DOCSLIB.ORG

Reading Sample

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reading Sample 08 GERRIT RIETVELD, RIETVELD SCHRÖDER HOUSE 09 FRANK LLOYD WRIGHT, HOLLYHOCK (BARNSDALL) HOUSE 01 LÉON BAKST, BOEOTIAN 10 RAYMOND HOOD AND COSTUME DESIGN FOR THE ANDRÉ FOUILHOUX, AMERI- BALLET NARCISSE CAN RADIATOR BUILDING 02 PABLO PICASSO, CHINESE 05 ARMAND-ALBERT RATEAU, 03 RENÉ LALIQUE, DEUX PAONS 25 WILLIAM VAN ALEN, CONJURER COSTUME FOR CHAISE LONGUE (TWO PEACOCKS) CHRYSLER BUILDING THE BALLET PARADE 12 ANDRÉ GROULT, CHIFFON- 15 OSWALD HAERDTL, 31 MAURICE PICAUD (PICO), 06 JEANNE LANVIN, EVENING NIER AMBASSADOR SERVICE LA DANSE ENSEMBLE WINE DECANTER 13 ÉMILE-JACQUES RUHL- 42 ROBERT ATKINSON, 27 RAYMOND TEMPLIER, MANN, ÉTAT CABINET 30 ENOCH BOULTON, JAZZ GINGER RECEPTION HALL OF THE BRACELET WITH BROOCH JAR AND COVER DAILY EXPRESS BUILDING 28 EILEEN GRAY, SCREEN 43 CHARLES JAMES, 44 JEAN DUPAS, THE CHARIOT 47 GOLDEN GATE BRIDGE WEDDING DRESS 34 JEAN DUNAND, LA FÔRET OF POSEIDON ARCHITECTUREFASHION & JEWELRY FURNITURE GLASS & CERAMICS OVERVIEW 07 SONIA DELAUNAY, FABRIC DESIGN NO. 6 14 JEAN THÉODORE DUPAS, 17 A.M. CASSANDRE, LES PERRUCHES L’INTRANSIGEANT 21 PAUL COLIN, PLATE 35 FROM LE 19 HEINZ SCHULZ-NEUDAMM, TUMULTE NOIR METROPOLIS 22 TAMARA DE LEMPICKA, JEUNE 20 MADAME D’ORA, FILLE AUX GANTS JOSEPHINE BAKER 24 GEORGIA O’KEEFFE, RADIATOR 23 EDWARD STEICHEN, FRED BUILDING—NIGHT, NEW YORK ASTAIRE 11 EDGAR BRANDT, THE OASIS 29 ERTÉ, STAGE DESIGN FOR 32 EDUARDO GARCÍA BENITO FOLDING SCREEN “VICTOR HERBERT” CANDEE 16 FRANZ HAGENAUER, MIRROR 33 BERNARD BOUTET DE MONVEL, 36 RENÉ VINCENT, BUGATTI 04 FRANÇOIS POMPON, WITH WOMAN’S HEAD THE MAHARAJA OF INDORE IN OURS BLANC OCCIDENTAL DRESS 38 JOHANN VON STEIN, ROTTER- 26 JACQUES LE CHEVALLIER, DAMSCHE LLOYD 18 DEMETRE CHIPARUS, LAMP 35 HERMAN SACHS, SPIRIT (OR FINALE SPEED) OF TRANSPORTATION 40 PIERRE FIX-MASSEAU, 46 GORDON MILLER BUEHRIG, EXACTITUDE 39 PAUL LANDOWSKI & AUBURN 851 SC BOATTAIL 37 EUGÈNE-ROBERT POUGHÉON, HECTOR DA SILVA COSTA, SPEEDSTER LE SERPENT 49 JOSEPH BINDER, NEW YORK CRISTO REDENTOR WORLD’S FAIR 48 JEAN PUIFORCAT, SOUP 41 TAMARA DE LEMPICKA, ADAM 45 PAUL MANSHIP, TUREEN AND EVE 50 ERTÉ, AUTUMN SONG PROMETHEUS METAL WORK PAINTING PRINTS & PHOTOGRAPHY SCULPTURE ART DECO 50 WORKS OF ART YOU SHOULD KNOW Lynn Federle Orr PRESTEL Munich · London · New York CONTENTS INTRODUCTION 9 14 JEAN THÉODORE DUPAS Les Perruches (The Parakeets) 50 01 LÉON BAKST Costume for a Boeotian 24 15 OSWALD HARRDTL Ambassador Service 02 PABLO PICASSO Wine Decanter 52 Chinese Conjurer Costume 26 16 FRANZ HAGENAUER 03 RENÉ LALIQUE Mirror with Woman’s Head 54 Deux Paons (Two Peacocks) 28 17 A.M. CASSANDRE 04 FRANÇOIS POMPON L’Intransigeant 56 Ours blanc (Polar Bear) 30 18 DEMETRE CHIPARUS 05 ARMAND-ALBERT RATEAU Finale 58 Chaise Longue 32 19 HEINZ SCHULZ-NEUDAMM 06 JEANNE LANVIN Metropolis 60 Evening Ensemble 34 20 MADAME D’ORA 07 SONIA DELAUNAY Josephine Baker 62 Fabric Design No. 6 36 21 PAUL COLIN 08 GERRIT RIETVELD Plate 35 from Le Tumulte noir 64 Rietveld Schröder House 38 22 TAMARA DE LEMPICKA 09 FRANK LLOYD WRIGHT Jeune fi lle aux gants Hollyhock House 40 (Young Woman with Gloves) 66 10 RAYMOND HOOD & ANDRÉ FOUILHOUX 23 EDWARD STEICHEN American Radiator Building 42 