The Picturesque: Architecture, Disgust and Other Irregularities

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Overview

In this fresh and authoritative account John Macarthur presents the eighteenth century idea of the picturesque – when it was a risky term concerned with a refined taste for everyday things, such as the hovels of the labouring poor – in the light of its reception and effects in modern culture. In a series of linked essays Macarthur shows:


  • what the concept of picture does in the picturesque and how this relates to modern theories of the image
    • ...
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The Picturesque: Architecture, Disgust and Other Irregularities

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Overview

In this fresh and authoritative account John Macarthur presents the eighteenth century idea of the picturesque – when it was a risky term concerned with a refined taste for everyday things, such as the hovels of the labouring poor – in the light of its reception and effects in modern culture. In a series of linked essays Macarthur shows:


  • what the concept of picture does in the picturesque and how this relates to modern theories of the image

  • how the distaste that might be felt today at the sentimentality of the picturesque was already at play in the eighteenth century

  • how visual values such as ‘irregularity’ become the basis of modern architectural planning; how the concept of appropriating a view moves from landscape design into urban design

  • why movement is fundamental to picturing the stillness of buildings, cities and landscapes.

Drawing on examples from architecture, art and broader culture, John Macarthur's account of this key topic in cultural history, makes engaging reading for all those studying architecture, art history, cultural history or visual studies.

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Product Details

Table of Contents


List of figures and credits     ix
Preface and acknowledgements     xiii
Introduction     1
The genesis of the picturesque     3
1795     7
Price, Knight and Repton     9
The nineteenth century     13
The picturesque in modernism     15
The reception of the picturesque     17
Pictures     19
Painting and pictures     20
The end of fresco     28
Gilpin, the sketch and composition at large     33
Price, Reynolds and genre     40
Breadth and connection     47
Repton and the limits of the picture     48
Architecture and pictures     52
Coda: Le Corbusier and Herzog and de Meuron, or, the end of the modern picturesque     53
Disgust     57
Feeling and ideation     58
'A dirty fellow with a dirty shovel': rhyparography and the value of disgust in art     64
Disinterestedness     69
Disinterestedness II: disgust in the republic of taste     72
A picturesque butcher's shop     76
Meat in Repton     80
The Carcase of an Ox     83
Sir Uvedale Price's theory of disgust     87
Picturesqueness and objecthood     94
The heartlessness of the picturesque: John Ruskin     96
From savageness to Brutalism and 'The Revenge of the Picturesque'     103
Everyday     108
Irregularity     110
The architectural plan and a sketch for its history     111
The Truth about Cottages     125
Cottages - neat and neglected     118
Irregularity in theory and practice     124
Cottage architecture and irregularity as technique     131
Familiarity     139
Plan-form and style     145
Picturesque architecture and form     154
Triangularity     158
Le Corbusier's picturesque     161
Picturesque minimalism?     168
Appropriation     176
Repton's theory of appropriation     177
From landscape and prospect to landscape and power     188
Ivor de Wolfe's picturesque, or, who and what was Townscape?     197
The politics of viewpoint from Civilia to Collage City     215
Horizontality and modern art     224
The franchise of architecture, or looking down with the picturesque     228
Postscript: sharawaggi now      230
Movement     233
Picturesque and Baroque     234
Wolfflin, malerisch and the picturesque movement-effect     242
Movement, space and modernity     246
Imitating movement     250
Benjamin and the non-sensuous imitation of movement     252
Interruption     258
Architecture and the picturesque     261
Notes     262
Index     285
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