Why Was The `adam Style` Such A Popular Success, And Who Benefited Most From Its Popularity?

Robert Adam (1728-1792) was a Scottish architect, who created innovative interior and exterior spaces, working in a highly original and lavish Neo-classical style. During the height of his success, in the era of the Grand Tour, he was commissioned by wealthy aristocratic patrons, to remodel their ornate country houses in the new fashionable classicistic style. Drawing upon various sources of inspiration Adam created a style which could be delicately intimate, and majestically grand, and too many is instantly recognisable. It was so desired that it continued to influence architects years after his death, and was reincarnated in many revivals during the nineteenth century. There are many potential causes for the success of the "Adam style" some focus on the merit of his artistic output, whereas other reasons suggest his personal actions in handling business, and the influence of other close allies played a key role. Additionally the question of those who benefitted from its success also raises some interesting possibilities, and is worth exploring further.

In the seminar I introduced the question, and started by outlining the career of Robert Adam, and the fundamental qualities of his style. After his reintroduction, I posed the question of why his style was such a popular success, by pinpointing particular aspects of it which would have appealed to fashionable classes of society. Following this examination, I moved onto the issue of Adam`s business acumen, and how he handled his career and personal advancement, propelling him into success. During this part of the seminar I displayed a series of visual images, displaying different examples of the Adam style, with a mixture of exteriors, interiors and furnishings. The point of this exercise was to display all of the images at once, so people could look at them in a more informal setting. As well as this the aim was to provoke discussion, which seemed more possible if the audience had the opportunity to refer directly to examples in front of them. Another tactic I used to try and incite conversation was to directly ask questions. In the second part of the seminar this was particularly useful, as the question of who benefitted from the success of the "Adam Style" did not require visual aids.

One the most prevalent inspirations for Adam was the ancient world, and it is evident in his architecture that his style relies heavily on the classical language. This very quality in the Adam style could account for much of its success in the eighteenth century, as the craze for antiquity, meant Robert Adam was in high demand. We can see examples of this in many of Adam`s Country and Town houses. Such as in "The Etruscan Room" at Osterly Park, which clearly was inspired by Etruscan vases, seen in the black terracotta figure medallions, which were probably more directly influenced by the collection of Richard Hamilton. Additionally the elaborately adorned arabesque designs, also elude to Roman wall paintings, seen in the recently excavated sites of Pompeii. As well as using decorative motifs, Adam also drew upon classical typologies, and used many examples of ancient monuments, as models for his designs. An example of this can be seen in his use of the triumphal arch, which features on the monumental south façade of Kedleston Hall, and is more subtly representation in the ante-room at Syon house. Robert Adam became an expert on the classical language during his Grand Tour (1754-1757), which had a lasting impact on his career. Adam studied roman architecture extensively, publishing his studies on the ruins of Diocletian`s palace at Spalatro, in 1764. He also focused on the architecture of Michelangelo and his Villa Madama, believing that through him he could connect further to the classical past as he had greater access to quality artefacts. In spite of Robert Adam`s impressive grasp of the Roman vernacular, often praised by the engraver Piranesi who was an influential figure in his life, Adam was determined to not become a slave to the rigid rules which it often imposed on architects, as displayed by his predecessors who obsessively drew inspiration from Palladio. Although the classical aspects of his style was a part of why aristocratic grand tourists were so attracted his work, it is perhaps his freeing interpretation of it which made him so successful and different.

To emphasis this point, it is the eclectic originality of the Adam style, which helped it achieve such vast success. Accompanying his desire to break away from the strict and tiered Palladian manner, was Adam`s interest in the concept of movement in architecture, which perhaps draws more upon the Baroque, such as the work of John Vanbrugh, who Adam admired. He explained that "it is meant to express the rise and fall, the advance and recess, with other diversity of form, in the different parts of the building, so as to add greatly to the picturesque of the composition." This is apparent than in the great hall and the ante room at Syon house. The two rooms are joined, but the entrance into the ante-room displays the unusual unevenness of the floors, the flow into each room is dramatic and different, with contrasting atmospheres, caused by the difference between the great halls cool and pale colours, and the bright reds, gold`s and greens of the ante-room. Furthermore there is a juxtaposition of textures, which we can see in the shallow reliefs below the free standing copies of roman sculptures, and in the protruding columns, which give the ante-room a sense of rhythm and movement.

The success of the Adam style was not owed entirely to the novelty and genius of his designs, but was also in part due to the personal choices he made in his career. During his travels in Italy Adam accompanied wealthy aristocrats on their own grand tours, such as the Honourable Charles Hope, with the serious aim to make valuable affiliations with possible future clients, and to mix easily with upper class society, whilst cunningly keeping his profession a secret. This conveys great determination, and it is perhaps his ambition, portrayed also through his urge to triumph over William Chambers, which helped him achieve success in such a short space of time. His business skills are also reflected in his ability to promote himself, and in the fact he took advantage of his families individual talents, in setting up office in London, this is particular so in the case of his brother James, who displayed impressive managerial prowess. Once more Adam tended to design interiors in their entirety, including furnishing down to their smallest detail, and used talented craftsmen to realise his designs, such as Chippendale. This devotion to the overall finish of his projects, along with the easiness of providing a house and its content in its entirety, must have been an attractive prospect for patrons, eager to have their homes quickly refurbished. The intelligent direction of Robert Adam and his office, definitely played a large role in the overall success of the Adam style. Robert Adam in many ways created an exciting brand which people were attracted to. His style was instantly recognisable, and although it drew on popular sources it conveyed something entirely new, marked by some of his unique touches. Such as the mirrored ceiling and floor, and the fact his ceilings were often elaborately coloured, creating a sense of harmony and removing the "crudeness" of the white ceilings common in this period.

The number of people who benefitted from the Adam style is vast. Of course Robert Adam himself enjoyed great acclaim and success throughout most of his career, and his family too, who played such a key role, would have taken advantage of their brothers wealth and reputation. In addition the patrons, who would have revelled in the attention their fashionable and ostentatious properties would have received, also benefitted from their Adam style properties, on a personal level as a source of pleasure. Amongst his most avid supporters was the 6th Earl of Coventry, and the Duke of Northumberland, who like many followers of the Adam style would have been drawn to its classicism and luxury. Furthermore the successors of Robert Adam, such as the Wyatt brothers, rose to acclaim due to their masterful adaptation the Adam style, achieving early success in their impressive careers, but tactfully following current trends. Other professionals who benefitted would have been the craftsmen and workers in his employ, would not only would have received steady work, but also the opportunity to promote themselves, through their connection with Adam.

In conclusion the popularity of the Grand Tour, and the fashion for classicism amongst the aristocracy was a major contribution to the Adam style`s success. As well as this it was Adam`s unique and freeing interpretation of the classical language, which made him stand out as a genius amongst his rivals, he was able to sever his style from the stiffness of Palladianism, through his playful use of colour and decorative designs, and present something new and interesting. Moreover it was tactful business choices and Adam`s skills at self-promotion, which made him such a noticeable figure on the architectural scene. In terms of who benefitted from the Adam style`s popular success, everyone who was involved in its conception enjoyed the artistic praise such designs received. Others include the wealthy clients, and those who learnt from and adopted elements of the Adams style, to further their own careers, and take advantage of the styles popular success amongst the most desired patrons.