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129 Cards in this Set
- Front
- Back
Flaxman's low relief work
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Wedgwood jasperware
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experiments with color and composition
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Wedgwood jasperware
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Scene = Iliad & the Odyssey
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Wedgwood jasperware
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very fine ground materials
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Wedgwood jasperware
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ordered by queen charlotte
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Wedgwood creamware
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Neo-classical | also called Queen's ware
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Wedgwood creamware
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Restrained looking | Revolutionary
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Wedgwood creamware
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Distribution was essential to the movement, anti-slavery society
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Wedgwood
anti-slavery medallion |
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one of the first fashion items to support a cause
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Wedgwood
anti-slavery medallion |
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Quotes history of the piece
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Grand pianoforte
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possession allowed the middle class access to higher culture
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Grand pianoforte
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built in the short span of 6 months
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Joseph Paxton, Crystal Palace
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housed the great exhibition of all nations
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Joseph Paxton, Crystal Palace
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Center peiece of the Desfosse exhibit at the Paris Universal Exhibition
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Desfossé Wallpaper Company,
Garden of Armida wallpaper, Paris, c. 1851 |
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Painted by Edouard Muller
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Desfossé Wallpaper Company,
Garden of Armida wallpaper, Paris, c. 1851 |
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Example of inspiration to take wallpaper to a level of fine art
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Desfossé Wallpaper Company,
Garden of Armida wallpaper, Paris, c. 1851 |
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Wanted to spread art to the “most modern interiors”
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Desfossé Wallpaper Company,
Garden of Armida wallpaper, Paris, c. 1851 |
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1830's = the age of wallpaper
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Machine-made (steam-
roller process) wallpaper, c. 1853–55 |
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the poor had the means of acquiring nice wallpaper
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Machine-made (steam-
roller process) wallpaper, c. 1853–55 |
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cheaply produced wallpaper meant more designs
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Machine-made (steam-
roller process) wallpaper, c. 1853–55 |
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existed side by side with hand-block process
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Machine-made (steam-
roller process) wallpaper, c. 1853–55 |
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new technologies such as electroplating
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Sheffield Steel, Great Exhibition, London, 1851
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explosion of mass production of household goods such as iron stoves, tableware, and lighting fixtures
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Sheffield Steel, Great Exhibition, London, 1851
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required a proficiency in art for metal working
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Sheffield Steel, Great Exhibition, London, 1851
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universality of standards that can form the basis for all designers
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Page from Owen Jones’s
The Grammar of Ornament, (London, 1856) |
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based upon an observation form in nature
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Page from Owen Jones’s
The Grammar of Ornament, (London, 1856) |
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curved arches to enrich support
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Augustus Pugin, gothic-style dining room table, c. 1845
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repetition & symmetry, crisp contours and flat shapes
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Augustus Pugin, gothic-style dining room table, c. 1845
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Furnishings established a link minimally with craft traditions
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William Morris, wardrobe, settee, table and chairs, 1860s
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Individuals expression inspired designs from earlier period like the middle ages.
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William Morris, wardrobe, settee, table and chairs, 1860s
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Intended to convey the love of nature & appreciation of craftsmanship
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William Morris lunchroom
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Lunch room for visitors, with painted vine scroll pattern
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William Morris lunchroom
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formal simplicity inspired by medieval art
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Philip Webb,
backgammon cabinet with figures painted after a drawing by Edward Burne-Jones, 1861. |
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simple/abstract geometric motifs
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Philip Webb,
backgammon cabinet with figures painted after a drawing by Edward Burne-Jones, 1861. |
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Love of nature in ornament
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William Morris, chair,
c. 1870 |
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Outlet for the skill and invention of the craftsman
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William Morris, chair,
c. 1870 |
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Primarily used for ceramic tiles embroideries, wallpapers, printed fabrics
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Examples of Morris & Co. wallpaper patterns, 1876
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Decoration was viewed as an embellishment to construction
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Examples of Morris & Co. wallpaper patterns, 1876
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Morris experimented with vegetable dyes
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Hand-printing wallpaper in William Morris’s workshop, last quarter of the 19th century
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Refused to use machines for manufacture of wallpapers or printed fabrics
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Hand-printing wallpaper in William Morris’s workshop, last quarter of the 19th century
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Morris drew the typefaces himself
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William Morris and
Edward Burne-Jones, Kelmscott Chaucer, 1896. Page from “The Clerk’s Tale” |
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The book itself = an object of beauty
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William Morris and
Edward Burne-Jones, Kelmscott Chaucer, 1896. Page from “The Clerk’s Tale” |
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Decorative richness and illustrated pages attracted a high-end clientele
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William Morris and
Edward Burne-Jones, Kelmscott Chaucer, 1896. Page from “The Clerk’s Tale” |
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Designed by William Morris | Morris drew the typeface himself
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William Morris
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Dore focus on poverty in London
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Gustave Doré, London, a Pilgrimage:
Over London by Rail, 1872 |
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Critically accused of inventing poverty instead of copying what was really happening in London
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Gustave Doré, London, a Pilgrimage:
Over London by Rail, 1872 |
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Focus on middle class leisure
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poster
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Less structured form of self expression
