Skip navigation

Main menu

  • What's on
  • Art & Artists
    • The Collection
      Artists
      Artworks
      Art by theme
      Media
      Videos
      Podcasts
      Short articles
      Learning
      Schools
      Art Terms
      Tate Research
      Art Making
      Create like an artist
      Kids art activities
      Tate Draw game
  • Visit
  • Shop
Become a Member
  • DISCOVER ART
  • ARTISTS A-Z
  • ARTWORK SEARCH
  • ART BY THEME
  • VIDEOS
  • ART TERMS
  • SCHOOLS
  • TATE KIDS
  • RESEARCH
  • Tate Britain
    Tate Britain Free admission
  • Tate Modern
    Tate Modern Free admission
  • Tate Liverpool + RIBA North
    Tate Liverpool + RIBA North Free admission
  • Tate St Ives
    Tate St Ives Ticket or membership card required
  • FAMILIES
  • ACCESSIBILITY
  • SCHOOLS
  • PRIVATE TOURS
Tate Logo
Become a Member
This is a past display. Go to current displays
Installation view of Edward Allington and Pablo Bronstein showing a pillar and an architectural picture on the gallery wall

Installation view of Edward Allington and Pablo Bronstein

Edward Allington and Pablo Bronstein

In different ways, Edward Allington and Pablo Bronstein both take inspiration from classical architecture in their work

Three of Allington’s sculptures from the 1980s have been brought together with a recent work on paper by Bronstein. Working almost 30 years apart, both artists engage with history through a contemporary lens. They contrast the architectural forms and ideals of ancient Greece and Rome with the modern world. Through this process, they explore a clash of traditions and philosophies, old and new.

Allington was interested in ideas of authenticity and imitation. He was particularly fascinated by the ways in which the remnants of ancient Greece and Rome were presented in modern times. In the 1970s he visited the Parthenon, the temple at the heart of ancient Athens. ‘I found it impossible to see the real Parthenon for the souvenirs and distorted depictions of it’, he recalled. ‘Finally I decided that the “real thing” just wasn’t there.’ Reflecting this experience, Allington used elements of classical architecture in his work, while removing their context and practical purpose. The results are often playful and absurd.

Bronstein sees himself as looking back at some of the concerns of Allington’s generation, especially around architecture. His drawings fuse the past with imaginative fiction. Cross Section of the Via Appia in Late Antiquity is a recreation of one of the oldest and most important roads in Rome. Bronstein has described the drawing as ‘a tableau of remnants of architectural styles from many periods and places’. His version of the ancient road explores how architecture is used to express ideas of power, wealth and status. This relates to Bronstein’s awareness of the impact of architecture on our minds and bodies and the changing role of public and private space.

Read more

Tate Britain

Getting Here

Free
Artwork
Close

Join in

  • Twitter
  • Facebook
  • YouTube
  • Instagram
  • Pinterest
Sign up to emails

Sign up to emails

This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

Tate’s privacy policy

About

  • About us
  • Our collection
  • Terms and copyright
  • Governance
  • Picture library
  • ARTIST ROOMS
  • Tate Kids

Support

  • Tate Collective
  • Members
  • Patrons
  • Donate
  • Corporate
  • My account
  • Press
  • Jobs
  • Accessibility
  • Privacy
  • Cookies
  • Contact
© The Board of Trustees of the Tate Gallery, 2025
All rights reserved