John Vanbrugh: A Master of Architecture and Drama
In the world of architecture, Sir John Soane's admiration for John Vanbrugh is well-documented. The two architects, separated by a century, shared a similar expressive design sensibility, setting them apart from the dominant neo-Palladian Classicism of their time. This affinity is the driving force behind the current exhibition at Sir John Soane's Museum, marking 300 years since Vanbrugh's death and curated by Charles Saumarez Smith and architect Roz Barr.
Soane's respect for Vanbrugh is evident in his references to the latter as the 'Shakespeare of architecture' and his inclusion of Vanbrugh's buildings in his Royal Academy lectures. The exhibition showcases three horizontal watercolors of Vanbrugh's Blenheim Palace, each depicting the façade in different lighting conditions. These illustrations, created by Soane's office for his lectures, highlight the interplay of shape, form, and shadow in Vanbrugh's work, emphasizing the theatricality that sets English architecture apart from the full Baroque style.
Vanbrugh's theatrical background significantly influenced his architectural career. Before becoming an architect, he was a celebrated dramatist, known for writing risqué plays like 'The Provoked Wife' (1697). His transition to architecture was facilitated by a theatrical business venture at the Queen's Theatre Haymarket, where he ended up designing the venue despite lacking architectural training. This unexpected turn of events led to a request from the Earl of Carlisle to design Castle Howard, a country house that further solidified Vanbrugh's reputation.
However, it is often Nicholas Hawksmoor, Vanbrugh's contemporary and collaborator, who receives more admiration among architects. Hawksmoor, the clerk of works at Castle Howard and Blenheim, is perceived as more cerebral and serious compared to Vanbrugh's gentleman amateur status. While Vanbrugh primarily designed luxury private country houses for aristocratic clients, Hawksmoor's work extended to churches and public buildings, contributing to his higher regard in architectural circles.
The exhibition's first room focuses on these grand private country houses, showcasing elevations that resemble stage flats. The intricate plans and modeled walls emphasize the enfilade of shapes and patterns rather than the enclosed spaces. However, a highlight of the exhibition is a bird's-eye perspective of Castle Howard, drawn by Vanbrugh himself, which reveals his inventive spirit and creativity.
The second gallery displays a plethora of sketches, some of which are fantasy doodles, showcasing Vanbrugh's restless inventiveness and experimentation. These sketches, unearthed from a sketchbook acquired by the V&A in the 1990s, demonstrate the rigour and thought process behind Vanbrugh's work. The exhibition also includes a short film by filmmaker Jim Venturi, featuring Robert Venturi and Denise Scott Brown's visit to Blenheim Palace, offering a fascinating insight into their appreciation of Vanbrugh's architectural wit.
In conclusion, the exhibition provides a comprehensive exploration of Vanbrugh's work from various perspectives, shedding light on his architectural genius and dramatic flair. It serves as a prelude to other events during the anniversary year, including the exhibition 'Staging the Baroque' at Castle Howard, further celebrating Vanbrugh's enduring legacy in the world of architecture.
