03 — ARTWORK
General view
DUQUESNEY, François-Alexandre · 1852 →
- MEDIUM
- Photo
- TYPE
- Other
PALETTE
HOVER OR TAP A SWATCH FOR NAME, SHARE AND HEX. SAMPLED FROM THE IMAGE — INDICATIVE, NOT A PIGMENT ANALYSIS.
THIS REPRODUCTION DOWNLOAD THE FULL FILE ↓
- FILE
- 2200 × 1084 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
Railway architecture began simultaneously in England and the USA, with the Liverpool-Manchester line and the Baltimore and Ohio Railroad, both established in 1830. The most creative period of the development of railway stations was between 1835 and 1914, when structural and functional possibilities were fully explored. There are three types of station: the through station, where the buildings lie parallel to the tracks; the island or connecting station, which is situated between the tracks; and the terminus, where the buildings enclose the ends of the tracks in an L or U shape.
Terminal buildings were in all tastes from Neo-classicalRelating to the culture of ancient Greece and Rome (classical Antiquity). The classical world played a profoundly important role in the Renaissance, with Italian scholars, writers, and artists seeing their own period as the rebirth (the "renaissance") of classical values after the Middle Ages. The classical world was considered the golden age for the arts, literature, philosophy, and politics. Concepts of the classical, however, changed greatly from one period to the next. Roman literature provided the starting point in the 14th century, scholars patiently finding, editing and translating a wide range of texts. In the 15th century Greek literature, philosophy and art - together with the close study of the remains of Roman buildings and sculptures-expanded the concept of the classical and ensured it remained a vital source of ideas and inspiration. to the Renaissance Revival, RomanesqueStyle of art and architecture prevailing throughout most of Europe in the 11th and 12th centuries, the first style to achieve such international currency. The dominant art of the Middle Ages was architecture, and 'Romanesque', like 'Gothic', is primarily an architectural term that has been extended to the other arts of the period. As the name suggests, it indicates a derivation from Roman art, and sometimes Romanesque is used to cover all the developments from Roman architecture in the period from the collapse of the Roman Empire until the flowering of the Gothic roughly AD 500-1200. More usually, however, it is applied to a distinctive style that emerged, almost simultaneously, in several countries - France, Germany, Italy, Spain - in the 11th century. It is characterized most obviously by a new massiveness of scale, reflecting the greater political and economic stability that followed a period when Christian civilization seemed in danger of extinction. Romanesque painting and sculpture are generally strongly stylized, with little of the naturalism and humanistic warmth of classical or later Gothic art. The forms of nature are freely translated into linear and sculptural designs which are sometimes majestically calm and severe and at others are agitated by a visionary excitement that can become almost delirious. Because of its expressionistic distortion of natural form, Romanesque art, as with other great non-naturalistic styles of the past, has had to wait for the revolution in sensibility brought about by the development of modern art in order to be widely appreciated. Revival or Gothic RevivalArchitectural style that drew its inspiration from medieval architecture and competed with the Neoclassical revivals in the United States and Great Britain. Only isolated examples of the style are to be found on the Continent. The earliest documented example of the revived use of Gothic architectural elements is Strawberry Hill, the home of the English writer Horace Walpole. As in many of the early Gothic Revival buildings, the Gothic was used here for its picturesque and romantic qualities without regard for its structural possibilities or original function. Another early example of the tendency toward ornamentation and decoration was Fonthill Abbey, designed by James Wyatt, a country house with a tower 82 metres high. Nothing could more clearly illustrate both the impracticality of usage and the romantic associations with medieval life. The earliest manifestations of an interest in the medieval era were in the private domain, but by the 1820s public buildings in England were also being designed in the Gothic mode. Perhaps no example is more familiar than the new Houses of Parliament (1840), designed by Sir Charles Barry and A.W.N. Pugin. In that large cluster of buildings, the haphazard picturesque quality of the early revival was replaced by a more conscientious adaptation of the medieval English style. Other structures built around mid-century were within this basic pattern. Later, the desire for more elegant and sumptuous landmarks created the last flowering of the style.. A significant innovation for the building type was the integration of the façadethe front or principal face of a building, especially one elaborately constructed; a blind façade is a façade that is purely decorative and does not relate to the structure of the building. with the train-shed behind it, resulting in a wide archThe pointed arch is widely regarded as the main identifiable feature of Gothic architecture (distinct from the round arch of the Romanesque period). The three most common Gothic arches are the Equilateral, Lancet and Tudor. over the centre of the façade, as at François Duquesney's Gare de l'Est (1847-52) in Paris.
CITE THIS RECORD — BIBTEX
@online{wga-r9df67b6a11a784,
author = {Krén, Emil and Marx, Daniel},
title = {General view by DUQUESNEY, François-Alexandre},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/duquesney-franois-alexandre-rcdb11e20b5e678/general-view-r9df67b6a11a784},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
OTHER WORKS BY FRANÇOIS-ALEXANDRE DUQUESNEY
The archive catalogues no further works by this artist.
TRY SAME COLLECTION →