Eclecticism

Eclecticism refers to a mixed style in the fine arts and never to a specific style. In general, the term
describes the combination in a single work of a variety of influences—mainly of elements from different
historical styles in architecture, painting, and the graphic and decorative arts. Eclecticism was a term used
derogatively for much of the period since it never amounted to a movement or constituted a specific style.

Eclecticism is also loosely applied to the general stylistic variety of 19th-century architecture after
Neoclassicism, although the revivals of styles in that period have now generally been referred to as
aspects of Historicism. Historicism idealized past empires and cultures, and used motifs or imitating the
work of historic artisans to stimulate national nostalgia. Historicism is especially prevalent in architecture,
such as Revival architecture.

Eclectic Architecture
Nineteenth-century architecture was greatly influenced by earlier architectural movements and foreign,
exotic styles, which were adapted to the new technologies of the early modern age. The revivals of
Greek, Gothic, and Renaissance designs were fused with contemporary engineering methods and
materials. The advent of the Industrial Revolution had a significant impact on architecture. The
emergence of new patrons, wealthy company owners, and industrialists that had a penchant for building
grand edifices, gave rise to new building types. Advancements in engineering, construction management,
as well as the introduction of new materials like steel and plated glass presented designers with new
opportunities to explore different building and design styles.

Industrial Revolution
The Industrial Revolution was the transition to new manufacturing processes in Europe and the United
States from the late 18th century to the early 19th century. Instigated by the development of trade and the
rise of businesses, this transition included going from hand production methods to machines, new
chemical manufacturing and iron production processes, the increasing use of steam power and water
power, the development of machine tools, and the rise of the mechanized factory system.

Two principal characteristics thus distinguished 19th-century architecture; (1) the use of a variety of
historical styles, (2) and the development of new materials and structural methods. The first was
aimed to continue in the traditional styles at the same time, visual interest to modern eyes. The second
emerged from the development of new materials as a result of new industrial needs This falling out of
fashion of the traditional styles became the perfect stimulus in the venture towards a new, eclectic,
architectural landscape.

Gothic Revival/ Neo-Gothic/ Victorian Gothic/ Gothick

Gothic Revival architecture became the most popular idiom in Victorian Britain and the United States
during the 19th century. The Victorian Period corresponds to the reign of Queen Victoria, which follows
the Georgian period and preceded the Edwardian period. The Victorian era is known for its interpretation
and eclectic revival of historic styles mixed with the introduction of Middle Eastern and Asian influences in
furniture, fittings, and interior decoration.

The style developed partly as a response to the severity of Neoclassical architecture, fully exploiting new
materials and as well as new building techniques which made use of an iron skeleton framework. There
were several reasons for the change of direction from Neoclassicism but three stand out as, by far, the
most important.

1. It was sparked by a general literary romantic revolution that produced Gothic tales of horror and
romances. (Shelley’s Frankenstein and Stoker’s Dracula were both written during this time)
2. The writings of the architectural theorists, such as that of Augustus Welby Pugin, who were
interested, as part of church reform, in transferring the liturgical significance of Gothic architecture
to their own times.
a. Pugin believed that the Gothic style was the true Christian architecture and that it
would facilitate a return to a morally virtuous medieval faith and society.
b. Apart from designing Catholic churches, Pugin is also known for designing the interior of
the Palace of Westminster in Westminster, London, England, and its iconic clock tower
later renamed the Elizabeth Tower, which houses the bell known as Big Ben.
3. The writings of John Ruskin, who proposed that Gothic buildings excelled above all other
architecture because of the "sacrifice" of the stone-carvers in intricately decorating every stone.

Gothic Revival drew features from the original Gothic style, including decorative patterns, finials, lancet
windows, hood molds, and label stops. The style was especially favored by Victorian architects for official
or religious buildings as a nod to their powerful medieval heritage.

Examples of Gothic Revival architecture include:

● Strawberry Hill, the home of the English writer Horace Walpole - the earliest documented
example of the revived use of Gothic architectural elements.
● Fonthill Abbey, designed by James Wyatt
● St. Patrick’s Cathedral, by James Renwick.in New York, NY.