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poster
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Integration of text and image approach to create unified design
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Jules Chéret, Olympia, 1893
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Sense of movement
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Jules Chéret, Olympia, 1893
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scenes of love and voluptuousness
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Fragonard, The Swing, 1767
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tender beauty of his color and the virtuosity of his brushwork
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Fragonard, The Swing, 1767
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Purpose of Cheret was to create a world of explosive happiness
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Charet Poster
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Posters represent the ancestor of modern advertising
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Charet Poster
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Mucha was a key figure in the Art Nouveau movement
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Mucha (Czech),
LU cookie poster, 1896 |
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he always insisted that rather than adhering to any fashionable stylistic form
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Mucha (Czech),
LU cookie poster, 1896 |
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Simplified with strong contours
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Henri de Toulouse-Lautrec, Moulin Rouge, La Goulue, 1891. Lithograph
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Sets the mood for night life
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Henri de Toulouse-Lautrec, Moulin Rouge, La Goulue, 1891. Lithograph
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Young, progressive people were particularly keen on a more mobile way of life
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Poster by
Steinlen |
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show amusingly what happens when progress intrudes on rustic tranquility
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Poster by
Steinlen |
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Combined romance with Art Nouveau
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Privat-Livement, ad for seaside resort 5 hours from Paris, 1896
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excellent example of female sensuality
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Privat-Livement, ad for seaside resort 5 hours from Paris, 1896
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paintings were one strand in the evolving tapestry of Aestheticism
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Edward Burne-Jones,
The Depths of the Sea, 1886 |
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art should be valued as an object of beauty engendering a sensual response
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Edward Burne-Jones,
The Depths of the Sea, 1886 |
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Ideals resolutely pursued are apt to provoke the resentment of the world
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Burne-Jones,
The Beguiling of Merlin, 1874 |
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balance between aesthetics and function
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Peter Behrens for AEG, electric tea kettle, c. 1908–12
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Promoting the use of electricity for cooking
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Peter Behrens for AEG, electric tea kettle, c. 1908–12
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Resembling hand hammered surfaces
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Peter Behrens for AEG, electric tea kettle, c. 1908–12
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Energetic lines that integrate illustrative elements
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Otto Eckmann,
AEG catalogue cover, 1900 Art nouveau style (“Jugendstil” in German) |
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Anticipated the use of corporate identity programs
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Peter Behrens AEG logo,
circa 1912 |
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Consistent typeface layout
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Otto Eckmann,
AEG catalogue cover, 1900 Art nouveau style (“Jugendstil” in German) |
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Universal spiritual expression
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El Lissitsky, Proun,
c. 1922 |
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Use of abstract art as a means to a political end
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El Lissitsky, Proun,
c. 1922 |
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Rectangular reading room
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Alexander Rodchenko, Soviet Workers’ Club, exhibited at the International Exposition of Modern and Industrial Arts, Paris, 1925
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Built from 8 standardized components
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Alexander Rodchenko, Soviet Workers’ Club, exhibited at the International Exposition of Modern and Industrial Arts, Paris, 1925
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Emphasis on standardized interchangeable components for furniture
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Alexander Rodchenko, Soviet Workers’ Club, exhibited at the International Exposition of Modern and Industrial Arts, Paris, 1925
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Best known De-Stijl project
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Gerrit Rietveld, Schröder House, Utrecht,
The Netherlands, 1925 |
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Folding and sliding partitions
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Gerrit Rietveld, Schröder House, Utrecht,
The Netherlands, 1925 |
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Living work of non-objective art
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Gerrit Rietveld, Schröder House, Utrecht,
The Netherlands, 1925 |
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Simple construction and void of luxury
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Interior view,
Schröder House, with red/blue armchair by architect Gerrit Rietveld |
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modernist principle that form reflects function
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Walter Gropius and Adolf Meyer, Fagus Shoe Factory, Alfeld-an-der-Leine, Germany, 1911–16
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providing healthful conditions for the working class
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Walter Gropius and Adolf Meyer, Fagus Shoe Factory, Alfeld-an-der-Leine, Germany, 1911–16
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geometrical performance as rooted in nature
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Anni Albers,
wall hanging, 1926. Silk two-ply weave, approx 6’ x 4’ |
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simple basic pattern could generate variety
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Anni Albers,
wall hanging, 1926. Silk two-ply weave, approx 6’ x 4’ |
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Used a variety of sizes to reflect the hierarchy for information
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Laszlo Moholy-Nagy, Bauhaus typeface
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New sense of the awareness for the white space of the page
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Laszlo Moholy-Nagy, Bauhaus typeface
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String abstract shapes
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Herbert Bayer, Bauhaus exhibition postcard, 1923
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Lettering for hierarchy of information
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Herbert Bayer, Bauhaus exhibition postcard, 1923
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Uses photo montage techniques extensively
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Herbert Bayer, Bauhaus (magazine cover), v.2: 2–3, 1928
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Triggered viewer associations
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Herbert Bayer, Bauhaus (magazine cover), v.2: 2–3, 1928
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Simplistic minimalist design using basic shapes
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Josef Hartwig, Bauhaus chess set, 1923
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Efficiency of living
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Ludwig Mies van der Rohe, German Pavillon, International Exposition, Barcelona, Spain, 1929 (rebuilt 1985–87)
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Considered the glare and brightness of lighting
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Ludwig Mies van der Rohe, German Pavillon, International Exposition, Barcelona, Spain, 1929 (rebuilt 1985–87)
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Admired for purity and brilliance
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René Lalique, Firebird, c. 1925.
