Reinventing Pompeii From Wall Painting to Iron Construction in the Industrial Revolution - Gabriella Cianciolo Cosentino


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    Collana Saggi di Storia dell’Arte - 63
    Anno 2019
    Pagine 256

    Formato 15,5 × 21,5, con oltre 50 illustrazioni
    a colori e 60 in bianco-nero

    Gabriella Cianciolo Cosentino is an architect and architectural historian trained in Palermo, with a
    strong record of international academic publications. Her research interests focus on nineteenth- and
    twentieth-century European architecture, reception studies, and heritage conservation. She has received numerous post-doctoral
    fellowships and research grants from Italian, German, and American institutions, including the Alexander von Humboldt Foundation,
    the Bibliotheca Hertziana, the Italian Academy for Advanced Studies in America (Columbia University), the German Research
    Foundation, and the Max-Planck Society. She is currently teaching history of architecture at the Technische Universität
    München and coordinating an interdisciplinary research project on Pompeii based at the Kunsthistorisches Institut in Florenz.

    Pompeii exists not only in its concrete materiality in-situ and ex-situ, but also in countless adaptations and re-interpretations
    which shape our cities and deeply affect the modern world. This book examines the impact of Pompeian wall paintings on European
    architectural design and discourse during the Industrial Revolution, with particular focus on the role of the Vesuvian city as
    a laboratory for the creation of a new ‘iron style’. When cast iron first appeared as a building material, architects faced unprecedented
    challenges after millennia of stone construction: cast iron required a new language, a new syntax, new proportions and ornamental
    patterns suited to the characteristics of the material and in line with the functional and aesthetic standards of modern
    cities. In this context, the imaginary structures painted on the walls of Pompeian buildings, interpreted as a prefiguration of a
    light, airy, dematerialised architectural order, were adapted to the needs of the time through a process of transfer from one medium
    (painted surface) to another (three-dimensional structure). A selection of case studies – including works by Karl Friedrich
    Schinkel, Henri Labrouste, Jakob Ignaz Hittorff, and Gottfried Semper – illustrate how the so-called Pompeian arabesques, i.e.
    models, motifs, and ideas found in fresco paintings, were transformed into iron elements at various scales, ranging from the decorative
    detail to the structural support. This study also explores other forms of dialogue with the ancient city, both theoretical and
    applied, as well as archaeological, art historical, and philosophical issues related to the paintings and their afterlife.

    Acknowledgements – Introduction - Pompeii as a Laboratory of Applied Creativity: Towards an Iron Style – Scope and Methodology
    - Vitruvius’s Monsters and their Afterlife: Legibility and Transmediality – I. Beyond Decoration: The Arabesque - Candelabra
    and Harpaginetuli as Compositional Elements - Goethe, the Arabesque, and Oriental Pompeii - Kant’s Designs à la Grecque and
    the Free Beauties - Nineteenth-Century Ornament Theories – II. Anticipation: Karl Friedrich Schinkel - Trips to Pompeii, Naples,
    and London - Furniture and Patterns for Craftsmen - From the Wall Decoration to the Third Dimension - Cast Iron between Art,
    Industry, and National Identity – III. Innovation: Henri Labrouste - Journeys, Drawings, and Readings - Illusionist Paintings, Iron
    Structures, and Design Principles - Historical Presence and the Néo-Grec - Decorated Construction and Engineering Aesthetics – IV.
    Dissemination: Ambrose Poynter and Luigi Canina - Imaginative Decoration and the New Proportions - The Introduction of Iron
    and Relative Beauty - The Style of Architecture on the Wall and Beyond - National Mania and Ubiquity – V. Experimentation:
    Jakob Ignaz Hittorff - Publications and the Graphic Estate - New Boundaries of Space and Decoration - Pozzuoli, Pompeii, and Petra
    - Designs and Buildings – VI. Metabolisation: Gottfried Semper - Buried in the Buried City - Preliminary Remarks and Other
    Writings - Metal Tectonics and Theatricality - Floating Pompeii – Conclusion - Overcoming the Taboo: Dialectical Virtues and Reverberations
    – Bibliography – Index – Illustration Credits