Reconstruction of a Roman peristylum (peristyle) and peristylium (courtyard) of Pompeii.

In Hellenistic Greek^[1] and Roman architecture^[2] a peristyle is a columned porch or open colonnade in a building surrounding a court that may contain an internal garden. Tetrastoon (pronounced /tetrastohon/, from Greek τετράστῳον, "four arcades") is another name for this feature. In the Christian ecclesiastical architecture that developed from Roman precedents, a basilica, such as Old St Peter's in Rome, would stand behind a peristyle forecourt that sheltered it from the street. In time the cloister developed from the peristyle.

In Roman architecture[link]

In rural settings a wealthy Roman could surround a villa with terraced gardens; within the city Romans created their gardens inside the domus. The peristylium was an open courtyard within the house; the columns or square pillars surrounding the garden supported a shady roofed portico whose inner walls were often embellished with elaborate wall paintings of landscapes and trompe-l'oeil architecture. Sometimes the lararium, a shrine for the Lares, the gods of the household, was located in this portico, or it might be found in the atrium. The courtyard might contain flowers and shrubs, fountains, benches, sculptures and even fish ponds.^[3] Romans devoted as large a space to the peristyle as site constraints permitted; even in the grandest development of the urban peristyle house, as it evolved in Roman North Africa, often one range of the portico was eliminated, for a larger open space.^[4]

"In the Peristyle" John William Waterhouse (1849-1917). Rochdale Art Gallery, Rochdale, England.

The end of the Roman domus is one mark of the extinction of the Late Classical culture: "the disappearance of the Roman peristyle house marks the end of the ancient world and its way of life," remarked Simon P. Ellis.^[5] "No new peristyle houses were built after A.D. 550." Noting that as houses and villas were increasingly abandoned in the fifth century, a few palatial structures were expanded and enriched, as power and classical culture became concentrated in a narrowing class, and public life withdrew to the basilica, or audience chamber, of the magnate. In the Eastern Roman empire, Late Antiquity lingered longer: Ellis identified the latest known peristyle house built from scratch as the "House of the Falconer" at Argos, dating from the style of its floor mosaics about 530-550.^[6] Existing houses were subdivided in many cases, to accommodate a larger and less elite population in a warren of small spaces, and columned porticoes were enclosed in small cubicles, as at the House of Hesychius at Cyrene.^[7]

Other uses[link]

Although Ancient Egyptian architecture predates Greek and Roman antiquity, historians frequently use the Greek term peristyle to describe similar, earlier structures in ancient Egyptian palace architecture and in Levantine houses known as liwan houses.

See also[link]

• Hypostyle
• Portico
• Loggia

Notes[link]

External links[link]

• Barbara McManus, "The Peristylium": a reconstruction of a peristyle

Frank Stella (born May 12, 1936) is an Italian American painter and printmaker, significant in the art movements of minimalism and post-painterly abstraction.

Biography[link]

Stella was born in Malden, Massachusetts, to parents of Italian descent.^[1] After attending high school at Phillips Academy in Andover, Massachusetts, he attended Princeton University, where he majored in history and met Darby Bannard and Michael Fried. Early visits to New York art galleries influenced his artist development, and his work was influenced by the abstract expressionism of Jackson Pollock and Franz Kline. Stella moved to New York in 1958, after his graduation. He is one of the most well-regarded postwar American painters still working today. Frank Stella has reinvented himself in consecutive bodies of work over the course of his five-decade career.^[2] Notably, he is heralded for creating abstract paintings that bear no pictorial illusions or psychological or metaphysical references in twentieth-century painting.^[3]

Late 1950s and early 1960s[link]

Upon moving to New York City, he reacted against the expressive use of paint by most painters of the abstract expressionist movement, instead finding himself drawn towards the "flatter" surfaces of Barnett Newman's work and the "target" paintings of Jasper Johns. He began to produce works which emphasized the picture-as-object, rather than the picture as a representation of something, be it something in the physical world, or something in the artist's emotional world. Stella married Barbara Rose, later a well-known art critic, in 1961. Around this time he said that a picture was "a flat surface with paint on it - nothing more". This was a departure from the technique of creating a painting by first making a sketch. Many of the works are created by simply using the path of the brush stroke, very often using common house paint.

