Adolf Hitler’s fascination with architecture, both real and imagined, can be seen in many of the paintings he produced during his formative years surrounded by the imperial majesty of Vienna. It therefore comes as no surprise that the urban design of Germany, and specifically Berlin, was a major concern for him after he seized power in 1933 - and if it was a major concern of the Führer then it became a priority for the Nazi Party as a whole. Under the Nazi government and overseen by Hitler's favoured architect, Albert Speer, the Third Reich embarked on an ambitious building scheme, much of which would never be completed. However what emerged was a standardised style of building that was intended, and in some cases succeeded, to impress and enforce the power and ideology of the evil regime on its people. Both spatial presence and architectural design were utilised to communicate the fundamentals of National Socialism to Germans, Europe, and the World.
Tag: Art
The Image of a King: The Wilton Diptych and Richard II
The Wilton Diptych is one of the oldest and most luxurious works in the National Gallery’s collection. This gold covered diptych was made some time between 1395 and 1399 by English or French craftsmen for King Richard II of England, it is laden with symbolic imagery connected with Richard and his divine right to rule, not just in its subject matter but also in the materials and techniques involved in its making.
The Last Day: The National Gallery on the Eve of Lockdown
The National Gallery has been part of my life for a long time now, from the excitement of boyhood day trips up to London with my father to the hours spent in each room as a student, those grand halls on Trafalgar Square have been a reassuring constant all my life. So, when the Coronavirus outbreak arrived and the lamps went out in cultural institutions all over Europe, it was only a matter of time before Britain's artistic treasure trove was locked away.
Review: Léon Spilliaert at The Royal Academy
★★★★★: Belgium, land of beer, chocolate, charming medieval towns and cosy city breaks. If this is your idea of the diminutive Benelux nation then Léon Spilliaert is here to make you think again. Prepare to be drawn into an intoxicating world of insomniac melancholy that will forever change the way you see the home of Tintin and waffles.
Review: Picasso on Paper at the Royal Academy.
★★★★☆: Works on paper can often be seen as room-filler when a gallery can’t quite muster enough ‘proper works’, paintings and sculptures, to fill their space. They are normally objects that exist primarily in the realm of art historians, tools for them to unlock the secrets of an artist’s grander works. However, in the eternal struggle to find an original angle on that godfather of modernism, Pablo Picasso, the RA have dedicated an enormous show just for his works on and using paper.
Haigh’s Guide to Baroque Architecture in Britain: Part 3.
The final part of the guide, featuring St Paul's Cathedral and Blenheim Palace.
Haigh’s Guide to Baroque Architecture in Britain: Part 2.
Part 2 of the guide, featuring Greenwich and works of the English baroque in Oxford
Haigh’s Guide to Baroque Architecture in Britain: Part 1.
The first part of a guide to the architecture of the Baroque period in Britain including: The Banqueting Hall, City Churches, and Royal Hospital Chelsea.
The Case Against Façadism
The latest development in the ongoing campaign to squeeze every last penny out of each square foot of our urban space, Façadism is on the rise across London. This now highly fashionable practice is doing nothing more than placing a mask of faux respectability over the continued butchering of our city’s architectural heritage.
Review: Gauguin’s Portraits at The National Gallery
★★★☆☆: Gauguin has been out in the cold for a while now. At this juncture in the twenty-first century, to praise a upper-middle class man who abandoned his family of six to become a painter and who proceeded to fetishise the culture of Polynesia to the point of engaging in sexual relations with minors (in western eyes) and fictionalising their society, seems counter to the direction in which the study of art has been moving.








