ART 111 Sec. Y01 (for P. Evans) Spring 2024

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In the bestselling tradition ofThe Elements of Style, The Elements of Designis a comprehensive visual survey of the design styles that have had the greatest impact on the decorative arts in the Western world. With more than 3,000 prints, photographs, and line drawings, the book covers five centuries of the Western decorative arts tradition, including Renaissance, Baroque, Rococo, Regency, Gothic, Art Nouveau, Art Deco, Modernism, and the Space Age.The key elements of the Western decorative arts tradition are explored chronologically. Each chapter begins with a broad introduction to the era, summarizing its key style features. Within the chapter there follows close examination of individual objects, including ceramics, glass, silver and metalwork, furniture, and textiles. All the items illustrated form a visual vocabulary of each design movement. The book also includes biographies of innovative designers, information on conservation and maintenance, and a comprehensive glossary of design terms.Compiled by a team of experts under the guidance of design specialists Noël Riley and Patricia Bayer,The Elements of Designis an indispensable reference work for collectors, design historians, interior decorators, set designers, and all those interested in our decorative arts heritage.

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From ancient Sumerian pottery to Tiffany stained glass, decorative art had been a fundamental part of the human experience for generations. While fine art is confined to galleries and museums, decorative art is the art of the every day, combining beauty with functionality in objects ranging from the prosaic to the fantastical. In this work, authors Albert Jacquemart and Émile Bayard celebrate the beauty and artistic potential behind even the most quotidian object. Readers will walk away from this text with a newfound appreciation for the subtle artistry of the manufactured world.

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From the Middle Ages to contemporary times, decorative art can be defi ned by the artistic materials, designs and objects used in both architecture and interior design. Similar to many art forms decorative art continues to evolve, originating with pieces as simple as a chair, noted for its utility, to purely ornamental objects, celebrated for their aesthetic beauty. Decorative Art aims to eulogize these often undervalued objects by giving praise to all mediums of decorative art throughout the centuries. Originally never considered as fi ne art, their artistic potential was not acknowledged until the twentieth century when industrial production replaced artisanal creation. The age, authenticity and above all the uniqueness of these precious objects have now become the new standards of quality and beauty found in decorative art. Join us in discovering the evolution of decorative art through this enticing survey of major masterpieces throughout time.

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A comprehensive study of international design, with essays on the trends, innovations, and significant objects of each period covered.

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The Museum of Modern Art Design Encyclopedia is the most comprehensive design reference guide to date. Compiled over the last 15 years by Mel Byars, in consultation with an international team of design experts, The Encyclopedia sets out to provide the factual framework of a discipline whose own historical accounting of itself is still relatively young. (By way of contrast, art history has existed as a scholarly discipline for over two centuries, and has produced a fairly comprehensive record of itself in that time period.) Only once before has a similarly comprehensive overview of the history of design been attempted--in 1994, also by Mel Byars. The Encyclopedia is about design, of course, but these days "design" seems to encompass almost everything, from magazine layouts and sweatshirts to animatronic flower gardens and heart pumps, not to mention the more abstract "information design." Here, however, design is considered only in its concrete application to functional objects, thus crossing with craft, decorative arts, and industrial design, but distinguishing itself from fine art and theory. The result is 832 pages covering the last 130 years in the history of the design of furniture, lighting, fabrics, ceramics, glassware, metalware, objects in a range of other materials, and mechanical, electrical and electronic appliances, as well as automobiles and some inventions. There are separate entries for designers and craftspeople, design studios, consortiums and partnerships, noteworthy manufacturers, significant historical periods and styles, and materials. Entries, 3,600 in all, are self-contained and organized alphabetically, and include cross-references. Information is an amalgamation of data gathered from a vast number of primary and secondary sources. With over 700 full-color illustrations, most of which are drawn from the MoMA collection, the remainder from Quittenbaum Kunstauktionen in Munich and Hamburg or directly from designers or manufacturers, this publication is an invaluable, definitive compendium of the world of design over the last century and a half.

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The Grove Encyclopedia of Decorative Arts covers thousands of years of decorative arts production throughout western and non-western culture. With over 1,000 entries, as well as hundreds drawn from the 34-volume Dictionary of Art, this topical collection is a valuable resource for those interested in the history, practice, and mechanics of the decorative arts. Accompanied by almost 100 color and more than 500 black and white illustrations, the 1,290 pages of this title include hundreds of entries on artists and craftsmen, the qualities and historic uses of materials, as well as concise definitions on art forms and style. Explore the works of Alvar Aalto, Charles and Ray Eames, and the Wiener Wekstatte, or delve into the history of Navajo blankets and wing chairs in thousands of entries on artists, craftsmen, designers, workshops, and decorative art forms.

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From the Potomac to the Gulf, artists were creating in the South even before it was recognized as a region. The South has contributed to America's cultural heritage with works as diverse as Benjamin Henry Latrobe's architectural plans for the nation's Capitol, the wares of the Newcomb Pottery, and Richard Clague's tonalist Louisiana bayou scenes. This comprehensive volume shows how, through the decades and centuries, the art of the South expanded from mimetic portraiture to sophisticated responses to national and international movements. The essays treat historic and current trends in the visual arts and architecture, major collections and institutions, and biographies of artists themselves. As leading experts on the region's artists and their work, editors Judith H. Bonner and Estill Curtis Pennington frame the volume's contributions with insightful overview essays on the visual arts and architecture in the American South.

