Editing Neoclassicism (section)

==Later Neoclassicism and continuations==
<gallery mode="packed" heights="150px">

Paris Palais Garnier 2010-04-06 16.55.07.jpg|[[Beaux-Arts architecture|Beaux-Arts]] - Exterior of the [[Palais Garnier]], Paris, by [[Charles Garnier (architect)|Charles Garnier]], 1860–1875{{sfn|Jones|2014|p=296}}

Opera Garnier Grand Escalier.jpg|Beaux-Arts - Grand stairs of the Palais Garnier, by Charles Garnier, 1860–1875{{sfn|Jones|2014|p=296}}

Image-Grand central Station Outside Night 2.jpg|Beaux-Arts - [[Grand Central Terminal]],  New York City,  by [[Reed and Stem]] and [[Warren and Wetmore]], 1903{{sfn|Hopkins|2014|p=135}}

29 avenue Bugeaud Paris.jpg|Beaux-Arts - Hôtel Roxoroid de Belfort, Paris, 1911, by [[André Arfvidson]]

File:National-Gallery-of-Art-West-Building-John-Russell-Pope-National-Mall-Washington-DC-04-2014.jpg|Late Neoclassical - The West building of the [[National Gallery of Art]], Washington, D.C., US, by [[John Russell Pope]], 1941
</gallery>
After the middle of the 19th century, Neoclassicism starts to no longer be the main style, being replaced by [[Eclecticism in architecture|Eclecticism]] of [[Classical architecture|Classical styles]]. The [[Palais Garnier]] in Paris is a good example of this, since despite being predominantly Neoclassical, it features elements and ornaments taken from [[Baroque architecture|Baroque]] and [[Renaissance architecture]]. This practice was frequent in late 19th and early 20th century architecture, before [[World War I]]. Besides Neoclassicism, the {{Lang|fr|[[Beaux-Arts de Paris]]|italic=no}} well known for this eclecticism of Classical styles.

[[Pablo Picasso]] experimented with classicizing motifs in the years immediately following World War I.<ref name="SIMETRIA">{{cite book|last1=Criticos|first1=Mihaela|title=Art Deco sau Modernismul Bine Temperat – Art Deco or Well-Tempered Modernism|date=2009|publisher=SIMETRIA|isbn=978-973-1872-03-2|page=79|url=|language=Romanian, English}}</ref>

In American architecture, Neoclassicism was one expression of the [[American Renaissance]] movement, ''ca.'' 1890–1917; its last manifestation was in [[Beaux-Arts architecture]], and its final large public projects were the [[Lincoln Memorial]] (highly criticized at the time), the [[National Gallery of Art]] in Washington, D.C. (also heavily criticized by the architectural community as being backward thinking and old fashioned in its design), and the [[American Museum of Natural History]]'s [[Equestrian Statue of Theodore Roosevelt (New York City)|Roosevelt Memorial]]. These were considered stylistic anachronisms when they were finished. In the British Raj, Sir [[Edwin Lutyens]]' monumental city planning for [[New Delhi]] marks the sunset of Neoclassicism. World War II was to shatter most longing for (and imitation of) a mythical time.

There was an entire 20th-century movement in the non-visual arts which was also called Neoclassicism. It encompassed at least music, philosophy and literature. It was between the end of World War I and the end of World War II. (For information on the musical aspects, see [[20th-century classical music#Neoclassicism|20th-century classical music]] and [[Neoclassicism (music)|Neoclassicism in music]]. For information on the philosophical aspects, see [[Great Books]].)

This literary Neoclassical movement rejected the extreme romanticism of (for example) [[Dada]], in favour of restraint, religion (specifically Christianity) and a reactionary political program. Although the foundations for this movement in [[English literature]] were laid by [[T. E. Hulme]], the most famous Neoclassicists were [[T. S. Eliot]] and [[Wyndham Lewis]]. In Russia, the movement crystallized as early as 1910 under the name of [[Acmeism]], with [[Anna Akhmatova]] and [[Osip Mandelshtam]] as the leading representatives.

