Dutch Baroque architecture

Dutch Baroque architecture is a variety of Baroque architecture that flourished in the Dutch Republic and its colonies during the Dutch Golden Age of the 17th century – Dutch painting during the period is covered by Dutch Golden Age painting.

Like contemporary developments in England, Dutch Palladianism is marked by sobriety and restraint. The architecture of the first republic in Northern Europe was meant to reflect democratic values by quoting extensively from classical antiquity. It found its impetus in the designs of Hendrick de Keyser, who was instrumental in establishing a Venetian-influenced style into early 17th-century architecture through new buildings like the Noorderkerk (“Northern church”, 1620-1623) and Westerkerk (“Western church”, 1620-1631) in Amsterdam. In general, architecture in the Low Countries, both in the Counter-Reformation-influenced south and Protestant-dominated north, remained strongly invested in northern Italian Renaissance and Mannerist forms that predated the Roman High Baroque style of Borromini and Bernini. Instead, the more austere form practiced in the Dutch Republic was well suited to major building patterns: palaces for the House of Orange and new civic buildings, uninfluenced by the Counter-Reformation style that made some headway in Antwerp.

The major exponents of the mid-17th century, Jacob van Campen and Pieter Post, adopted de Keyser’s forms for such eclectic elements as giant-order pilasters, gable roofs, central pediments, and vigorous steeples. Brought together in a coherent combination, these stylistic developments anticipated Wren’s Classicism. The most ambitious constructions of the period included the seats of self-government in Amsterdam (1646) and Maastricht (1658), designed by Campen and Post, respectively. On the other hand, the residences of the House of Orange are closer to a typical burgher mansion than to a royal palace. Two of these, Huis ten Bosch and Mauritshuis, are symmetrical blocks with large windows, stripped of ostentatious Baroque flourishes. The same austerely geometrical effect is achieved without great cost or pretentious effects at the stadholder’s summer residence of Het Loo.

The Dutch Republic was one of the great powers of 17th-century Europe and its influence on European architecture was by no means negligible. Dutch architects were employed on important projects in Northern Germany, Scandinavia and Russia, disseminating their ideas in those countries. The Dutch colonial architecture, once flourishing in the Hudson River Valley and associated primarily with red-brick gabled houses, may still be seen in Willemstad, Curaçao, although painted with more varied colors.

Architecture
In Dutch classicism, incorrectly also called classicist baroque, is settled with the Mannerist way of building in the tradition of Hendrick de Keyser. The classic “order book” is complied with in a strict manner, describing the dimensions, proportions and sequence of the five architectural structures (Tuscan, Doric, Ionic, Corinthian and composite order). An important source of inspiration are the examples of Andrea Palladio (1508-1580) and Vincenzo Scamozzi (1548-1616) in Northern Italy.

Historical research has shown that the growing wealth of the ruling elite of the Republic underpinned a new, more reflective lifestyle. This was expressed in a subdued and distant but at the same time imposing architecture. The most important example of Dutch classicism in Amsterdam is also the most important building in the city: the former City Hall on Dam Square, now the Palace, by Jacob van Campen (built in 1648/55).

Important examples of Dutch classicism can be found especially in the double house (50-60 feet wide). These examples are almost all of Philips Vingboons, a few of his brother Justus Vingboons (1620-1698). At the single house (25-30 feet) the application of the classicist forms is problematic, because column and pilaster positions need a considerable width to come into their own. Philips Vingboons reduced the stepped gable to a neck gable to better reflect the classicist forms in the single house, even though it turns out that it is usually impossible to match the sizes of the pilasters with those in the column books.

These examples were followed in two different ways:
After 1665, the use of the pilaster façade decreases considerably. In the period 1665-1700 the “tight style” is applied, the final phase of Dutch classicism. Pilasters are no longer used in this greatly simplified form of classicism (or at most in the door frame). Austere and distinguished quality is achieved through a strict rhythm of the façade components: tight bare surfaces, sharply cut window openings. The only decoration can be found in the entrance or the middle bay and above the cornice. The center axis becomes important, also in the interior. The important architect in that period is Adriaan Dortsman (1636-1682), but the pioneer was Philips Vingboons, who built a pilasterless façade in 1638. Vingboons also joined the changing fashion around 1665. After 1670, a younger generation of master builders took over the new austerity. The most important architects are Adriaan Dortsman and Elias Bouman. The sleek style is mainly used for large mansions, but the narrow façade is also influenced by it: the neck façade is given a flat façade without pilasters. The only decorations can be found at the top.

Buildings
Palace on the Dam (Amsterdam)
Trippenhuis (Amsterdam)
Round Lutheran Church (Amsterdam)
City hall of Maastricht
Mauritshuis (The Hague)
Waag (Leiden)
Stedelijk Museum De Lakenhal (Leiden)
Crackstate (Heerenveen)
Hampoort (Grave, 1688)
Koornbeurs (Delft)
Kruithuis (Delft, 1660)
Paleis Het Loo (Tight style)
Slot Zeist (Tight style)
Middachten (Tight style)
De Voorst (Tight style)
Architects
Elias Bouman (1636-1686)
Salomon de Bray (1597-1664)
Jacob van Campen (1586-1657)
Adriaan Dortsman (1635-1682)
Arent van ‘s-Gravesande (circa 1610-1662)
Maurits Post (1645-1677)
Pieter Post (1608-1669)
Jacobus Roman (1640-1716)
Daniël Stalpaert (1615 – 1676)
Steven Vennecool (1657-1719)
Justus Vingboons (circa 1620 – circa 1698)
Philips Vingboons (circa 1607-1678)
Return to classicism
By the end of the eighteenth century there was again interest in classicism. In most countries, the architecture of the ancient Greeks and Romans (neoclassicism) was used. In the Netherlands, however, interest in the architecture of antiquity was combined with the revival of its own 17th-century classicism .

Dutch (neo) classicism from the end of the 18th and the beginning of the 19th century combines both styles. For example, in the city hall of Groningen one sees the combination of a pilaster façade (typical of Dutch classicism) with a portico with freestanding columns (typical for European neoclassicism).

Painting
Also in painting from the period after 1625 a typical Dutch classicistic movement can be observed. It is most evident in the history painting of that time. In the decoration of government buildings it was the most wanted style. Major assignments were the decoration of the Oranjezaal in the Huis ten Bosch in The Hague and the City Hall on the Dam in Amsterdam. Well-known painters were Haarlemmers Salomon de Bray, Pieter de Grebber, Caesar van Everdingen and Jan de Bray, but also in other cities classicist painters work, such as Gerard van Honthorst, Jan van Bijlert and Jan Gerritsz. from Bronchorst in Utrecht.

Source From Wikipedia