Fred Astaire 68 11 EDGAR BRANDT 24 GEORGIA O’KEEFFE The Oasis Folding Screen 44 Radiator Building—Night, New York 70 12 ANDRÉ GROULT 25 WILLIAM VAN ALEN Chiffonnier 46 Chrysler Building 72 13 ÉMILE-JACQUES RUHLMANN 26 JACQUES LE CHEVALLIER État Cabinet 48 Lamp 74 27 RAYMOND TEMPLIER 40 PIERRE FIX-MASSEAU Bracelet with Brooch 76 Exactitude 102 28 EILEEN GRAY 41 TAMARA DE LEMPICKA Folding Screen 78 Adam and Eve 104 29 ERTÉ 42 ROBERT ATKINSON Stage Design for “Victor Herbert” 80 Reception Hall of the Daily Express Building 106 30 ENOCH BOULTON 43 CHARLES JAMES Jazz Ginger Jar and Cover 82 Wedding Dress 108 31 MAURICE PICAUD (PICO) 44 JEAN THÉODORE DUPAS La Danse 84 The Chariot of Poseidon 110 32 EDUARDO GARCÍA BENITO 45 PAUL MANSHIP Candee 86 Prometheus 112 33 BERNARD BOUTET DE MONVEL 46 GORDON MILLER BUEHRIG The Maharaja of Indore Auburn 851 SC Boattail Speedster 114 in Occidental Dress 88 47 GOLDEN GATE BRIDGE 116 34 JEAN DUNAND La Fôret (The Forest, or Wild Animals 48 JEAN PUIFORCAT at a Watering Place) 90 Soup Tureen 118 35 HERMAN SACHS 49 JOSEPH BINDER Spirit (or Speed) of Transportation 92 New York World’s Fair/The World of Tomorrow 120 36 RENÉ VINCENT 50 ERTÉ Bugatti 94 Autumn Song, from The Twenties Remembered Suite 122 37 EUGÈNE-ROBERT POUGHÉON Le Serpent 96 BIBLIOGRAPHY / PHOTO CREDITS 124 38 JOHANN VON STEIN Rotterdamsche Lloyd 98 39 PAUL LANDOWSKI Cristo Redentor (Christ the Redeemer) 100 8 INTRODUCTION straction, geometric and linear patterning, and restrained ornamentation. In their in- herent shapes and surface decoration, Art Deco creations of all types embraced the modern age—the machine age—and its precisionist vocabulary. Although perhaps partly a thin-skinned bravura to mask the insecurities of the mo- ment, new attitudes also prevailed. After the trauma of recent war, including the fi nancial and physical ruin of much of Eu- Fig. 1 George Barbier, Au revoir, 1920, pochoir, in George rope, novel life-affi rming experiences were Barbier, Le bonheur du jours, ou, Les graces à la mode, Paris: the order of the day. Fun, if not joy, was Meynial, 1920, The British Library, London to be grabbed whenever the opportunity Say “Art Deco” and a succession of imag- presented itself (fi g. 1), at the nightclub, es—a sassy long-legged fl apper, a taper- racetrack, or tennis court; life was to be ing skyscraper, a windswept roadster, the savored in every cigarette, cocktail, or zigzag pattern on a cigarette case—fl ash outing in a fast car. Cultivated relentlessly, by like frames of a movie. They seem unre- glamour pervaded one’s personal style; the lated, yet each is in sync with an era that “high” arts of painting and sculpture, ar- exuded glamour, pleasure, and escape. chitecture and architectural decor, unique Evocative of a unique historical moment, one-of-a-kind decorative objects, and Art Deco—as it is now called—embod- even “lowbrow” mass-produced domestic ies the passion for modernity that ani- wares. In all realms, the soft curvilinear mated the years between World War I and forms and baroque extravagances of Art World War II (1918–39). Western society Nouveau—already discredited among experienced rapidly shifting social and artists and elite collectors before the economic fortunes that