===Art Deco===
<gallery mode="packed" heights="190px">

Clément mère, comodino, francia 1910 ca. 01.JPG|Chest of drawers, a highly simplified reinterpretation of the [[Louis XVI style]]; by [[Clément Mère]]; 1910; maple, ebony, leather and ivory; 87.5 x 96 x 37&nbsp;cm; [[Musée d'Orsay]], Paris<ref>{{cite web|url=https://www.musee-orsay.fr/fr/oeuvres/commode-deux-vantaux-cabinet-de-milieu-163331|website=musee-orsay.fr|title=Commode à deux vantaux, cabinet de milieu|author=|access-date=25 June 2023}}</ref>

File:Art Deco dressing table (1919-20).jpg|Dressing table and chair, a reinterpretation of the Louis XVI style; by [[Paul Follot]]; 1919; marble and encrusted, lacquered, and gilded wood; unknown dimensions; [[Musée d'Art Moderne de Paris]]

The Gulbenkian Museum (40658606370).jpg|''Hommage à Jean Goujon''; by [[Alfred Janniot]]; 1919–1924; limestone partially coloured; 220 x 235 x 129&nbsp;cm; [[Calouste Gulbenkian Museum]], Lisbon, Portugal<ref>{{cite web|url=https://gulbenkian.pt/museu/works_museu/a-primavera-homenagem-a-jean-goujon/|website=gulbenkian.pt|title=A Primavera: Homenagem a Jean Goujon|author=|access-date=25 June 2023}}</ref>

Plate from the collection of projects Architectures by Louis Süe and André Mare, 1921, prefaced by Paul Valéry's text Eupalions ou l'architecte.jpg|Plate with design for an interior from the collection of projects ''Architectures'', by [[Louis Süe]] and [[André Mare]], 1921

File:Boudoir from the Hôtel du Collectionneur, at the 1925 Paris Exhibition, by Émile-Jacques Ruhlmann.jpg|[[Boudoir]] from the [[Hôtel du Collectionneur]], a highly simplified reinterpretation of the Louis XVI style, at the [[International Exhibition of Modern Decorative and Industrial Arts|1925 Paris Exhibition]], by [[Émile-Jacques Ruhlmann]]

File:1925 unlicensed copy of Madeleine Vionnet’s “Little Horses” dress.jpg|"Little Horses" dress; by [[Madeleine Vionnet]]; 1925; rayon crepe, black and gold seed beads; [[Museum at the Fashion Institute of Technology]], New York

Palais de Tokyo, Musée d'Art Moderne de la Ville de Paris.jpg|[[Palais de Tokyo]], Paris, by [[André Aubert]] and [[Marcel Dastugue]], 1937

Beograd - Ambasada Francuske u Srbiji (31092842098).jpg|[[Embassy of France, Belgrade]], Serbia, by [[Roger-Henri Expert]] with [[Josif Najman]] as assistant, designed in 1926, built in 1939<ref>{{Cite journal|url=https://www.academia.edu/21221965|title=Arhitekt Josif Najman (1890-1951), Moment 18, Beograd 1990, 100-106|last1=Kadijevic|first1=Aleksandar}}</ref><ref>{{cite book|last1=Criticos|first1=Mihaela|title=Art Deco sau Modernismul Bine Temperat - Art Deco or Well-Tempered Modernism|date=2009|publisher=SIMETRIA|isbn=978-973-1872-03-2|page=81|url=|language=Romanian, English}}</ref>

Photo (50 sur 102).jpg|[[Château de Sept-Saulx]], [[Grand Est]], a highly simplified reinterpretation of the Louis XVI style, France, by Louis Süe, 1928-1929<ref name="Art Deco sau Modernismul Bine Tempe">{{cite book|last1=Criticos|first1=Mihaela|title=Art Deco sau Modernismul Bine Temperat - Art Deco or Well-Tempered Modernism|date=2009|publisher=SIMETRIA|isbn=978-973-1872-03-2|page=91|url=|language=Romanian, English}}</ref>

Daily Telegraph Building (24438959395).jpg|[[Daily Telegraph Building]], London, by Charles Ernest Elcock, after consulting with [[Thomas S. Tait]], 1928<ref>{{cite book|title=The Egyptian Revival: Ancient Egypt as the Inspiration for Design Motifs in the West|first=James Stevens|last=Curl|page=412|publisher=Routledge|year=2013|isbn=978-1-134-23467-7}}</ref>

File:Design for Severance Hall grand foyer - Walker and Weeks (39638807102).jpg|Design for Severance Hall grand foyer of the [[Severance Hall]], Cleveland, US, by [[Walker and Weeks]], {{circa}}1930