Beaux-Arts Style
The Beaux-Arts style takes its name from the École des Beaux-Arts in Paris, where many of the
architects who applied its styles studied. The philosophy of the school revolved around the classical
traditions from the Renaissance to the Baroque, a reflection of its long and colorful history.

The Beaux-Arts style bore consistent features which include:

1. Grandly designed and ornamented facades, with an eclectic array of overlapping, yet non-
conflicting classical motifs and sculpture from different periods.
2. Axial planning of the spaces, often with grand, ceremonial open spaces followed by smaller
service areas.
 3. The interior design reflected the language of the exterior; sculpture (bas-relief panels, figural
sculptures, sculptural groups), murals, mosaics, and other artwork, all coordinated in theme to
assert the identity of the building, often using subtle polychromy and gilding to spectacular effect.

Examples of the Beaux-Arts style include:

● The Sainte-Geneviève Library by Henri Labrouste, Paris
● The Grand Palais by Henri Deglane, Albert Louvet, and Albert Thomas, with the project overseen
by Charles Girault, and the Petit Palais designed by Charles Girault, Paris
● Grand Central Terminal by Reed and Stem, and Warren and Wetmore, New York City

“Industrial” Architecture
The Industrial Revolution saw great changes introduced in manufacturing. The machine tool industry
introduced a precision in manufacture which, when applied to building and construction, enabled the
erection of large and safe structures built from uniform components. New breakthroughs in engineering
produced exciting shapes in glass, steel, and iron, distinct features in nineteenth-century architecture.

Noteworthy examples include:

● The Crystal Palace, by John Paxton.
● The Eiffel Tower, by Gustave Eiffel
● Bibliotheque Nationale de France, designed by Henri Labrouste.
● The Statue of Liberty, designed by Auguste Bartholdi

Arts and Crafts

The Arts and Crafts Movement was established in Britain in about 1862 by the artist and medievalist
William Morris in response to the negative social and aesthetic consequences of the Industrial Revolution.
Influenced by the writings of Ruskin who advocated the need to preserve individual craftsmanship and
design, Morris was committed to reintegrate high aesthetics into everyday craftsmanship. Morris founded
the design firm of Morris, Marshall, Faulkner & Co to recreate manual craftsmanship in the era of mass
production.

The Arts and Crafts Movement was primarily concerned with architecture and the decorative arts,
including stained glass, wallpaper, textiles, furnishings, printed fabrics (chintzes), tapestry art, furniture,
wood carving, metalwork, ceramics, jewelry, and mosaic art. It sought to reassert the importance of
design and craftsmanship in all the arts in the face of increasing industrialization.

Other characteristics include:

● The belief that design should be dictated by function,
● Local materials should be respected,
● New buildings should integrate with the surrounding landscape
● Freedom from historicist styles was essential

Art Nouveau
Art Nouveau has become the general term applied to a highly varied movement that was European-
centered but internationally current at the end of the century. Art Nouveau was an innovative international
style of modern art that became fashionable from about 1890 to the First World War. Arising as a
rejection to 19th-century designs dominated by historicism, if not also tradition, in general, and
neoclassicism in particular, it promulgated the idea of art and design as part of everyday life.

Art Nouveau architecture was one of the great ubiquitous cultural impulses, appearing virtually throughout
Europe, even in America. It is often characterized with its use of bizarre forms made of iron, glass,
masonry, and concrete. Decorative exploitation of the architectural surface with flexible, S-shaped linear
ornament, commonly called whiplash or eel styles, was indulged in by the Jugendstil and Sezessionstil
architects. Art Nouveau, later on, adapted purer and more stylized decorations. Curving lines and forms
evolved into polygons and then into cubes and other geometric forms. Still being anti-historicism,
modernist ideals eventually practiced restraint in ornamentation while still using appropriate materials and
techniques.

Notable examples of Art Nouveau architecture include:

● Hôtel Tassel by Victor Horta, Belgium
● The Entrances for the Paris Métro, Hector Guimard, France
● Church of the Sagrada Familia and Casa Batlló , Antonio Gaudi, Spain
● The Secession Hall by Joseph Maria Olbrich, Austria