precipitated incom- war—were dismissed as decadent and parable structural, behavioral, and material old-fashioned. In its place a new mode of changes: with dizzying speed nearly every personal and artistic expression seemed facet of life was recast. Mechanization in keeping with the postwar mood. And an intruded everywhere, and the dynamic infectious sense of new beginnings left its forms and rhythms of factory machinery— visual imprint on everything. from the repetitive geometries of gears Women liberated out of necessity during to the streamlined volumes of the drive- the war years refused at war’s end to re- shaft—imbedded themselves in the public turn to the status quo. Standing in for men imagination. And a new aesthetic language away at the front, women had worked jobs emerged, characterized by a love for ab- requiring ease of movement, resulting in 10 less restrictive clothing with bothersome hair tucked under a cap and/or cut short. The assertive young woman of the Roar- ing Twenties appeared in her classic shift and bobbed hairdo, sporting ideas about limitless possibilities. Pert and stylish, she featured in innumerable advertising campaigns. She was immortalized as the tomboy in Victor Margueritte’s hit novel La Garçonne (The Bachelor Girl, 1922) and as the fl apper heroine of F. Scott Fitzgerald’s The Great Gatsby (1925). Convention-break- ing stage icons, such as African American Josephine Baker, scandalized and beguiled society. And once getting into the act, Hollywood promoted the modern woman in fi lms distributed worldwide. Whether a “classy dame” played by Claudette Colbert or Greta Garbo’s exotic dancer-turned- Fig. 2 Georges Lepape, Cover of British Vogue, January 1925, spy Mata Hari, the beautiful, leggy (and photo courtesy of the National Art Library, London mouthy) movie star became a cultural idol. Coalescing fi rst in Paris between 1908 and Howard Carter’s sensational 1922 discov- 1912, this new modern style took as its ery of the boy pharaoh Tutankhamen’s starting point the then current mechanized tomb fueled a worldwide craze for things world. But designers also mined many Egyptian. Concurrently, contemporary art other sources, most importantly historic with its succession of avant-garde isms— European styles. At the same time, inter- Cubism, Fauvism, Constructivism, Futurism, national exhibitions introduced an expand- Neoplasticism—provided a wellspring of ing range of enticingly “exotic” (to use a motifs for the innovative designer. contemporary term) non-Western design Among other formative experiences was traditions. Inspiration came from newly the 1909 arrival of Russian impresario discovered (or rediscovered) cultures, as Sergei Diaghilev and his spectacular bal- diverse in time and place as ancient Meso- let troupe. Innovative and edgy, the pro- america and African tribal arts. Other Af- ductions of the Ballets Russes electrifi ed rican infl ections, derived from the musical Paris’s creative community. Diaghilev’s asymmetries and spirit of American Jazz, company served as an incubator, fostering soaked into the visual rhythms of decora- innovation in all the performing arts. Not tive designs. Photographs reconstructing satisfi ed with the conventional in any fi eld, 11.