73 Bulevardul Dacia, Bucharest (01).jpg|Dumitru Săvulescu House ([[Bulevardul Dacia]] no. 73), [[Bucharest]], Romania, by [[Gheorghe Negoescu]], 1933<ref>{{cite book|last1=Woinaroski|first1=Cristina|title=Istorie urbană, Lotizarea și Parcul Ioanid din București în context european|date=2013|publisher=SIMETRIA|isbn=978-973-1872-30-8|page=216|url=|language=ro}}</ref>

File:Grave of the colonel Paul Străjescu Family in the Bellu Cemetery in Bucharest, Romania (04).jpg|Grave of the Străjescu  Family, [[Bellu Cemetery]], Bucharest, by [[George Cristinel]], 1934<ref name="SIMETRIA"/>

53 avenue Foch Paris.jpg|[[Avenue Foch]] no. 53, Paris, by [[Charles Abella]], 1939<ref name="Art Deco sau Modernismul Bine Tempe"/>
</gallery>
Although it started to be seen as 'dated' after WW1, principles, proportions and other Neoclassical elements were not abandoned yet. [[Art Deco]] was the dominant style during the interwar period, and it corresponds with the taste of a bourgeois elite for high class French styles of the past, including the [[Louis XVI style|Louis XVI]], [[Directorie style|Directoire]] and [[Empire style|Empire]] (the period styles of French Neoclassicism). At the same time, the French elite was equally capable of appreciating [[Modern art]], like the works of [[Pablo Picasso]] or [[Amedeo Modigliani]]. The result of this situation is the early Art Deco style, which uses both new and old elements. The [[Palais de Tokyo]] from 1937 in Paris, by [[André Aubert]] and [[Marcel Dastugue]], is a good example of this. Although ornaments are not used here, the facade being decorated only with [[relief]]s, the way columns are present here is a strong reminiscence of Neoclassicism. Art Deco design often drew on Neoclassical motifs without expressing them overtly: severe, blocky [[commode]]s by [[Émile-Jacques Ruhlmann]] or [[Louis Süe]] & [[André Mare]]; crisp, extremely low-relief friezes of damsels and gazelles in every medium; fashionable dresses that were draped or cut on the bias to recreate Grecian lines; the art dance of [[Isadora Duncan]]. Conservative [[modernist]] architects such as [[Auguste Perret]] in France kept the rhythms and spacing of columnar architecture even in factory buildings.

The oscillation of Art Deco between the use of historic elements, shapes and proportions, and the appetite for 'new', for Modernism, is the result of multiple factors. One of them is '''[[eclecticism]]'''. The complexity and heterogeneity of Art Deco is largely due to the eclectic spirit. Stylized elements from repertoire of Beaux-Arts, Neoclassicism, or of cultures distant in time and space ([[Ancient Egypt]], [[Pre-Columbian Americas]], or Sub-Saharian [[African art]]) are put together with references to Modernist avant-guard artists of the early 20th century ([[Henri Matisse]], [[Amedeo Modigliani]] or [[Constantin Brâncuși]]). The Art Deco phenomenon owes to academic eclecticism and Neoclassicism mainly the existence of a specific architecture. Without the contribution of the Beaux-Arts trained architects, Art Deco architecture would have remained, with the exception of residential buildings, a collection of decorative objects magnified to an urban scale, like the pavilions of the [[International Exhibition of Modern Decorative and Industrial Arts]] from 1925, controversial at their time. Another reason for the swinging between historical elements and modernism was '''consumer culture'''. Objects and buildings in the puritan [[International style (architecture)|International style]], devoid of any ornamentation or citation of the past, were too radical for the general public. In interwar France and England, the spirit of the public and much architectural criticism could not conceive a style totally deprived of ornament, like the International style.

The use of historic styles as sources of inspiration for Art Deco starts as far back as the years before WW1, through the efforts of decorators like [[Maurice Dufrêne]], [[Paul Follot]], [[Paul Iribe]], [[André Groult]], [[Léon Jallot]] or [[Émile-Jacques Ruhlmann]], who relate to the prestigious French artistic and handicraft tradition of the late 18th and early 19th centuries (the Louis XVI, Directoire and [[Louis Philippe style|Louis Philippe]]), and who want to bring a new approach to these styles. The neo-Louis XVI style was really popular in France and Romania in the years before WW1, around 1910, and it heavily influenced multiple early Art Deco designs and buildings. A good example of this is the [[Château de Sept-Saulx]] in [[Grand Est]], France, by [[Louis Süe]], 1928–1929.<ref>{{cite book|last1=Criticos|first1=Mihaela|title=Art Deco sau Modernismul Bine Temperat – Art Deco or Well-Tempered Modernism|date=2009|publisher=SIMETRIA|isbn=978-973-1872-03-2|pages=29, 31, 40, 79, 91|url=|language=Romanian, English}}</ref>

