In the years 1815 to 1820, the arts and culture of the Middle Ages were rediscovered and the neo-Gothic movement emerged influencing the architectural and decorative arts. The Middle Ages were then considered to be the golden age of Christianity, the mystical source of religion. In paintings and furnishings neo-Gothic became the Troubadour style, which was much appreciated by the Romanticists who found spiritual inspiration in the picturesque atmospheres created by artists and craftsmen. Although the style continued to be favored till the end of the19th century and beyond, the most creative period was from 1815 to 1835.
Neo-Gothic borrowed elements from Gothic for decorative use and tried to understand the basic principles of Gothic, and used them. Also Neo-Gothic was still closely related to neo-Classicism using both in general shape of the buildings as in the use of materials; usually only the shapes of the details differed.
Neo-Gothic, also called rationalist neo-Gothic, was not a rediscovery of Gothic but rather a rebirth of that style.
Today the Gothic Revival (also referred to as Victorian Gothic or Neo-Gothic) is an architectural movement that began in the 1740s in England.
Its popularity grew rapidly in the early :thumb214581937:nineteenth century, when increasingly serious and learned admirers of neo-Gothic styles sought to revive medieval forms, in contrast to the neoclassical styles prevalent at the time.
In parallel to the ascendancy of neo-Gothic styles in nineteenth-century England, interest spread rapidly to the continent of Europe, in Australia, South Africa and to the Americas; indeed the number of Gothic Revival and Carpenter Gothic structures built in the nineteenth and twentieth centuries may[clarification needed] exceed the number of authentic Gothic structures that had been built previously.
The revived Gothic style was not limited to architecture. Whimsical Gothic detailing in English furniture is traceable as far back at Lady Pomfret's house in Arlington Street, London (1740s), and Gothic fretwork in chairbacks and glazing patterns of bookcases is a familiar feature of Chippendale's Director (1754, 1762), where, for example, the three-part bookcase employs gothick details with Rococo profusion, on a symmetrical form. Sir Walter Scott's Abbotsford exemplifies in its furnishings the "Regency gothic".
By the mid-nineteenth century, Gothic traceries and niches could be inexpensively re-created in wallpaper, and Gothic blind arcading could decorate a ceramic pitcher. The illustrated catalogue for the Great Exhibition of 1851 is replete with Gothic detail, from lacemaking and carpet designs to heavy machinery.
Here I have offered a tiny summary of the history of Neo-Gothic Art ...
Soon we will continue more and referral is given on this intriguing topic.
-Hadassa Cross OWNER