Load more

Recommended publications
  • Margaret Macdonald Mackintosh's Masterpieces
    For Immediate Release 5 March 2008 Contact: Rhiannon Broomfield +44 (0) 207 389 2117 [email protected] Hannah Schmidt + 44 (0) 207 389 2964 [email protected] MARGARET MACDONALD MACKINTOSH’S MASTERPIECES HIGHLIGHT CHRISTIE’S LONDON 20TH CENTURY DECORATIVE ART & DESIGN SALE IN APRIL Margaret MacDonald Mackintosh (1864-1933) The Heart of the Rose (left); The White Rose and the Red Rose (right) (estimate: £200,000-300,000 for each panel) 20th Century Decorative Art & Design 30 April 2008 at 2.00pm King Street, London – An exquisite pair of panels which represent the pinnacle of Margaret Macdonald Mackintosh’s skill and imagination leads Christie’s London sale of 20th Century Decorative Art & Design on 30 April 2007. The sale features 100 lots spanning a wide variety of styles and materials from the beginning of 20th century until the present day; estimates range from £1,000 to £300,000. The Heart of the Rose and The White Rose and the Red Rose (estimate: £200,000-300,000 for each panel), a pair of painted and jewelled gesso panels by Scottish artist Margaret Macdonald Mackintosh (1864-1933), were first displayed in the Rose Boudoir at the International Exhibition of Modern Decorative Art in Turin, 1902. The Rose Boudoir, the result of a collaboration between Margaret and her husband Charles Rennie Mackintosh, defined a moment of consummate refinement in the evolution of the couple’s oeuvre and these panels played a pivotal role. Remaining strongly representative of the Glasgow avant-garde, they illustrate the rose theme in a lyrical, symbolist manner in a subtle evocation of maternal and sensual love.
    [Show full text]
  • Dialogues: Modern & Contemporary Art
    PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE: 26 JUNE 2 0 2 0 DIALOGUES: MODERN & CONTEMPORARY ART ONLINE-ONLY FROM 26 JUNE TO 14 JULY 2020 PART OF THE AUCTION PROGRAMME TO ACCOMPANY ONE: A GLOBAL SALE OF THE 20TH CENTURY Tamara de Lempicka, La couronne de fleurs II (c. 1932/c. 1950, estimate: £300,000-500,000), Glenn Ligon Figure #96 (2011, estimate: £280,000-350,000) and Peter Blake The National Gallery Madonna (1994-2000, estimate: £120,000-180,000) London – As part of the expanded online programme to accompany ONE: A Global Sale of the 20th Century, Christie’s presents Dialogues: Modern & Contemporary Art, an online auction running from 26 June to 14 July 2020, featuring painting, sculpture, works on paper and photography. Constructivism, Fauvism, Art Brut, Surrealism, Abstract Expressionism, Pop: the past century of Western art has been a period of vast change. As artists responded to events happening around them and the evolution of artistic practice, they also engaged with the work of other artists past and present. Dialogues: Modern & Contemporary Art highlights a selection of these conversations. Some dialogues are formal, as in the sharp, flat hues of Walter Dexel’s Constructivism and Josef Albers’ post-Bauhaus Homage to the Square: Oracle (1961, estimate: £220,000-320,000). Others are more visceral: an early work, Kallmünz – Regentag (1903, estimate: £150,000-200,000) by Wassily Kandinsky, from before his own revolutionary turn to abstraction, emits a sunny energy that echoes in Jack Butler Yeats’ bright, fluid California (1937, estimate: £500,000-800,000). Jean Dubuffet’s Art Brut figures share the totemic power of sculptures by Eduardo Paolozzi and Henri Laurens.