===Neoclassicism and Totalitarian regimes===
{{Main|Socialist Realism|Nazi architecture|Rationalism (architecture)}}
<gallery mode="packed" heights="150px">
Moscow RussianStateLibrary 0987.jpg|[[Socialist Realism|Socialist Realist]] - [[Russian State Library|Lenin State Library]], Moscow, Russia, by [[Vladimir Shchuko]] and [[Vladimir Helfreich]], 1928-1941<ref>{{cite book|last1=Watkin|first1=David|title=A History of Western Architecture|date=2022|publisher=Laurence King|isbn=978-1-52942-030-2|page=880|url=|language=en}}</ref>
Бродский Собрание Реввоенсовета.jpg|Socialist Realist - ''Assembly of the Revolutionary Military Council of the USSR, Chaired by Kliment Voroshilov''; by [[Isaak Brodsky]]; 1929; oil on canvas; 95.5 x 129.5&nbsp;cm; private collection<ref>{{cite book|last1=Dempsey|first1=Amy|title=Modern Art|date=2018|publisher=Thamed & Hudson|isbn=978-0-500-29322-5|page=93|url=|language=en}}</ref>
Bucuresti, Romania, Facultatea de Drept, UNIVRSITATEA Bucuresti, B-II-m-A-19003.JPG|Fascist - University Rectorate and Law Faculty Building in [[Bucharest]] ([[Bulevardul Mihail Kogălniceanu]] no. 36–46), [[Bucharest]], Romania, by [[Petre Antonescu]], 1933-1935{{sfn|Celac|Carabela|Marcu-Lapadat|2017|p=72}}
Voorzijde van het Duitse paviljoen met een beeldengroep van Josef Thorak, Bestanddeelnr 254-2672.jpg|Nazi - ''Familie'' (The Family); by [[Josef Thorak]]; {{circa}}1937; probably bronze; unknown dimensions; exhibited at the [[Exposition Internationale des Arts et Techniques dans la Vie Moderne|1937 Paris World Fair]]
Bundesarchiv Bild 183-R89708, Berlin, Neue Reichskanzlei.jpg|Nazi - [[Reich Chancellery#New Reich Chancellery|New Reich Chancellery]], Berlin, by [[Albert Speer]], 1938-1939{{sfn|Hopkins|2014|p=175}}
Palazzo della civiltà del lavoro (EUR, Rome) (5904657870).jpg|Fascist - [[Palazzo della Civiltà Italiana]], Rome, by [[Giovanni Guerrini]], [[Ernesto La Padula]], and [[Mario Romano]], 1939-1942{{sfn|Hopkins|2014|p=176}}
Moscow State University crop.jpg|Socialist Realist - [[Moscow State University|Lomonosov University]], Moscow, by [[Lev Rudnev]], 1947-1952{{sfn|Hopkins|2014|p=176}}
60-62 Șoseaua Panduri, Bucharest (01).jpg|Socialist Realist - Colonels' Quarter ([[Șoseaua Panduri]] no. 60–62), Bucharest, by I.Novițchi, C.Ionescu, C.Hacker and A.Șerbescu, 1950–1960{{sfn|Celac|Carabela|Marcu-Lapadat|2017|p=181}}
Omagiu, by Constantin Nitescu, circa 1980.jpg|Socialist Realist - ''Homage''; by Constantin Nitescu; {{circa}}1980; unknown technique; unknown dimensions; Romania
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In [[Fascist Italy (1922–1943)|Fascist Italy]], [[Nazi Germany]], Romania under the rule of [[Carol II of Romania|Carol II]] and the [[Soviet Union]], during the 1920s and 1930s, totalitarian regimes chose Neoclassicism for state buildings and art. Architecture was central to totalitarian regimes' expression of their permanence (despite their obvious novelty). The way totalitarian regimes drew from Classicism took many forms. When it comes to state buildings in Italy and Romania, architects attempted to fuse a modern sensibility with abstract classical forms. Two good examples of this are the [[Palazzo della Civiltà Italiana]] in Rome, and the University Rectorate and Law Faculty Building in [[Bucharest]] ([[Bulevardul Mihail Kogălniceanu]] no. 36–46). In contrast, the Classicism of the [[Soviet Union]], known as [[Socialist Realism]], was bombastic, overloaded with ornaments and architectural sculptures, as an attempt to be in contrast with the simplicity of 'Capitalist' or 'bourgeois' styles like [[Art Deco]] or [[Modern architecture|Modernism]]. The [[Moscow State University|Lomonosov University]] in Moscow is a good example of this. [[Nikita Khrushchev]], the Soviet leader that succeeded Stalin, did not like this pompous Socialist Realist architecture from the reign of his predecessor. Because of the low speed and cost of these Neoclassical buildings, he stated that 'they spent people's money on beauty that no one needs, instead of building simpler, but more'.