Acid-etched glass lamp with bronze base |
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Plant like tail
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René Lalique, Firebird, c. 1925.
Acid-etched glass lamp with bronze base |
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high-end style
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Art Deco designs on 60 Wall Street, New york
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elegant, glamorous, functional and modern.
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Art Deco designs on 60 Wall Street, New york
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based on mathematical geometric shapes
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Art Deco designs on 60 Wall Street, New york
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Bold stencil forms
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Fernand Léger, Three Women, 1921
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Dramatic configurations of contrasting curves
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Fernand Léger, Three Women, 1921
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High contrast
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An Art Deco wallpaper pattern
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Bold colors
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An Art Deco wallpaper pattern
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3-d effect
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An Art Deco wallpaper pattern
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is an Art Deco skyscraper
tower appeared physically and visually light as if floating on mid-air |
William Van Alen, Chrysler Building, New York, 1928–30
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tower appeared physically and visually light as if floating on mid-air
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William Van Alen, Chrysler Building, New York, 1928–30
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the use of geometric patterns and linear designs that signified the modern look
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Chrysler Building interior veneers
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Skyscraper style
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Paul Theodore Frankl, Art Deco skyscraper bookshelf,
1926 |
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Set back profiles
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Paul Theodore Frankl, Art Deco skyscraper bookshelf,
1926 |
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Tapered cylindrical forms
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Art Deco cocktail service, 1926
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very simple to drive, and easy and cheap to repair
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1924 Model-T Ford
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1920s, a majority of American drivers had learned to drive on the Model T
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1924 Model-T Ford
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such as reducing labor hours required to produce a single vehicle, and increased production numbers and parts
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Ford assembly line, 1920s
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Less expensive luxury sedan
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Harley Earl 1927 Buick LaSalle
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Low profile
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Harley Earl 1927 Buick LaSalle
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Unified body design
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Harley Earl 1927 Buick LaSalle
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Provided options in the cars without raising the cost
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Harley Earl 1927 Buick LaSalle
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Geometric forms
To attract attention in an abstract way |
Norman Bel Geddes, art deco Franklin Simon department store window design, Fifth Avenue, NYC, 1928
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Clean optimistic vision of democratic
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Bel Geddes, complete white Frigidaire kitchen,
New York World’s Fair, 1939 |
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Emphasis with relationship with technology to increased leisure time
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Bel Geddes, complete white Frigidaire kitchen,
New York World’s Fair, 1939 |
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Bel Geddes, Standard Gas Equipment kitchen range, 1932
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Bel Geddes, Standard Gas Equipment kitchen range, 1932
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More enclosed unified box like form
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Bel Geddes, Standard Gas Equipment kitchen range, 1932
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Eliminated open areas
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Bel Geddes, Standard Gas Equipment kitchen range, 1932
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Built for speed and lots of passengers
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Bel Geddes, drawing for patent for
aerodynamically designed rear-engine auto, 1939 |
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Smooth streamlined look suggestive of frictionless movement
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Kem Weber, Zephyr electric clock, 1934.
Brass, copper, bakelite, plastic |
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Traffic flow was managed by multi-laned highways
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Futurrama, 1939
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Freudian Analysis (egos)
1. ID |
ID = basic instincts, unorganized part of the personality, unconscious, acting without the consideration of social norms or conformity
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Freudian Analysis (egos)
2. Ego |
Ego = reality, drives in socially-acceptable ways
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Freudian Analysis (egos)
3. Superego |
maintaining a sense of morality and preventing wrongdoing to a degree. It is literally guilt.
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Freudian Analysis
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1. Conscious: What an artifact does
2.Pre-conscious: other aspects of functionality 3. Unconscious: symbolic meaning |