    [Show full text]
  • Lempicka Page 4: Self-Portrait in the Green Bugatti, 1929 Oil on Panel, 35 X 27 Cm Private Collection
    Lempicka Page 4: Self-Portrait in the Green Bugatti, 1929 Oil on panel, 35 x 27 cm Private Collection Designed by: Baseline Co Ltd 19-25 Nguyen Hue Bitexco Building, Floor 11th District 1, Ho Chi Minh City Vietnam © Sirrocco, London, UK (English version) © Confidential Concepts, worldwide, USA © de Lempicka Estate / Artists Rights Society, New York, USA / ADAGP, Paris All rights reserved No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification. ISBN 978-1-78042-030-1 2 It can be argued that the Art Deco spirit expressed itself more naturally through portraiture than through any other kind of painting. The quintessential Art Deco portraitist is undoubtedly Tamara de Lempicka. The Fashionable society of the 1920s and 30s is now perceived very largely through her eyes. — Edward Lucie-Smith 3 Biography 1898 Born Tamara Gurwik-Gorska in Warsaw to wealthy, upper-class Polish parents. Her father, Bolris Gorski, was a lawyer with a French firm. Her mother was Malvina Decler. 1911 A trip to Italy with her grandmother helps Tamara discover her passion for art. 1914 Tamara moves in with her aunt Stephanie in St Petersburg, resenting her mother’s decision to remarry. She meets her future husband, Tadeusz Lempicki, a handsome lawyer from a wealthy Russian family. 1916 Tamara and Tadeusz marry in Petrograd in the chapel of the Knights of Malta.
    [Show full text]
  • Holly Trostle Brigham Myths, Portraits, and the Self Holly Trostle Brigham Myths, Portraits, and the Self
    Holly Trostle Brigham Myths, Portraits, and the Self Holly Trostle Brigham Myths, Portraits, and the Self August 5 - September 27, 2013 Mary H. Dana Women Artists Series / Douglass Library Guest Curators: Judith K. Brodsky and Ferris Olin Copyright: Institute for Women and Art, Rutgers, The State University of New Jersey, 2013 INSTITUTE FOR WOMEN AND ART Programs Mary H. Dana Women Artist Series At the Douglass Library Galleries and in partnership with Rutgers University Libraries, this exhibition series was founded in 1971 by Joan Snyder and is the oldest continuously running venue for women visual artists in the US. Estelle Lebowitz Visiting Artist-in-Residence Lectureship Brings to the Rutgers University community and general public the work of a renowned contemporary woman artist through exhibitions, classes and public lectures. The Feminist Art Project (TFAP) A collaborative international initiative promoting and documenting diverse feminist art events and publications celebrating the feminist art movement and the aesthetic, intellectual and political impact of women on the visual arts, art history, and art practice, past and present. IWA Exhibition Series Exhibitions curated by the IWA and presented at selected venues. Miriam Schapiro Archives This archival collection contains files related to women artists and art organizations and is housed in Rutgers University Libraries Special Collections and University Archives. In addition to the files for the Mary H. Dana Women Artists Series, the Schapiro archives also contain the Contemporary Women Artists Files (CWAF) of emerging and established contemporary women artists. On-Line Education E-courses about women artists, their achievements, and impact on culture and society; race and contemporary art; homosexuality and visual culture.