In the Soviet Union, Neoclassicism was embraced as a rejection of [[Art Deco]] and Modernism, which the Communists saw as being too 'bourgeois' and 'capitalist'. This Communist Neoclassical style is known as Socialist Realism, and it was popular during the reign of Joseph Stalin (1924–1953). In [[fine art]]. Generally, it manifested through deeply idealized representations of wiry workers, shown as heroes in collective farms or industrialized cities, political assemblies, achievements of Soviet technology, and through depictions happy children staying around [[Vladimir Lenin|Lenin]] or Stalin. Both subject matter and representation were carefully monitored. Artistic merit was determined by the degree to which a work contributed to the building of socialism. All artists had to join the state-controlled Union of Soviet Artists and produce work in the accepted style. The three guiding principles of Socialist Realism were party loyalty, presentation of correct ideology and accessibility. Realism, more easily understood by the masses, was the style of choice. At the beginning, in the Soviet Union, multiple competing  [[avant-garde]] movements were present, notably [[Constructivism (art)|Constructivism]]. However, as Stalin consolidated his power towards the end of the 1920s, avant-garde art and architecture were suppressed and eventually outlawed and official state styles were established. After [[Boris Iofan]] won the competition for the design of the [[Palace of the Soviets]] with a stepped classical tower, surmounted by a giant statue of Lenin, architecture soon reverted to pre-Revolutionary styles of art and architecture, untainted by Constructivism's perceived Western influence.<ref>{{cite book|last1=Dempsey|first1=Amy|title=Modern Art|date=2018|publisher=Thamed & Hudson|isbn=978-0-500-29322-5|pages=92, 93|url=|language=en}}</ref> Although Socialist Realism in architecture ended more or less with the death of Stalin and the rise of Nikita Khrushchev, paintings in this style continued to be produced, especially in countries where there was a strong [[personality cult]] of the leader in power, like in the case of [[Mao Zedong]]'s [[History of the People's Republic of China (1949–1976)|China]], [[Kim Il Sung]]'s [[North Korea]], or [[Nicolae Ceaușescu]]'s Romania.

The Nazis suppressed Germany's vibrant [[avant-garde]] culture once they gained control of the government in 1933. [[Albert Speer]] was set as [[Adolf Hitler]]'s architectural advisor in 1934, and he tried to create an architecture that would both reflect the perceived unity of the German people and act as backdrop to the Nazis' expressions of power. The Nazis' approach to architecture was riddled with contradictions: while Hitler and Speer's plans for reordering Berlin aspired to imitate imperial Rome, in rural contexts Nazi buildings took inspiration from [[Vernacular architecture|local vernaculars]], trying to channel an 'authentic' German spirit. When it come to fine art, the Nazis created the term '[[Degenerate art]]' for [[Modern art]], a kind of art which to them was 'un-German', 'Jewish' or 'Communist'. The Nazis hated modern art and linked it to '[[Cultural Bolshevism]]', the [[conspiracy theory]] that art (or culture broadly) was controlled by a leftist Jewish cabal seeking to destroy the aryan race. Hitler's war on Modern art mostly consisted of an exhibition that tried to discredit Modern artists, called the '[[Degenerate Art exhibition]]' ({{langx|de|Die Ausstellung "Entartete Kunst"}}). This exhibition was displayed next to the [[Große Deutsche Kunstausstellung|Great Exhibition of German Art]], which consisted of artworks that the Nazis approved of. This way, the visitors of both exhibitions could compare the art labeled by the regime as 'good' and 'bad'. With a similar atitude, the regime closed in 1931 the [[Bauhaus]], an avant-garde art school in [[Dessau]] that was extremely influential post-war. It reopened in Berlin in 1932, but was closed again in 1933.

