The National Romantic style was a Nordic architectural style that was part of the National Romantic movement during the late 19th and early 20th centuries. It is often considered to be a form of Art Nouveau.

National romance is a designation of a building style in Denmark and Scandinavia in the period approx. 1890 to 1910. The style can be seen both as a continuation of historicism and counteracting this, as its practitioners continued the eclectic approach, where romanticizing elements of the Nordic Viking era were linked with style elements of Italian Renaissance while at the same time contradicting material versatility and functionality. The materials should have a regional feel, why the preferred materials in Denmark were bricks (especially red) to bricks and tiles, granite (from Bornholm) to sockets, stairs and sculptural ornaments and wood for roof constructions.

The style divides overlap with the discretionary style, where organic elements of the Art Nouveau mix with national romance. Exponents for this direction are Thorvald Bindesbøll, Anton Rosen and Aage Langeland-Mathiesen.

Michael Gottlieb Bindesbøll, Henning Wolff, Johan Daniel Herholdt and Hans J. Holm can be seen as pastors of national romance, even though they belong to historicism. Their works represent an early transition from historicism to national romance.

Alongside the style, other styles were found where palestine and nybarok were the most important. The successors to the national romance were the first barbarism, how many styles were still in existence (such as the red brick, white sprouted windows, and the buildup of the building clump), and then increasingly Better Constructions and Neoclassicism.

History
The National Romantic style spread across Finland; the Scandinavian countries of Denmark, Norway, and Sweden; the Baltic countries of Estonia and Latvia, as well as Russia (mainly St. Petersburg). Unlike much nostalgic Gothic Revival style architecture elsewhere, National Romantic architecture expressed progressive social and political ideals, through reformed domestic architecture.

Designers turned to early medieval architecture and even prehistoric precedents to construct a style appropriate to the perceived character of a people. The style can be seen as a reaction to industrialism and an expression of the same “Dream of the North” nationalism that gave impetus to renewed interest in the eddas and sagas.

Examples
Bergen Station (Bergen stasjon) (1913, Norway)
Copenhagen City Hall (Københavns Rådhus) (1905, Denmark)
Finnish National Theatre (Suomen Kansallisteatteri) (1902, Finland)
Frogner Church (Frogner kirke) (1907, Norway)
Holdre Manor (Holdre mõis) (1910, Estonia)
National Museum of Finland (Suomen Kansallismuseo) (1905, Finland)
Norwegian Institute of Technology (Norges tekniske høgskole) (1910, Norway)
Pohjola Insurance building (1901, Finland)
Polytechnic Students’ Union or Sampo Building (1903, Finland)
Röhss Museum (Röhsska konstslöjdsmuseet) (1916, Sweden)
Stockholm City Hall (Stockholms stadshus) (1923, Sweden)
Stockholm Court House (Stockholms Rådhus) (1915, Sweden)
Taagepera Castle (Taagepera mõis) (1912, Estonia)
Tarvaspää, (1913, Finland) the house and studio built for himself by Finnish painter Akseli Gallen-Kallela
Tolstoy House (Толстовский дом) (1912, Russia)
Church of the Epiphany (Uppenbarelsekyrkan) (1913, Sweden)
Vålerenga Church (Vålerenga kirke) (1902, Norway)

Source From Wikipedia