    [Show full text]
  • Download File
    NEGOTIATING THE GENDERED MARGINS OF MODERNITY: TAMARA DE LEMPICKA AND HER ICONIC FEMALE FORMS A Thesis Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Master of Arts by Allison Ann Muscolino ________________________________ Kathleen Pyne, Director Graduate Program in Art, Art History, and Design Notre Dame, Indiana April 2008 TABLE OF CONTENTS LIST OF FIGURES ...................................................................................................iii ACKNOWLEDGMENTS .........................................................................................iv INTRODUCTION .....................................................................................................1 CHAPTER ONE: FEMININIZING THE STAGE OF MODERNITY.....................10 CHAPTER TWO: DEFINING THE MODERN FEMININE ...................................20 CHAPTER THREE: PERFORMING THE MODERN ............................................31 APPENDIX: FIGURES.............................................................................................39 BIBLIOGRAPHY......................................................................................................51 ii LIST OF FIGURES Figure 1. Portrait of Romana de La Salle, 1928, oil on panel, unknown Collection.................................................................................................39 Figure 2. The Slave, 1929, oil on canvas, private collection ...................................40 Figure 3. The Musician, 1929,
    [Show full text]
  • Tamara De Lempicka: a Life of Deco and Decadence by Laura Claridge (1999), 436 Pages. a Casual Reader of Polish
    Tamara de Lempicka: A Life of Deco and Decadence by Laura Claridge (1999), 436 pages. A casual reader of Polish painting in the 20th century may have only a limited idea of Tamara Lempicka's life and her contribution to the Deco history of the 20s and 30s, and thus this excellent biography will be a revelation. Her prominence was primarily recognized in Western Europe and America, where she spent most of her creative life. Firstly, there is her irrepressible individuality that fascinates. She was an “artiste” to the core, and it is often difficult to figure out the dividing line between reality (read: facts) and legend (read: Tamara's fantasies.) Was she born in Warsaw or in Moscow? Perhaps in 1898 but, maybe in 1896 or some other year. We know very little about her father, Boris Gurwik Gorski; her mother was Malwina Dekler, a well­to­do Pole of French descent. Her teen years were certainly exciting, as she divided her time between the French Riviera chic and the splendors of St. Petersburg salons, where she met the handsome Tadeusz Lempicki; she fell hopelessly in love and married him just before the Revolution overtook Russia. Their escape with the baby to France was a true odyssey. And here, in Paris, her career began. Unquestionably she had a formidable talent for painting and also amazing energy. Her erotic works are not to everybody's liking, but her portraits are stunning. Soon she was in the forefront of Deco art, which marked a world event in architecture as well as other art forms.
    [Show full text]
  • Decorative Arts & Contemporary Ceramics
    Decorative Arts & Contemporary Ceramics Contemporary Arts & Decorative I Montpelier Street, London I 13 November 2019 I Montpelier Street, 25323 Decorative Arts & Contemporary Ceramics Montpelier Street, London I 13 November 2019 Decorative Arts and Contemporary Ceramics Montpelier Street, London | Wednesday 13 November 2019, at 1pm BONHAMS BIDS ENQUIRIES FURNITURE & FURNISHINGS Montpelier Street +44 (0) 20 7447 7447 Mark Oliver Whilst we take every care in Knightsbridge +44 (0) 20 7447 7401 fax Tel:+44 (0) 20 7393 3856 cataloguing furniture which has London SW7 1HH [email protected] [email protected] been upholstered we offer no bonhams.com guarantee as to the originality of Please note that bids should Duane Kahlhamer the wood covered by fabric or VIEWING be submitted no later than 24 Tel: +44 (0) 20 7393 3860 upholstery. hours before the sale. New [email protected] Sunday 10 November bidders must also provide proof All furniture and furnishings 11am – 3pm of identity when submitting bids. Emily Mayson produced after 1 January 1950, Monday 11 November Failure to do this may result in Tel: +44 (0) 20 7393 3997 comprising an element of soft 9am – 4.30pm your bids not being processed. [email protected] furnishing, is strictly regulated Tuesday 12 November by statute law in the interests of 9am – 4.30pm Live online bidding is [email protected] safety. Such items in the sale Wednesday 13 November available for this sale were not originally supplied for 9am – 11am Please email [email protected] PRESS ENQUIRIES use in a private home or now with “Live bidding” in the subject offered solely as works of art.
