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page139from Nordic Architects Writes
1943
Nils Erik Wickberg
Thoughts on Architecture
What makes a work of art – a poem, for
instance – interesting, and gives it permanent validity, though the subject and
meter may have been endlessly repeated, is its personal ring. In some tribe or
nation on the other hand, we are fascinated by its particular national
characteristics. When we travel in a foreign country it is not the outside
influences and impressions found there that interest us primarily; the most
brilliant imported works leave us indifferent. What we like to experience is
national themes in what may be vastly more modest and less striking works. It
is symptomatic that in its first edition a major work on European art history
was arranged in the established fashion, horizontally layered according to
period throughout: first Romanesque, then Gothic, Renaissance and the other
periods. The new edition, however, has gone over to a vertical division,
according to nationality: Italian art, German art and so on.
Thus
our contemporaries seem to appreciate national art in its deeper meaning, art
which has permeated an entire nation and become its property, so that it is
encountered both in the big cities and in the most remote rural areas. One of
the most recent European examples of such a phenomenon is south German Rococo. It
is a joy to see how genius even emerges from the rank and file, always keeping
in close touch with its native soil. They are no demonic supermen, no
rebellious eccentrics rising in arms against a hated and apathetic present;
they are merely the noblest, the most exquisite flowers of their tribal heritage,
the highest embodiment of its specific, inherent potential. A couple of the
great masters – Johan Michael Fischer and Dominikus Zimmermann – never went beyond
the borders of Germany, the latter not even beyond the immediate vicinity of
his native district. They never attended any academy and they built mainly in
rural areas, pertaining to the strict limitations of the guild system. And yet
they created interiors with a wealth of ideas and perfection in execution that,
if anything, exceeded what was being done at the same time in Paris and Rome,
and even constituted a late perfection of the monumental spatial art that
started with the Pantheon and the Byzantine Hagia Sophia and which is a great
contribution to Western architecture, unparalleled anywhere else in the world. It
merely adds to the fascination of these resplendent, light-flooded halls that
we know so little of their creators; they retain something of the provocative
and venerable anonymity of the unknown master builders and sculptors of the
Middle Ages.
In
Bavarian-Swabian Rococo, architecture, sculpture and painting merge into an
absolute unity such as has never been achieved before or since. It is easy to
say
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Paula Noronen
Yökoulun Pieni Kauhukäsikirja
kuvitus
Kati Närhi
Tammi
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Ruoka
Kakkua pullaa, leipää ja
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