românească (Romanian Life) magazine. Using example from world art history, he tries to find ideas for his creation and for how an authentic Romanian style should look like. As a key feature of this style, he recommends elements of Byzantine art, present in medieval Romanian architecture. He was an advocate for introducing them in an harmonious way, not straight up copying. Baltazar was also an admirer of both peasant and religious art. A motif he used in multiple designs is the stylized rooster.

Al. Tzigara-Samurcaș was a militant for the conservation of traditional peasant art. He was also an influence for Apcar Baltazar.[19]

Periods

In general, architectural styles popular in a period tend to influence each other, sometimes leading to mixes. The Romanian Revival is no exception. Because of this, the year when many buildings were erected can be approximated more or less easily.

Early (before 1906)

  • Entrance of the Central Girls' School, Bucharest, by Ion Mincu, 1890.[13] Notice the pediment above the door, that makes this entrance similar with one of a Neoclassical building
    Entrance of the Central Girls' School, Bucharest, by Ion Mincu, 1890.[13] Notice the pediment above the door, that makes this entrance similar with one of a Neoclassical building
  • Folk Art Museum, Constanța, Romania, 1893 unknown architect. The complex foliage spirals (aka rinceaux) may have been inspired by Islamic architecture
    Folk Art Museum,
    rinceaux
    ) may have been inspired by Islamic architecture
  • Strada Polonă no. 13, Bucharest, c.1900, unknown architect. Notice how highly decorated this house is. Also, the small brown wooden pediment above the door is fully Neoclassical
    Strada Polonă no. 13, Bucharest, c.1900, unknown architect. Notice how highly decorated this house is. Also, the small brown wooden pediment above the door is fully Neoclassical
  • Strada Grigore Alexandrescu no. 42, Bucharest, c.1900, unknown architect. This house is a mix of Romanian Revival and Beaux-Arts architecture. The shape of the windows may have been inspired by the Islamic the world
    Strada Grigore Alexandrescu no. 42, Bucharest, c.1900, unknown architect. This house is a mix of Romanian Revival and Beaux-Arts architecture. The shape of the windows may have been inspired by the Islamic the world
  • Strada Franzelarilor no. 2A, Bucharest, unknown architect, c.1900. This house stands out through its polychrome glazed ceramic ornaments, similar with the ones of some churches from Moldavia, like the Saint Nicholas Princely Church in Iași
    Strada Franzelarilor no. 2A, Bucharest, unknown architect, c.1900. This house stands out through its polychrome glazed ceramic ornaments, similar with the ones of some churches from Moldavia, like the Saint Nicholas Princely Church in Iași
  • Diamandi House, Bucharest, unknown architect, c.1900. While all the ornaments are Romanian Revival, the structure of the house is specific to the Belle Époque: a house with three or two windows towards the street, garden, entrance in the garden, and only one story high
    Diamandi House, Bucharest, unknown architect, c.1900. While all the ornaments are Romanian Revival, the structure of the house is specific to the Belle Époque: a house with three or two windows towards the street, garden, entrance in the garden, and only one story high
  • Base of a Romanian Revival lighting pole at the intersection of Streets Popa Tatu and Mircea Vulcănescu, Bucharest, unknown architect, c.1900
    Base of a Romanian Revival lighting pole at the intersection of Streets Popa Tatu and Mircea Vulcănescu, Bucharest, unknown architect, c.1900

The Belle Époque is the period in which the style was created. Because it was not fully defined until the 1906 General Romanian Exhibition in the

Gothic Revival elements. For example, the Central Girls' School has an entrance with a pediment
above it, similarly with what you would find at a Neoclassical building. The Romanian Revival of the Belle Époque is also more decorated compared to the later phases of the style.

Mature (1906-early 1930s)

To celebrate the 25th anniversary of the coronation of king Carol I of Romania, 40 years of his reign, 25 years since proclamation of the Kingdom of Romania, and 1800 years since the Romans came in the Dacian province, the General Romanian Exhibition took place in the Carol Park (Park of Freedom) of Bucharest in 1906. Most of the pavilions of the fair were temporary structures, the only ones that survived being the Silver Knife Church, the Roman Arenas, the Filaret Electricity Station, small pavilions, the Mining Ministry fountain, and the water tower, designer to look like a medieval relic from the time of Vlad the Impaler.[27][28] The 1906 General Romanian Exhibition is important because this when the style started to be fully developed.

Buildings from this phase have a consistent look. The 1920s was the peak of popularity, multiple schools, houses and institutions built after WW1 being Romanian Revival. Sometimes it was mixed with Art Deco, a style equally popular in the 1920s.