    [Show full text]
  • The Graduate School and University Center of the City University of New York Ph.D
    The Graduate School and University Center of The City University of New York Ph.D. Program in Art History FALL 2003 - COURSE DESCRIPTIONS N.B. Lecture classes are limited to 20 students, Methods of Research is limited to 15 and seminar classes are limited to 12 students. Three overtallies are allowed in each class but written permission from the instructor and from the Executive Officer and/or the Deputy Executive Officer is required. ART 70000 - Methods of Research GC: Tues., 11:45 A.M.-1:45 P.M., 3 credits, Prof. Bletter, Rm. 3416, [45689] The course will examine the power of visual imagery over text first as a pre-literate, then as a populist, seemingly non-elitist system of information that dominates our culture today. It will deal with the impact of scientific rationalism (the role of perspective and axonometric projections) and Romanticism on the understanding of perception in general (Goethe, Friedrich, and Schinkel will be used as case studies). Notions of mimesis will be introduced through an analysis of the panorama, diorama, photography, and theories of polychromy. The psychological and social developments of perception and their formative influence on theory and practice of art in the nineteenth century will be stressed, as well as the impact of phenomenology and Gestalt psychology in the twentieth century. Jonathan Crary’s approach in Techniques of the Observer will be problematized through examples that contradict his thesis, such as the central place of emotive states in Charles Fourier’s social utopianism, the anti-rationalist program of the 19th c. pre-school and education reform movement (Pestalozzi, Froebel, Montessori) through its emphasis on the emotive (Cizek’s and Itten’s art classes for children in Vienna, Frank Lloyd Wright’s Froebel toys); and the influence of synaesthesia (Symbolism, Art Nouveau, Expressionism), and primitivism (Fauves, New Brutalists, etc.).
    [Show full text]
  • National Register of Historic Places Inventory Nomination
    NPS Form 10-900 (3-82) OMB No. 1024-0018 Expires 10-31-87 United States Department off the Interior National Park Service For NPS use only National Register of Historic Places received Inventory Nomination Form date entered See instructions in How to Complete National Register Forms Type all entries complete applicable sections____________ 1. Name historic Rockefeller Center and or common 2. Location Bounded by Fifth Avenue, West 48th Street, Avenue of the street & number Americas, and West 51st Street____________________ __ not for publication city, town New York ___ vicinity of state New York code county New York code 3. Classification Category Ownership Status Present Use district public x occupied agriculture museum x building(s) x private unoccupied x commercial park structure both work in progress educational private residence site Public Acquisition Accessible _ x entertainment religious object in process x yes: restricted government scientific being considered yes: unrestricted industrial transportation no military other: 4. Owner of Property name RCP Associates, Rockefeller Group Incorporated street & number 1230 Avenue of the Americas city, town New York __ vicinity of state New York 10020 5. Location of Legal Description courthouse, registry of deeds, etc. Surrogates' Court, New York Hall of Records street & number 31 Chambers Street city, town New York state New York 6. Representation in Existing Surveys Music Hall only: National Register title of Historic Places has this property been determined eligible? yes no date 1978 federal state county local depository for survey records National Park Service, 1100 L Street, NW ^^ city, town Washington_________________ __________ _ _ state____DC 7. Description Condition Check one Check one x excellent deteriorated unaltered x original s ite good ruins x altered moved date fair unexposed Describe the present and original (iff known) physical appearance The Rockefeller Center complex was the final result of an ill-fated plan to build a new Metropolitan Opera House in mid-town Manhattan.
    [Show full text]
  • Theories of Architecture Lecture-11- Architecture After World War I
    Theories of Architecture Lecture-11- Architecture after World War I ART DECO & Rationalism Prepared by Tara Azad Rauof 1 This lecture Context: The Origin of ART DECO Key Ideas Characteristics of ART DECO Famous Art Deco Building Rationalism Rationalism in Architecture Pioneer of Rationalism in Europe 2 ART DECO [The Origin]: Art Deco, sometimes referred to as Deco, is a style of visual arts, architecture and design that first appeared in France just before World War I. Art Deco influenced the design of buildings, furniture, jewelry, fashion, cars, movie theatres, trains, ocean liners, and everyday objects such as radios and vacuum cleaners. Art Deco practitioners were often influenced by such as Cubism, De Stijl, and Futurism. Art Deco was a pastiche of many different styles, sometimes contradictory, united by a desire to be modern. From its outset, Art Deco was influenced by the bold geometric forms of Cubism and the bright colors of de Stijl. The Art Deco style originated in Paris, but has influenced architecture and culture as a whole. Art Deco works are symmetrical, geometric, streamlined, often simple, and pleasing to the eye. This style is in contrast to avant-garde art of the period Key Ideas: * Art Deco, similar to Art Nouveau, is a modern art style that attempts to infuse functional objects with artistic touches. This movement is different from the fine arts (painting and sculpture) where the art object has no practical purpose or use beyond providing interesting viewing. * With the large-scale manufacturing, artists and designers wished to enhance the appearance of mass-produced functional objects - everything from clocks to cars and buildings.
