Resultado de búsqueda
26 de abr. de 2024 · William Lethaby, Symbolism and the Occult 2022-03-23 Amandeep Kaur Mann This book delves into the life and work of architect William Richard Lethaby (1857–1931) and his relationship with the occult and alchemy, in particular.
23 de abr. de 2024 · This is the third text in this series, where Hugh Strange visits key texts throughout W. R. Lethaby’s life. William Lethaby’s second book, The Church of Sancta Sophia, Constantinople: A Study of Byzantine Building, published in 1894, could hardly have started on its subject more emphatically, ‘Sancta Sophia is the most… Read More
18 de abr. de 2024 · Sidney followed his brother to London towards the end of 1885, studying in the Royal Academy’s architectural school for two years and, concurrently, entering the office of one of the leading architects of the day, Richard Norman Shaw, where William Richard Lethaby was the chief clerk.
Seeking a 'symbolism comprehensible' to 'the great majority of spectators': William Lethaby's architecture, mysticism and myth and its debt to Victorian mythography. Architectural History, 45, 363-385. doi: 10.2307/1568789
Hace 6 días · Herbert James Maryon OBE FSA FIIC (9 March 1874 – 14 July 1965) was an English sculptor, conservator, goldsmith, archaeologist and authority on ancient metalwork. Maryon practiced and taught sculpture until retiring in 1939, then worked as a conservator with the British Museum from 1944 to 1961. He is best known for his work on the Sutton Hoo ...
24 de abr. de 2024 · Gimson, Ernest. Leicester, London, Pinbury & Sapperton, Gloucestershire; architect, chair maker, furniture designer and workshop owner (b.1864-d.1919) Over a period of more than thirty years - from 1885 to 1919 - Ernest Gimson developed his early student interest in furniture to become a practised maker of turned rush-seated chairs and from ...
23 de abr. de 2024 · By the early 20th century, Adolf Loos had gone a step further, decreeing that ornament was a “crime”. In his famous 1913 essay Ornament and Crime, Loos not only condemned ornamentation in design but linked it to a perceived cultural degeneracy. Loos argued that ornamentation was a sign of societal backwardness, drawing dubious connections ...