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Art Nouveau gives a name to the decorative and architectural style developed in the 1880s and 1890s in the West. Born in reaction to the Industrial Revolution and to the creative vacuum it left behind, Art Nouveau was at the heart of a renaissance in the decorative arts. The primary objective of the movement was the creation of a new aesthetic of nature through a return to the study of natural subjects. In order to achieve this, artists such as Gustav Klimt, Koloman Moser, Antoni Gaudi, Jan Toorop, and William Morris favoured innovation in technique and novelty of forms. After its triumph at the Paris Universal Exposition in 1900, the trend continued and has inspired many artists ever since. Art Deco, the successor of Art Nouveau, appeared after World War II."

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A large range of symmetries in art is presented through clear and aesthetically outstanding examples of historical ornaments. Compendious comments illustrate the selected photographic material by addressing the interested and specialist reader alike. Contents: Introduction Fundamental categories The convenient start: Plane groups of symmetry Intertwined patterns: Layer groups of symmetry Two-colored periodic ornamentation Polychromatic patterns Beyond 2D groups: Hypersymmetry, superstructures, two symmetries in one pattern, the "order-disorder" patterns, homothety and similarity, inversion and nonlinear patterns Quasiperiodic patterns Fractals and fractal character Style and symmetry - symmetry and style References Index

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As models and paradigms, patterns have been helping to orient architects since the Middle Ages. But patterns are also the basis of the history of ornament, an aesthetic phenomenon that links all times and cultures at a fundamental level. Ornament - and hence pattern as well - was abolished by the avant-garde in the first half of the twentieth century, but the notion of pattern has taken on new meaning and importance since the 1960s. Complexity research has ultimately shown that even highly complex, dynamic patterns may be based on simple behavioral rules, and that has allowed the notions of pattern and pattern formation to take on new meanings, that are also central for architecture. Today the use of generative computerized methods is opening up new ways of talking about an idea that is becoming increasingly abstract and dynamic. Pattern explores the question: what are the notions of pattern that must be discussed in the context of contemporary architecture?

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In our industrialized society, it is often difficult to imagine how the objects around us are made. How, for example, are triple spirals put into the stem of a wine glass or table tops inlaid with whole landscapes of semi-precious stones? This unique dictionary is devoted to the fascinating materials and techniques used in the decorative arts. Materials range from the exotic to the most basic, from rare stones found only in the mountains of Badakshan, unsavory animal products, and the ground bodies of South American insects to ones as common as sand, clay, and lime. Compiled by a team of experts, each with an intimate knowledge of his or her subject, the entries are written in clear, accessible language and supplemented by numerous photographs and drawings. Each core material (glass, ceramics, textiles, paper, plastics, leather, metal, stone, wood, and paint) is covered from its raw state through any processing or preparation to various craft stages and finally, to any surface finishing. Traditionally, the kind of information found in these pages has been passed on from craftsman to craftsman or confined to highly specialized books, and even common terms are often misunderstood. This dictionary makes the subject accessible to all--from art and architectural historians, curators, collectors, restoration specialists, artists, and museum staff to decorators, aficionados, and those who enjoy watching Antiques Roadshow. In short, this book is for all those who are intrigued by the materials and techniques used to create the beautiful objects that surround us.

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An exploration of 200 years of Shaker design and spirituality, with new attention to Shaker influence on contemporary design Reaching an apogee of 6,000 members in the years just before the Civil War, the Shaker movement was the most extensive, enduring, and successful utopian society ever established in America. Leaving Manchester, England, in 1776 to avoid persecution, the Shakers crossed the Atlantic and during the next 50 years established 19 villages from Maine to Kentucky. The Shakers were guided by the principles of utility, honesty, and order in both their work and worship, and this belief system influenced the physical expression of the goods they produced for use at home and for sale outside their communities. This lovely book presents a wide array of extraordinarily fine examples of Shaker furniture, household objects, textiles, religious drawings, and items made to sell to the "world's people" (non-Shakers). The book's expert contributors discuss Shaker design in relation to the furniture they constructed, the products they sold, their gift drawings and spirituality, and their rejection of American Fancy design. The book also considers the powerful inspiration Shaker design has provided for diverse modern and contemporary designers, including George Nakashima, Roy McMakin, Thomas Moser, and Scandinavian furniture makers. Published in association with the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture Exhibition Schedule: Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture (March 13 - June 15, 2008)

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Informed by the analytical practices of the interdisciplinary 'material turn' and social historical studies of childhood, Childhood By Design: Toys and the Material Culture of Childhood offers new approaches to the material world of childhood and design culture for children. This volume situates toys and design culture for children within broader narratives on history, art, design and the decorative arts, where toy design has traditionally been viewed as an aberration from more serious pursuits. The essays included treat toys not merely as unproblematic reflections of socio-cultural constructions of childhood but consider how design culture actively shaped, commodified and materialized shifting discursive constellations surrounding childhood and children. Focusing on the new array of material objects designed in response to the modern 'invention' of childhood--what we might refer to as objects for a childhood by design--Childhood by Design explores dynamic tensions between theory and practice, discursive constructions and lived experience as embodied in the material culture of childhood. Contributions from and between a variety of disciplinary perspectives (including history, art history, material cultural studies, decorative arts, design history, and childhood studies) are represented - critically linking historical discourses of childhood with close study of material objects and design culture.Chronologically, the volume spans the 18th century, which witnessed the invention of the toy as an educational plaything and a proliferation of new material artifacts designed expressly for children's use; through the 19th-century expansion of factory-based methods of toy production facilitating accuracy in miniaturization and a new vocabulary of design objects coinciding with the recognition of childhood innocence and physical separation within the household; towards the intersection of early 20th-century child-centered pedagogy and modernist approaches to nursery and furniture design; through the changing consumption and sales practices of the postwar period marketing directly to children through television, film and other digital media; and into the present, where the line between the material culture of childhood and adulthood is increasingly blurred.