    [Show full text]
  • Decorative Arts from 1860 from Arts Decorative
    Wednesday 15 June 2016 Wednesday Knightsbridge, London DECORATIVE ARTS FROM 1860 ARTS DECORATIVE DECORATIVE ARTS FROM 1860 | Knightsbridge, London | Wedesday 15 June 2016 23543 DECORATIVE ARTS FROM 1860 Wednesday 15 June 2016 at 1pm Knightsbridge, London BONHAMS ENQUIRIES DAMAGE AND RESTORATION IMPORTANT INFORMATION Montpelier Street Mark Oliver For your guidance, in this The United States Government Knightsbridge Tel:+44 (0) 20 7393 3856 catalogue our senior specialists has banned the import of ivory London SW7 1HH [email protected] have, as far as possible, recorded into the USA. Lots containing bonhams.com all significant defects, cracks and ivory are indicated by the symbol Gemma Mitchell restoration. Such descriptions of Ф printed beside the lot number VIEWING Tel: +44 (0) 20 7393 3860 damage cannot be definitive, and in this catalogue. Sunday 12 June [email protected] in providing condition reports, 11am - 3pm we cannot guarantee that there Monday 13 June SALE NUMBER are no other defects present 9am - 4.30pm 23543 which have not been mentioned. Tuesday 14 June Prospective buyers should satisfy 9am - 4.30pm CATALOGUE themselves by inspection, as to Wednesday 15 June £18 the condition of each lot. Please 9am-11am see the conditions of sale printed PRESS ENQUIRIES in this catalogue. BIDS [email protected] +44 (0) 20 7447 7447 +44 (0) 20 7447 7401 fax CUSTOMER SERVICES To bid via the internet please visit Monday to Friday www.bonhams.com 8.30am – 6pm +44 (0) 20 7447 7447 Please note that bids should be submitted no later than 24 hours Please see back of catalogue before the sale.
    [Show full text]
  • Vol IV No 1 2018.Pages
    Vol. IV, No. 1, 2018 The Chrysler Building at 405 Lexington Avenue. Created by William Van Alen, it is considered Manhattan’s “Deco monument.” See “New York City’s Art Deco Era—with Anthony W. Robins,” p. 2. Photo credit: Randy Juster. "1 Vol. IV, No. 1, 2018 Contents New York City’s Art Deco Era— with Anthony W. Robins P. 2 New York City’s Art Deco by Melanie C. Colter Era—with Anthony W. Robins, by Melanie C. Colter After the Paris World’s Fair of 1925, Art Deco and Style P. 8 R.I. Inspires the Visual Moderne principles spread rapidly across the globe. Between Arts: Edward Hopper’s 1923 and 1932, Art Deco transformed the New York City Blackwell’s Island skyline into its present iconic spectacle, thrusting our city into the modern era. P. 9 Announcing the Roosevelt Island Historical Society 40th Anthony W. Robins is a 20-year veteran of the New York City Anniversary Raffle Landmarks Preservation Commission, and has worked extensively with the Art Deco Society of New York to bring P. 10 Metropolitan Doctor, New York’s modern architectural legacy to the attention of Part 4 city dwellers and visitors alike. In December, as a part of the Roosevelt Island Historical Society’s public lecture series, P. 12 RIHS Calendar; What Are Robins discussed the origins of the Art Deco style and gave Your Treasures Worth? Become an overview of some of New York’s finest Deco buildings. a Member and Support RIHS We encourage you to discover more of our city’s Art Deco period with Robins’ recent book, New York Art Deco: A Guide to Gotham’s Jazz Age Architecture, (SUNY Press, Excelsior Editions, 2017), which features fifteen thoughtful, self-guided walking tours (available at the Roosevelt Island Visitor Center Kiosk).
    [Show full text]