Compared to Germany and the Soviet Union, in Italy the avant-garde contributed to state architecture. Classical architecture was also an influence, echoing [[Benito Mussolini]]'s far cruder attempts to create links between his Fascist regime and [[ancient Rome]]. Some Italian architects tried to create fusions between [[Modern architecture|Modernism]] and [[Classical architecture|Classicism]], like [[Marcello Piacentini]] with the [[Sapienza University of Rome]], or [[Giuseppe Terragni]] with [[Casa del Fascio (Como)|Casa del Fascio]] in [[Como]].{{sfn|Hopkins|2014|p=174, 175, 176}}

In Romania, towards the late 1930s, influenced by the Autocratic tendency of King [[Carol II of Romania|Carol II]], multiple state buildings were erected. They were Neoclassical, many very similar with what was popular in the same years in Fascist Italy. Examples in [[Bucharest]] include the University Rectorate and Law Faculty Building ([[Bulevardul Mihail Kogălniceanu]] no. 36–46), the Kretzulescu Apartment Building ([[Calea Victoriei]] no. 45), the CFR Building (Bulevardul Dinicu Golescu no. 38) or the [[Victoria Palace]] ([[Victory Square, Bucharest|Piața Victoriei]] no. 1). The [[Royal Palace of Bucharest|Royal Palace]], whose interiors are mostly done in a neo-[[Adam style]], stands out by being more decorated, a little closer to the architecture before World War I.

