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23 Cards in this Set
- Front
- Back
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Gothic Revival |
-Reaction to Industrial Rev. -People losing contact w/community -Alienated labor - people separate w/work -Loss of spirituality -No community -Pugin - Idealizing Middle Ages |
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Design Reform |
-An effort to apply a level of order and taste to the overwrought eclecticism and excessive ornamentation -Interested in educating the public on good design |
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Symbolism |
-Symbolism relating to Art Nouveau -Symbolists put emphasis on the subjective -Symbolists went beyond the naturalism of the impressionists |
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Glasgow School of Art |
-Designed by Macintosh -Looked back to medieval structures -Almost cubist -Seems very fortress-like, but uses lots of glass -SUBTLE plant-like elements -Very abstract -Emphasize abstract geometric forms -Library- "Integrated individual and local identity w/modern methods of production" -Uses modern technology, cast iron, glass -Uses a lot of wood -Uses natural light |
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Wiener Werkstaette |
-Established in 1903 -Production community of visual artists in Vienna, Austria -Brought together architects, artists and designers -Goal: To make all facets of human life into one unified work of art. |
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1925 Paris Exhibition |
-Many ideas of the international avant-garde in the fields of architecture and applied arts were brought together -Exhibits by France were mainly Art Deco, aimed towards luxury and wealth -Espirit Nouveau - New Spirit Design Co. Very modern and minimal. -Russian Constructivism - Modern and minimal. Rodchenko's Worker's Club
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Proun |
-El Lissitzky -"The station where one changes from painting to architecture." -A bridge between painting and architecture -Drawings/paintings that COULD be used as designs for structures |
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Productivism |
-Movement formed by Russian Constructivists -Art should have a practical, socially useful role as a facet of industrial production -El Lissitzky -Designed furniture, textiles, clothing, ceramics, typography, advertising and propaganda, as well as theater set design. |
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Anonymous Cover of Great Exhibition 1851 catalogue Mid-19th Century Design 1851
-Global Exhibition -Artist/Designer on left -Craftsman on right -Working together -Artist + Craftsman = Global Peace -Products disappointing -Chalice and Dove -Possibly religious references -Designer shows and intellectual -Garment + long hair |
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Morris and Company The Green Dining Room Arts and Crafts Movement 1866
-For Kensington Museum -Used as lunch room -Public can see good design -Meant to express the ideals of Arts and Crafts Movement -Looking back to Middle Ages -Appearance and values -Integrate art into life -Vine scroll patterns show love of nature |
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Alphonse Mucha Gismonda Poster Art Nouveau 1894
-Nearly life size -Very elegant -Really flat, no modeling/shading -Emphasis on curvy lines -Interest in organic looking ornament -Mosaic-looking element, from Byzantine Art -Elements from Rococo, romance, pleasure, organic elements |
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Hector Guimard Metro Station Entrance Art Nouveau 1900
-Uses cast iron/glass -Still looks organic -Shows Paris as a vital city -Alludes to nature and Rococo past |
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Charles Mackintosh and Margaret MacDonald Interior of Tearoom in Glasgow Art Nouveau (Scottish) 1896-7
-Mural by Margaret MacDonald -Very simplified, emphasizing line -Floral elements, very abstracted
-Designed everything (even waitress outfits) -No whiplash lines -Subtle curves -Glass w/Flower-like shapes -Holistic approach - thinking about everything |
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Van de Velde Poster for Tropon Art Nouveau (Belgian) 1898
-Food Concentrate - Powdered food -Whiplash lines -Looks natural/biological -Relies on repetition/abstraction |
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Koloman Moser Poster for 13th Vienna Secession Exhibition Art Nouveau (Austria) 1899
-Very geometric - emphasis on this -Less obvious plant-like shapes, very simplified -Influenced by Macintosh/Macdonald -Really difficult to read -Very flat, all integrated into one whole -Reference to 3 arts - Painting, sculpture, architecture |
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Peter Behrens AEG Electric Tea Kettles Corporate Design 1908
-Catalogue page -Modular, practical, efficient, cheap to make -Brass, copper plate, nickel plate -3 different surfaces -smooth, hammered, rippled -Interchangeable elements -Aimed at middle class -Reference to `hand made -Created typeface - monumental letters -Reference to triumphal arch |
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AM Cassandre Poster for L'Atlantique New Style (Art Moderne/Art Deco) 1931
-Selling: very large ship (think Titanic) -Very flat poster -Few references to modeling/shading -Not very many curved lines -Flat, but suggests volume & space -Celebrating modernity |
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Ruhlmann Grand Salon of a Collector New Style (Moderne/Deco) 1925
-At 1925 Paris Exhibition -Platform to sell designs -18th century Influence - Rococo -Clientele: Royalty, rich, wealthy -Dupas, The Songbirds, 1925 -Hung above fireplace -Women look like sculptures -Colors matched -All about being rich -Ceiling and wallpaper simplified designs |
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Rodchenko Soviet Worker's Club Russian Constructivism
-At 1925 Paris Exhibition -Celebration of the workers -Not very decorative -Similar to the Espirit Nouveau room -Standardized components -Simple furniture -Efficiency, modularity |
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El Lissitzky The Voice Russian Constructivism 1923
-Design, Type, and poetry very dynamic -Used abstract symbols to compliment words -Figure/Type very intertwined -Index/tab layout inside - unique for books |
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Gerrit Rietvelt Schroeder House De Stijl (Dutch Constructivism) 1924
-Collaboration w/Schroeder? -Looks like an abstract painting in 3D -Sliding partitions for privacy -Fulfills the ideal of creating a 'living work of non-objective art' -Very light/spacious, open floor plan -Used the least amount of walls possible -No fixed corners, elements go into space -Sliding walls/doors |
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Joost Schmidt Bauhaus Exhibition Poster German Contructivism 1923
-Slogan was "Art & Technology: A new unity" -All about the new man -Embracing modern society -All about asymmetry |
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Piet Zwort NKF Cableworks Catalogue Dutch Constructivism 1928
-New Type -Double spread -Sent to foreign magazines -Considered 'a beautiful example of new Type' -Trying to convey modernity |
