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''Beaux-Arts'' architecture (; ) expresses the academic neoclassical architectural style taught at the ''École des Beaux-Arts'' in Paris. The ''style'' "Beaux Arts" is above all the cumulative product of two-and-a-half centuries of instruction under the authority, first, of the ''Académie royale d'architecture'' (1671–1793), then, following the French Revolution of the late 18th century, of the Architecture section of the ''Académie des Beaux-Arts'' (1795– ). The organization under the ''Ancien Régime'' of the competition for the "Grand Prix de Rome" in architecture, offering a chance to study in Rome, imprinted its codes and aesthetic on the course of instruction, which culminated during the Second Empire (1852–1870) and the Third Republic that followed. The style of instruction that produced Beaux-Arts architecture continued without major interruption until 1968.〔Robin Middleton, Editor. ''The Beaux-Arts and Nineteenth-century French Architecture''. (London: Thames and Hudson, 1982).〕 The Beaux-Arts style heavily influenced the architecture of the United States in the period from 1880 to 1920.〔Klein and Fogle, ''Clues to American Architecture'', 1986, p.38, ISBN 0-913515-18-3.〕 Non-French European architects of the period 1860–1914 tended to gravitate toward their own national academic centers rather than fixating on Paris. British architects of Imperial classicism, in a development culminating in Sir Edwin Lutyens's New Delhi government buildings, followed a somewhat more independent course, owing to the cultural politics of the late 19th century. == Training == The Beaux-Arts training emphasized the mainstream examples of Imperial Roman architecture between Augustus and the Severan emperors, Italian Renaissance, and French and Italian Baroque models especially, but the training could then be applied to a broader range of models: Quattrocento Florentine palace fronts or French late Gothic. American architects of the Beaux-Arts generation often returned to Greek models, which had a strong local history in the American Greek Revival of the early 19th century. For the first time, repertories of photographs supplemented meticulous scale drawings and on-site renderings of details. Some aspects of Beaux-Arts approach could degenerate into mannerisms. Beaux-Arts training made great use of ''agrafes'', clasps that links one architectural detail to another; to interpenetration of forms, a Baroque habit; to "speaking architecture" (''architecture parlante'') in which supposed appropriateness of symbolism could be taken to literal-minded extremes. Beaux-Arts training emphasized the production of quick conceptual sketches, highly finished perspective presentation drawings, close attention to the program, and knowledgeable detailing. Site considerations tended toward social and urbane contexts.〔Arthur Drexler, editor, ''The Architecture of the École des Beaux-Arts''. New York: Museum of Modern Art, 1977.〕 All architects-in-training passed through the obligatory stages—studying antique models, constructing ''analos'', analyses reproducing Greek or Roman models, "pocket" studies and other conventional steps—in the long competition for the few desirable places at the Académie de France à Rome (housed in the Villa Medici) with traditional requirements of sending at intervals the presentation drawings called ''envois de Rome''. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Beaux-Arts architecture」の詳細全文を読む スポンサード リンク
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