===Postmodernism===
<gallery mode="packed" heights="170">
File:060807-002-GettyVilla001.jpg|[[J. Paul Getty Museum]], Malibu, California, US, by the partnership of Langdon and Wilson with [[Edward Genter]] as the project architect and archaeological advice from Dr [[Norman Neuerberg]], 1970-1975<ref>{{cite book|last1=Watkin|first1=David|title=A History of Western Architecture|date=2022|publisher=Laurence King|isbn=978-1-52942-030-2|pages=663, 664|url=|language=en}}</ref>
File:Les Arcades du Lac interior courtyard.jpg|Interior courtyard of [[Les Arcades du Lac]], Saint-Quentin-en-Yvelines, France, by [[Ricardo Bofill]], 1975-1981<ref>{{cite book|last1=Watkin|first1=David|title=A History of Western Architecture|date=2022|publisher=Laurence King|isbn=978-1-52942-030-2|page=663|url=|language=en}}</ref>
File:PiazzaDItalia1990.jpg|[[Piazza d'Italia (New Orleans)]], US, by [[Charles Moore (architect)|Charles Moore]], 1978
File:Robert venturi e denise scott brown per knoll international inc., sedia sheraton (mod. 664), 1979-83 (1984-90).jpg|Sheraton chair with applied decoration; by [[Robert Venturi]] for [[Knoll, Inc.|Knoll]]; 1978–1984, bent laminated wood; unknown dimensions; [[Milwaukee Art Museum]], Milwaukee, USA<ref>{{cite book|last1=Gura|first1=Judith|title=Postmodern Design Complete|date=2017|publisher=Thames & Hudson|isbn=978-0-500-51914-1|page=53|url=|language=en}}</ref>
File:Bucureşti June 1996 (3402685900).jpg|Apartment buildings on [[Bulevardul Unirii]], Bucharest, Romania, unknown architects, 1980s
File:Robert venturi per paul downs cabinetmakers, comodino louis xvi, 1984.jpg|Louis XVI, lowboy; by Robert Venturi for Arc International; {{circa}}1985; laminated wood; unknown dimensions; [[Indianapolis Museum of Art]], Indianapolis, USA<ref name="Postmodern Design Complete">{{cite book|last1=Gura|first1=Judith|title=Postmodern Design Complete|date=2017|publisher=Thames & Hudson|isbn=978-0-500-51914-1|page=121|url=|language=en}}</ref>
File:National Gallery London Sainsbury Wing 2006-04-17.jpg|[[Sainsbury Wing]], National Gallery, London, by [[Robert Venturi]], 1987-1991<ref>{{cite book|last1=Watkin|first1=David|title=A History of Western Architecture|date=2022|publisher=Laurence King|isbn=978-1-52942-030-2|page=665|url=|language=en}}</ref>
File:Pumping station, Stewart Street (geograph 4678320).jpg|[[Isle of Dogs Pumping Station]], London, [[John Outram]], 1988<ref name="Postmodern Design Complete"/>
File:77 West Wacker Drive May 2016 (2).jpg|[[77 West Wacker Drive]], Chicago, US, by Ricardo Bofill, 1990-1992<ref>{{cite web|url=https://www.are.na/block/14220675|website=are.na|title=77 West Wacker Drive Interior (1992)|author=|access-date=3 September 2023}}</ref>
File:Harold Washington Library - Chicago Public Library (51574883428).jpg|[[Harold Washington Library]], Chicago, by [[Thomas H. Beeby|Hammond, Beeby & Babka]], 1991<ref name="ReferenceA">{{cite book|last1=Gura|first1=Judith|title=Postmodern Design Complete|date=2017|publisher=Thames & Hudson|isbn=978-0-500-51914-1|page=77|url=|language=en}}</ref>
File:Chicago Public Library (CPL) (14756610392).jpg|Entrance era of the Harold Washington Library, by Hammond, Beeby & Babka, 1991<ref name="ReferenceA"/>
File:M2ビル (世田谷区).jpeg|M2 Building, [[Tokyo]], Japan, by [[Kengo Kuma]], 1991<ref>{{cite book|last1=Gura|first1=Judith|title=Postmodern Design Complete|date=2017|publisher=Thames & Hudson|isbn=978-0-500-51914-1|page=65|url=|language=en}}</ref>
File:Montpellier, France - panoramio (210).jpg|[[Antigone, Montpellier]], France, by [[Ricardo Bofill]], completed in 1992
File:HoustonChildrenMuseum.JPG|[[Children's Museum of Houston]], Houston, US, by Robert Venturi, 1992<ref>{{cite web|url=https://www.dezeen.com/2018/09/19/robert-venturi-best-postmodern-architecture-projects/|website=dezeen.com|title=Seven of Robert Venturi's best postmodern projects|author=Eleanor Gibson|date=19 September 2018 |access-date=25 June 2023}}</ref>
File:Fountain of the Gods, Caesars Palace (Las Vegas) (2).jpg|Forum Shops in [[Caesars Palace]], Las Vegas, US, by [[Marnell Corrao Associates]], 1992<ref>{{cite web|url=https://www.are.na/block/14220899|website=are.na|title=The Forum Shops at Caesars Palace (1992)|author=|access-date=3 September 2023}}</ref>
File:Trafford Centre main entrance05.jpg|Exterior of the [[Trafford Centre]], Manchester, UK, designed by [[Chapman Taylor]] and [[Leach Rhodes Walker]], with sculptures by [[Colin Spofforth]] and [[Guy Portelli]], 1998<ref name="Sunway University Press">{{cite book |last1=Gray |first1=George T. |url= |title=An Introduction to the History of Architecture, Art & Design |date=2022 |publisher=Sunway University Press |isbn=978-967-5492-24-2 |page=265 |language=en}}</ref>
File:Trafford Centre The Dome 01.jpg|Interior of the Trafford Centre, by Chapman Taylor and Leach Rhodes Walker, 1998<ref name="Sunway University Press" />
File:Philippe starck per kartell spa, poltrona masters, 2009.jpg|Louis Ghost, a simplified reinterpretation of armchairs in the [[Louis XVI style]]; by [[Philippe Starck]]; 2009; [[polycarbonate]]; height: 94&nbsp;cm; various locations<ref>{{cite web|url=https://www.smow.com/philippe-starck/louis-ghost.html|website=smow.com|author=|title=Philippe Starck, a pair of 'Louis Ghost' armchairs, Kartell. - Bukowskis|access-date=19 June 2023}}</ref>
File:15 Strada Arthur Verona, Bucharest (27).jpg|[[Postmodernism|Postmodern]] table with different legs, some of which are reminiscent of Neoclassical furniture; unknown designer; {{circa}}2010; painted wood; unknown dimensions; Cărturești Verona (Strada Arthur Verona no. 15), [[Bucharest]], Romania
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An early text questioning [[Modernism]] was by architect [[Robert Venturi]], ''Complexity and Contradiction in Architecture'' (1966), in which he recommended a revival of the 'presence of the past' in architectural design. He tried to include in his own buildings qualities that he described as 'inclusion, inconsistency, compromise, accommodation, adaptation, superadjacency, equivalence, multiple focus, juxtaposition, or good and bad space.'<ref>{{cite book|last1=Watkin|first1=David|title=A History of Western Architecture|date=2022|publisher=Laurence King|isbn=978-1-52942-030-2|page=660|url=|language=en}}</ref> Robert Venturi's work reflected the broader counter-cultural mood of the 1960s which saw younger generations begin to question and challenge the political, social and racial realities with which they found themselves confronted. This rejection of Modernism is known as [[Postmodernism]]. Robert Venturi parodies [[Ludwig Mies van der Rohe]]'s well-known maxim '[[Less is more (architecture)|less is more]]' with 'less is a bore'. During the 1980s and 1990s, some [[Postmodern architecture|Postmodern]] architects found a refuge in a sort of Neo-Neoclassicism. Their use of Classicism was not limited only to ornaments, using more or less proportions and other principles too. Post-Modern Classicism had been variously described by some people as 'camp' or '[[kitsch]]'. An architect who has been remarked through Post-Modern Classicism is [[Ricardo Bofill]]. His work includes two housing projects of titanic scale near Paris, known as [[Les Arcades du Lac]] from 1975 to 1981, and [[Les Espaces d'Abraxas]] from 1978 to 1983. A building that stands out through its revivalism is the [[J. Paul Getty Museum]], in [[Malibu, California]], from 1970 to 1975, inspired by the ancient Roman [[Villa of the Papyri]] at [[Herculaneum]]. The J. Paul Getty Museum is far closer to 19th century Neoclassicism, like the [[Pompejanum]] in [[Aschaffenburg]], Germany, than to Post-Modern Classicism of the 1980s.<ref>{{cite book|last1=Watkin|first1=David|title=A History of Western Architecture|date=2022|publisher=Laurence King|isbn=978-1-52942-030-2|pages=660, 661, 663|url=|language=en}}</ref>