This new aesthetic found expression in a series of paintings, the Black Paintings (60) in which regular bands of black paint were separated by very thin pinstripes of unpainted canvas. Die Fahne Hoch! (1959) is one such painting. It takes its name ("The Raised Banner" in English) from the first line of the Horst-Wessel-Lied, the anthem of the National Socialist German Workers Party, and Stella pointed out that it is in the same proportions as banners used by that organization. It has been suggested that the title has a double meaning, referring also to Jasper Johns' paintings of flags. In any case, its emotional coolness belies the contentiousness its title might suggest, reflecting this new direction in Stella's work. Stella’s art was recognized for its innovations before he was twenty-five. In 1959, several of his paintings were included in "Three Young Americans" at the Allen Memorial Art Museum at Oberlin College, as well as in "Sixteen Americans" at the Museum of Modern Art in New York (60). Stella joined dealer Leo Castelli’s stable of artists in 1959. From 1960 he began to produce paintings in aluminum and copper paint which, in their presentation of regular lines of color separated by pinstripes, are similar to his black paintings. However they use a wider range of colors, and are his first works using shaped canvases (canvases in a shape other than the traditional rectangle or square), often being in L, N, U or T-shapes. These later developed into more elaborate designs, in the Irregular Polygon series (67), for example.

Also in the 1960s, Stella began to use a wider range of colors, typically arranged in straight or curved lines. Later he began his Protractor Series (71) of paintings, in which arcs, sometimes overlapping, within square borders are arranged side-by-side to produce full and half circles painted in rings of concentric color. These paintings are named after circular cities he had visited while in the Middle East earlier in the 1960s. The Irregular Polygon canvases and Protractor series further extended the concept of the shaped canvas.

Late 1960s and early 1970s[link]

Stella began his extended engagement with printmaking in the mid-1960s, working first with master printer Kenneth Tyler at Gemini G.E.L. Stella produced a series of prints during the late 1960s starting with a print called Quathlamba I in 1968. Stella's abstract prints in lithography, screenprinting, etching and offset lithography (a technique he introduced)^{[citation needed]} had a strong impact upon printmaking as an art.^{[citation needed]}

In 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham. The Museum of Modern Art in New York presented a retrospective of Stella’s work in 1970, making him the youngest artist to receive one.^[2] During the following decade, Stella introduced relief into his art, which he came to call “maximalist” painting for its sculptural qualities. Ironically, the paintings that had brought him fame before 1960 had eliminated all such depth. The shaped canvases took on even less regular forms in the Eccentric Polygon series, and elements of collage were introduced, pieces of canvas being pasted onto plywood, for example. His work also became more three-dimensional to the point where he started producing large, free-standing metal pieces, which, although they are painted upon, might well be considered sculpture. After introducing wood and other materials in the Polish Village series (73), created in high relief, he began to use aluminum as the primary support for his paintings. As the 1970s and 1980s progressed, these became more elaborate and exuberant. Indeed, his earlier Minimalism [more] became baroque, marked by curving forms, Day-Glo colors, and scrawled brushstrokes. Similarly, his prints of these decades combined various printmaking and drawing techniques. In 1973, he had a print studio installed in his New York house. In 1976, Stella was commissioned by BMW to paint a BMW 3.0 CSL for the second installment in the BMW Art Car Project. He has said of this project, "The starting point for the art cars was racing livery. In the old days there used to be a tradition of identifying a car with its country by color. Now they get a number and they get advertising. It’s a paint job, one way or another. The idea for mine was that it’s from a drawing on graph paper. The graph paper is what it is, a graph, but when it’s morphed over the car’s forms it becomes interesting, and adapting the drawing to the racing car’s forms is interesting. Theoretically it’s like painting on a shaped canvas."

1980s and afterward[link]

Stella's Memantra in the Metropolitan Museum of Art Roof Garden

From the mid-1980s to the mid-1990s, Stella created a large body of work that responded in a general way to Herman Melville’s Moby-Dick. During this time, the increasingly deep relief of Stella’s paintings gave way to full three-dimensionality, with sculptural forms derived from cones, pillars, French curves, waves, and decorative architectural elements. To create these works, the artist used collages or maquettes that were then enlarged and re-created with the aid of assistants, industrial metal cutters, and digital technologies.

