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Ideist architects

Articles

<10.4000/lha.229>
Keywords
Triple Keywords
Interest (Psychology)
Interests (Psychology)
Criticism--Technique
Evaluation of literature
Literary criticism
Literature--Evaluation
Criticism
Buildings--Design and construction
Construction
Building design
Western architecture (Western countries)
Architecture, Western (Western countries)
Architecture
Poetry--Philosophy
Poems
Poetry
Verses (Poetry)
Literature
World literature
Western literature (Western countries)
Belles-lettres
Thought and thinking
Thoughts
Thinking
Mind
Mental philosophy
Behavioral sciences
Science, Mental
Psychology
Intelligence
Intellect
Human intelligence
Western art (Western countries)
Arts, Fine
Fine arts
Iconography
Art, Visual
Arts, Visual
Occidental art
Visual arts
Art
Art, Occidental
Art, Western (Western countries)
Arts, Occidental
Arts
Arts, Western
Volition
Conation
Will
Political power
Empowerment (Social sciences)
Power (Social sciences)
Job training
Vocational training
Occupational training
Manpower development and training
Manpower training programs
Arts, Bonpo
Bon arts

Abstract

Three architects of the late 19th and early 20th centuries are called ‘ideist architects’: François Garas (1866-1925), Gabriel Guillemonat (1866-1945) and Henri Provensal (1868-1934). They do not form a real group, but this qualification makes it possible to identify them: they seem to be able to be combined by the similarity of their backgrounds and their state of mind. All three attended their artistic training at the School of Fine Arts and then exhibited in Bouteville’s Gallery Le BARC in 1896 and regularly at the Salon of the National Society of Fine Arts (SNBA). At these different events, these three architects mainly present architectural projects for which they do not have a general partner: this is important because their projects will never be realised. However, their architectures were noticed by the great critics of the time. They are the result of the desire to renew or even create a new architecture. Their interest in music, poetry and literature brings them closer to a major artistic current of the time: the symbolist movement. We are talking about movement and not about school because no symbolist doctrine has been clearly established. Garas, Guillemonat and Provensal achieved through their architectural projects the uncommon application of symbolist reflections. They refer to the artists of this movement, with whom they share the same mindset, as well as to artists appreciated by symbolists.

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