Theory of Garden ArtC.C.L. Hirschfeld was perhaps the most important writer on gardens and landscape in eighteenth-century Germany. Acclaimed as the "father of landscape garden art," he was influential not just in Germany but also in France, Hungary, Italy, the Netherlands, Scandinavia, and Russia. Popular with both experts and amateurs, Hirschfeld's writings had a significant effect on the development of European garden design, as well as on the establishment of public parks of his era. His celebration of the natural world sprang from his intellectual roots in Enlightened rationalism, but rather than following the systematic scientific strategy of his forerunners, Hirschfeld formulated a more popular approach that appealed to both the emotions and the reason of his audience. His five-volume Theory of Garden Art, published simultaneously in German and French between 1779 and 1785, is by far the most comprehensive of his works, and well-informed gardeners of the time considered it indispensable. |
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... elements that we can count on finding there , some experiences that we know await us , and some we know do not . As a prelude to Hirschfeld's treatise it will be helpful to speculate about a visit to one of his gardens ; certainly he ...
... elements of artifice to be appreciated for the way they enhance our delight in the beauty of nature around us . At places the garden will open out onto more cultivated areas , per- haps fields of grain surrounding a group of peasant ...
... elements are especially complex in the realm of garden art where the medium both is and is not the message , where the medium is both object and imitation , and where the representation of nature is meant to be ad- mired both statically ...
... elements . Hirschfeld derives both of these laws from a basic principle , one that he regards as fundamental enough to proclaim in capital letters : " A Garden Can Move The Imagination And SENSES POWERFULLY , MORE POWERFULLY THAN CAN AN ...
... elements of a landscape , their associated effects , and how these impressions can be intensified , Hirschfeld ac- knowledges his predecessors more or less consistently . He often seems prescriptive , for example granting less play to ...
Contents
3 | |
35 | |
Contents | 58 |
Volume I | 59 |
Gardens Whose Character Depends | 61 |
Preface | 66 |
Examination of Old and New Taste in Gardens | 114 |
On Resting Places Bridges and Gates 308 119 | 119 |
PART THREE On Works of Art in Gardens | 259 |
On Small Garden Buildings | 275 |
Temples Grottoes Hermitages Chapels | 284 |
On Resting Places Bridges and Gates | 308 |
Preface iii | 335 |
PART FOUR | 336 |
Towards a Definition of the Garden | 346 |
Gardens According to Different Locations | 352 |
On Statues Monuments and Inscriptions 312 126 | 126 |
On Garden Art as a Fine Art | 137 |
On the Function and Dignity of Gardens | 146 |
On the Various Characters of Landscape | 171 |
PART | 203 |
On Woody Plants | 208 |
On Flowers | 226 |
On Water | 232 |
On Paths and Walkways | 251 |
Gardens According to the Seasons | 366 |
Gardens or Scenes According to Time of Day | 380 |
Gardens According to the Character of Their | 390 |
GardenRelated Improvements in Parts of | 418 |
Descriptions of Gardens 439 197 | 439 |
List of Illustrations | 445 |
Works Cited | 471 |
Index | 487 |
Other editions - View all
Theory of Garden Art Christian Cajus Lorenz Hirschfeld,Christian Cay Lorenz Hirschfeld No preview available - 2001 |
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