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Adelcrantz: Chinese Pavilion, 1769, Sweden - bulit for Queen Louisa - Oriental garden folly - shows monarchy is the center of wisdom - shows that Sweden is culturally equal to the other great European capitals |
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Bindesboll: Thorvaldson Museum, 1839-48, Denmark -Slightly slanted portals show Egyptian influence - New use of color - Frescos on outside - Inventive use of many sources, Romantic Historicism |
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Eigtved: Interior of Moltke's Mansion, 1750-54, Denmark - Rococo (tendrils, flowing vines, flexible curves, wall do not come to 90 degree angles) - Shows wealth of patron |
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Engel: Church of St Nicholas,1826-52, Finland - Neoclassical decoration on Russian style church - Russians wanted to make Helsinki new capital of Finland and a showpiece |
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Hansen: Christiansborg Palace Church, 1810-26, Denmark - Palace mostly destroyed by 1880's - Chapel still stands - Roman influences |
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Hansen: Courthouse, 1805-15, Denmark - Strong, massive structure - Restrained decorations - Play of light and shadow - Able to determine function of bldg. from outside form |
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Hansen: Interior of Church of Our Lady, 1811-29, Denmark - Pays hommage to Roman antiques - Forced of put tower on existing structure - Plain exterior |
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Harleman: Interior of Stockholm Royal Chapel, c.1740, Sweden - Educated in France and Italy - Influenced by Versailles - Meant to evoke emotion (Baroque) |
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Harsdorff: Colonade at Amalienborg, 1794, Denmark - gate to link to palaces - wood covered in stucco - ionic column introduced |
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Jardin: Marienlyst, 1759-63, Denmark - subtle, simple, light - Neoclassical
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Linstow: Royal Palace of Oslo, 1824-48, Norway - Linstow was not originally an architect - Original plans for palace were scaled down - stucco covered brick |
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Eigtved: Amalienborg Square, 1750-54, Denmark - Octagonal courtyard made from 4 identical palaces
- in center of courtyard is Frederick V on a horse - oringinally built for noble families but later the royal family bought in and moved in |
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Palmstedt: Gripsholm Castle Theater, 1781, Sweden - Neoclassical - Simple, intimate space - Used for court entertainment - Gustav III murdered here |
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Sergel: Amor and Psyche, c.1769-74, Sweden - Originally for Mdme. DuBarry but actually given to Gustav III - Captures frivolous sexual escapes |
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Sergel: The Faun, 1770, Sweden - Captures drunkeness, lethargy - Roman influence - Homosexual themes (Gustav III) |
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Thorvaldson: Bozzetto for Tomb of Pope Pius, 1824, Denmark - Pope Pius not made Saint --> change plans - Looks forlorn --> meant to capture time in exile - Hat is later on his head (vs. by his side) |
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Thorvaldson: Christ, 1821, Denmark - In Church of Our Lady - Larger than life - Shown walking among men (unique) |
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Thorvaldson: Cupid and Psyche, 1807, Denmark - More equality than Sergel - Remains close to original block - Frontal viewpoint only - Lovers' reunion on Olympus |
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Thorvaldson: Ganymede with the Eagle, 1817, Denmark - Based on Greek myth - frontal view - poses harmonize - pyramidal form -soft skin vs. deep cut feathers |
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Thorvaldson: Jason, 1800, Denmark - Break through piece - first version made in clay (lasted only one year) - remade in plaster - based on the story of Jason and the Golden Fleece |
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Thorvaldson: Lion of Lucerne, 1819-21, Denmark - Romantic, evoke emotion
- commenorate death of Swiss guards |
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Thorvaldson: Princess Baryatinskaya, 1818, Denmark - the finger to chin means modesty - the folds in her dress are like grooves in a column |
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Thorvaldson: Three Graces and Cupid, 1817-1819, Denmark - figues connected by gestures - Cupid is a foil and suggests their relationship to Venus |
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Thorvaldson:Tomb Monument of Pope Pius VII, 1824-31, Denmark - first time a non-Catholic did such a work - new style of scupture creation= artist not involved at all stages of production |
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