===Architecture in the 21st century===
{{Main|New Classical Architecture}}
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Entrance of Queen's Gallery, Buckingham Palace (cropped).jpg|[[Queen's Gallery]], Buckingham Palace, London, by [[John Simpson (architect)|John Simpson]], 2000-2002<ref>{{cite book|last1=Watkin|first1=David|title=A History of Western Architecture|date=2022|publisher=Laurence King|isbn=978-1-52942-030-2|page=673|url=|language=en}}</ref>

File:Schermerhorn.jpg|[[Schermerhorn Symphony Center]], Nashville, Tennessee, US, by [[Earl Swensson]] Associates, [[David M. Schwarz]] Architects, and Hastings Architecture Associates, 2006

Berlin James-Simon-Galerie asv2019-07 img2.jpg|[[James Simon Gallery]], entrance of the [[Neues Museum]], Berlin, by [[David Chipperfield]], 2009–2018
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After a lull during the period of modern architectural dominance (roughly post-World War II until the mid-1980s), Neoclassicism has seen something of a resurgence.

As of the first decade of the 21st century, contemporary Neoclassical architecture is usually classed under the umbrella term of [[New Classical Architecture]]. Sometimes it is also referred to as Neo-Historicism or Traditionalism.<ref>{{Cite web|url=http://arch-tour.blogspot.com/2009/03/neo-classicist-architecture.html|title=Neo-classicist Architecture. Traditionalism. Historicism}}</ref> Also, a number of pieces of [[postmodern architecture]] draw inspiration from and include explicit references to Neoclassicism, [[Antigone District]] and the [[National Theatre of Catalonia]] in [[Barcelona]] among them. [[Postmodern architecture]] occasionally includes historical elements, like columns, capitals or the tympanum.

For sincere traditional-style architecture that sticks to regional architecture, materials and craftsmanship, the term [[Vernacular architecture|Traditional Architecture]] (or vernacular) is mostly used. The [[Driehaus Architecture Prize]] is awarded to major contributors in the field of 21st century traditional or classical architecture, and comes with a prize money twice as high as that of the modernist [[Pritzker Prize]].<ref>[http://architecture.nd.edu/about/driehaus-prize/ Driehaus Prize for New Classical Architecture at Notre Dame SoA] {{Webarchive|url=https://web.archive.org/web/20170210100930/http://architecture.nd.edu/about/driehaus-prize/ |date=2017-02-10 }} – ''Together, the $200,000 Driehaus Prize and the $50,000 Reed Award represent the most significant recognition for classicism in the contemporary built environment.''; retained March 7, 2014</ref>

In the United States, various contemporary public buildings are built in Neoclassical style, with the 2006 [[Schermerhorn Symphony Center]] in [[Nashville]] being an example.

In Britain, a number of architects are active in the Neoclassical style. Examples of their work include two university libraries: [[Quinlan Terry]]'s Maitland Robinson Library at [[Downing College]] and Robert Adam Architects' [[Sackler Library]].