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This is a biography of writer, architect, aesthete and editor Geoffrey Scott (1884-1929). His Architecture of Humanism was considered the most important statement about architecture since Ruskin, and was used as a basic text in architectural schools for many years. The Portrait of Zelide won the James Tait Memorial Black Prize. Scott was also a prominent figure in social and intellectual circles in London, Florence and New York. A protege of Bernard and Mary Berenson, he spent many years living and working at the art historian's villa outside Florence.
‘Lives that Never Grow Old’ is a wonderful series– edited by Richard Holmes – that recovers the great classical tradition of English biography. Every book is a biographical masterpiece, still thrilling to read and vividly alive.
Zelide lived in her father's moated castle in Holland, like a fairytale princess in a tower. She was the clever, sexy, mercurial young Dutch blue-stocking with whom Boswell fell disastrously in love in 1764. The rest of Zelide's story was unknown until the young Boswell scholar Geoffrey Scott pieced it together from her intimate letters and essays. Subsequent affairs with a cynical cavalry officer, a celebrated but vacillating writer (aptly named Benjamin Constant), and a thoroughly reliable music master, took her eventually to another fairytale mansion in Switzerland. This portrait of a belle-espirit is one of a series of biographies of literary figures presented by Richard Holmes
The Architecture of Humanism offers a brilliant analysis of the theories and ideas behind much of nineteenth- and twentieth-century architecture. It discusses the classical tradition as reflected in the architecture of Renaissance and Baroque Italy and the role given the human body in that tradition. It is recommended reading for all architecture students, and essential for those interested in the revival of classical architecture.
Starred review in P.W. for this Bloomsbury-era biography of Isabella "Zelide" Van Tuyll.
As the magazine of the Texas Exes, The Alcalde has united alumni and friends of The University of Texas at Austin for nearly 100 years. The Alcalde serves as an intellectual crossroads where UT's luminaries - artists, engineers, executives, musicians, attorneys, journalists, lawmakers, and professors among them - meet bimonthly to exchange ideas. Its pages also offer a place for Texas Exes to swap stories and share memories of Austin and their alma mater. The magazine's unique name is Spanish for "mayor" or "chief magistrate"; the nickname of the governor who signed UT into existence was "The Old Alcalde."
Controversy swirls around Bernard Berenson today as it did in his middle years, before and between two world wars. Who was this man, this supreme connoisseur of Italian Renaissance painting? How did he support his elegant estate near Florence, his Villa I Tatti? What exactly were his relations with the art dealer Joseph Duveen? What part did his wife, Mary, play in his scholarly work and professional career? The answers are to be found in the day-to-day record of his life as he lived it--as reported at first hand in his and Mary's letters and diaries and reflected in the countless personal and business letters they received. His is one of the most fully documented lives of this century. Erne...
As the first comprehensive encyclopedic survey of Western architectural theory from Vitruvius to the present, this book is an essential resource for architects, students, teachers, historians, and theorists. Using only original sources, Kruft has undertaken the monumental task of researching, organizing, and analyzing the significant statements put forth by architectural theorists over the last two thousand years. The result is a text that is authoritative and complete, easy to read without being reductive.
In his landmark volume Space, Time and Architecture, Sigfried Giedion paired images of two iconic spirals: Tatlin’s Monument to the Third International and Borromini’s dome for Sant’Ivo alla Sapienza. The values shared between the baroque age and the modern were thus encapsulated on a single page spread. As Giedion put it, writing of Sant’Ivo, Borromini accomplished 'the movement of the whole pattern [...] from the ground to the lantern, without entirely ending even there.' And yet he merely 'groped' towards that which could 'be completely effected' in modern architecture-achieving 'the transition between inner and outer space.' The intellectual debt of modern architecture to moderni...
A history of modern architecture as a discursive practice.