In the 1990s, Stella began making free-standing sculpture for public spaces and developing architectural projects. In 1993, for example, he created the entire decorative scheme for Toronto’s Princess of Wales Theatre, which includes a 10,000-square-foot mural. His 1993 proposal for a kunsthalle and garden in Dresden did not come to fruition. In 1997, he painted and oversaw the installation of the 5,000-square-foot "Stella Project" which serves as the centerpiece of the theater and lobby of the Moores Opera House located at the Rebecca and John J. Moores School of Music on the campus of the University of Houston, in Houston, TX.^[4][5] His aluminum bandshell, inspired by a folding hat from Brazil, was built in downtown Miami in 2001; a monumental Stella sculpture was installed outside the National Gallery of Art in Washington, D.C.

From 1978 to 2005, he owned the landmarked Van Tassell and Kearney Horse Auction Mart building and used it as his studio. His nearly 30-year stewardship of the building resulted in the facade being cleaned and restored.^[6]

Stella’s work was included in several important exhibitions that defined 1960s art, among them the Solomon R. Guggenheim Museum’s The Shaped Canvas (1965) and Systemic Painting (1966). His art has been the subject of several retrospectives in the United States, Europe, and Japan. Among the many honors he has received was an invitation from Harvard University to give the Charles Eliot Norton Lectures in 1984. Calling for a rejuvenation of abstraction by achieving the depth of baroque painting, these six talks were published by Harvard University Press in 1986 under the title Working Space.^[7]

Stella continues to live and work in New York. He also remains active in protecting the rights for his fellow artists. On June 6, 2008, Stella (with Artists Rights Society president Theodore Feder; Stella is a member artist of the Artists Rights Society^[8]) published an Op-Ed for The Art Newspaper decrying a proposed U.S. Orphan Works law which "remove[s] the penalty for copyright infringement if the creator of a work, after a diligent search, cannot be located."

In the Op-Ed, Stella wrote,

In 2009, Frank Stella was awarded the National Medal of Arts by President Barack Obama.^[10]

Gallery[link]

• Frank Stella, 1964, photo by Ugo Mulas.jpg

  1964 photo of Frank Stella by Ugo Mulas

• Stella3gr.jpg

  1974, Tuftonboro

• 

  Çatal Hüyük (2008)
  Hallbergsplatsen, Borås

Interviews[link]

• Heti, Sheila (November/December 2008). "'I'm All in Favor of the Shifty Artist'". The Believer 6 (9): 40–46. 

• De Antonio, Emile (director), Painters Painting: The New York Art Scene: 1940-1970, 1973. Arthouse films

References[link]

More references

• Busch, Julia M.: A decade of sculpture: the 1960s‎, Associated University Presses, 1974; ISBN 0-87982-007-1
• Frank Stella and Franz-Joachim Verspohl: The Writings of Frank Stella. Die Schriften Frank Stellas, Verlag der Buchhandlung König, 2001; ISBN 3-88375-487-0, ISBN 978-3-88375-487-1 (bilingual)
• Frank Stella and Franz-Joachim Verspohl: Heinrich von Kleist by Frank Stella, Verlag der Buchhandlung König, 2001; ISBN 3-88375-488-9, ISBN 978-3-88375-488-8 (bilingual)
• [2]

External links[link]

Wikiquote has a collection of quotations related to: Frank Stella

• Frank Stella interviewed by Robert Ayers, March 2009
• Works of art, auction & sale results, exhibitions, and artist information for Frank Stella on artnet
• [3] Guggenheim Museum online Biography of Frank Stella
• Stella mural installation, Princess of Wales Theatre, Toronto
• [4] Frank Stella: An Illustrated Biography by Sidney Guberman
• Frank Stella Papers at the Smithsonian's Archives of American Art
• Interview with Frank Stella
• Frank Stella: Scarlatti and Bali Sculpture Series / Paracelsus Building, St. Moritz. Video at VernissageTV.
• Frank Stella 1958 poet William Corbett writes about the exhibition titled Frank Stella 1958 at the Arthur M. Sackler Museum, Harvard University Cambridge, Massachusetts February 4–May 7, 2006
• Laying the Tracks Others Followed; Early Work at L&M Arts; New York Times; Roberta Smith; April 26, 2012