Late (late 1930s and 1940s)

Under the pressures of Modernism, the style became more and more simplified. Initially, the supporters of the Romanian Revival style rejected Modern architecture. They saw Modern buildings as creations that lack a local spirit. However, their opposition faded with time, leading to mixes of the two movements. Multiple architects, without dropping elements inspired by local tradition, will adopt new materials and techniques. Romanian Revival proportions and volumes were kept, but ornaments were highly simplified or sometimes were just nonexistent. Buildings were reduced to essences.[33]

Notable examples

History and Archaeology Museum, Constanța, by Victor Ștefănescu, 1912-1921, with the Statue of Ovid in front of it
The central stairs of the Constanța History and Archaeology Museum, an example of a Romanian Revival interior

Romania

  • Alexandria
  • Bucharest
    • Nicolae Minovici Villa
      (Strada Doctor Minovici Nicolae 1)
    • Sector 1 Town Hall (Bulevardul Banul Manta 9)
    • Gheorghe Tătărescu House (Strada Polonă 19)
    • Hagi-Theodoraky House (Șoseaua Kiseleff 57)
    • Romanian Peasant Museum (Șoseaua Kisseleff 3)
    • Dissescu House (Calea Victoriei 196)
    • Amza's Church (Strada Biserica Amzei 12)
    • Lahovari House (Strada Ion Movilă 5)
    • Oprea Soare House (Strada Poenaru Bordea 2)
    • Kiseleff Palace (Strada Barbu Ștefănescu Delavrancea 6A)
    • Gheorghe Petrașcu House (Piața Romană 5)
    • Interior of the Ion Mincu House, its exterior being just Eclectic (Strada Arthur Verona 19)
    • Central School (Strada Icoanei 3-5)
    • Elie Radu House (Strada Alexandru Donici 40)
    • Bucharest City Hall (Bulevardul Regina Elisabeta 47)

In addition, there are areas in Bucharest where most houses are Romanian Revival, such as Cotroceni and Dorobanți.

Moldova

Albania

Bulgaria

Ukraine

  • Khotyn
    • House of Culture (Vulytsya Nezalezhnosti, 19-17)
  • Chernivtsi
    • St. Nikolai Church
    • Holy Apostles Peter and Paul Church
    • Palace of the border guards
    • Priests' dormitory building

See also

  • Architecture of Romania
  • Byzantine Revival architecture

Notes

  1. ISBN 978-973-1872-30-8
    .
  2. ^ a b Celac, Carabela & Marcu-Lapadat 2017, p. 49.
  3. ^ Celac, Carabela & Marcu-Lapadat 2017, p. 53.
  4. ^ Paul, Constantin (1977). Mică Enciclopedie de Arhitectură, Arte Decorative și Aplicate Moderne (in Romanian). Editura Științifică și Enciclopedică. p. 109.
  5. ISBN 978-606-537-382-2
    .
  6. ISBN 978-973-50-5470-0
    .
  7. ^ Celac, Carabela & Marcu-Lapadat 2017, p. 216.
  8. ISBN 978-606-33-1053-9
    .
  9. ISBN 978-606-537-382-2
    .
  10. ISBN 978-973-1872-51-3
    .
  11. ^ Celac, Carabela & Marcu-Lapadat 2017, p. 124.
  12. ^ Celac, Carabela & Marcu-Lapadat 2017, p. 153.
  13. ^ a b Celac, Carabela & Marcu-Lapadat 2017, p. 123.
  14. ^ Celac, Carabela & Marcu-Lapadat 2017, p. 80.
  15. ^ Rîmniceanu, Marin Sorinescu (1924). Istoria Artelor (in Romanian). p. 158.
  16. ^ Rîmniceanu, Marin Sorinescu (1924). Istoria Artelor (in Romanian). p. 158.
  17. ^ Paul, Constantin (1977). Mică Enciclopedie de Arhitectură, Arte Decorative și Aplicate Moderne (in Romanian). Editura Științifică și Enciclopedică. p. 109 & 110.
  18. ^ Paul, Constantin (1977). Mică Enciclopedie de Arhitectură, Arte Decorative și Aplicate Moderne (in Romanian). Editura Științifică și Enciclopedică. p. 110.
  19. ISBN 978-606-33-1053-9
    .
  20. ^ Celac, Carabela & Marcu-Lapadat 2017, p. 158.
  21. ISBN 978-973-1872-30-8
    .
  22. ISBN 978-973-1872-51-3
    .
  23. ISBN 978-973-1872-30-8
    .
  24. ISBN 978-973-0-28434-8
    .
  25. ISBN 978-973-0-28434-8
    .
  26. ISBN 978-973-0-28434-8
    .
  27. ^ Celac, Carabela & Marcu-Lapadat 2017, p. 107.
  28. ISBN 978-973-1872-51-3
    .
  29. ^ "Arh. OCTAV DOICESCU: Restaurantul Românesc Băneasa (în prezent Casa Albă), 1930". octavdoicescu.blogspot.com. Retrieved 6 March 2023.
  30. ISBN 978-606-33-1053-9
    .
  31. ISBN 978-606-33-1053-9
    .
  32. ISBN 978-606-33-1053-9
    .
  33. ISBN 978-606-33-1053-9
    .

References

External links

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