The Villa As Hegemonic Architecture

Humanity Books (Verlag)
  • erschienen am 1. Oktober 1992
  • Buch
  • |
  • Hardcover
  • |
  • 193 Seiten
978-1-57392-484-9 (ISBN)
Here for the first time in a complete English translation is the now classic study of 1970 by Bentmann and Muller, which was one of the earliest, and still is one of the most innovative examples of New Left art history. Because of its deft use of critical theory, The Villa as Hegemonic Architecture is one of the best examples of how the thought of the Frankfurt School and the New Left relates to art history as a whole. Bentmann and Muller mount a sustained but supple ideological critique of the values leading to the construction of the sixteenth-century Venetian villa. They are able to explicate how the villa's structural logic and overall configuration embodied resolutely patriarchal values and also how it was a formative force in the consolidation of incipient Venetian capitalism.
  • Englisch
  • Amherst
  • |
  • USA
Prometheus Books
  • Für höhere Schule und Studium
  • Pappband
978-1-57392-484-9 (9781573924849)

Reinhard Bentmann is Conservator of Historic Monuments in Hessen at Wiesbaden, Germany. Michael Muller, author of nine books on architecture and critical theory, is Professor of Architectural History and Cultural Studies at the University of Bremen, Germany. Otto Karl Werkmeister, who contributes a foreword to this edition, is Mary Jane Crowe Distinguished Professor at Northwestern University. David Craven, who introduces the book, is Chair of the Department of Art and Art History at the State University of New York, Cortland.
"A tradition has endured in academic circles of architecture and art conceived as self-contained discourses: apolitical disciplines that do not require complication by ideological issues. The Classical architectural language is continually referred to as a universal set of formal ideas: The Natural Order. The contribution of Reinhard Bentmann and Michael Muller is to prove that in order to improve our understanding of Palladio's hitherto mythicized work, and to analyze the villa as a total work of art, one must recognize its social context and content: the villa as an ideal social lifestyle, and the villa as architecture of domination."--The Architectural Review

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