V&A PATTERN: BOX-SET IV PDF, EPUB, EBOOK Mary Schoeser,Anna Buruma,Samantha Erin Safer | 320 pages | 02 Apr 2012 | V & A Publishing | 9781851776832 | English | London, United Kingdom V&A Pattern: box-set IV To look through these images is to understand how we have collectively fantasized about the future of mobility for more than years. One common motif across all these images is that technology — primarily in the form of a car — will bring us a new way of getting around: one that is fast, frictionless and free, without a traffic jam in sight. From steampunk fantasies to afrofuturism, Hollywood blockbusters to concept-car extravaganzas, speed has figured at the heart of our mobile dreams. A view of the test track on top of the Fiat Lingotto factory in Turin. Raw materials were delivered to the ground floor with the assembly line going up through the building. The finished cars would then emerge at rooftop level and drive onto the track. This factory was built as a result of a collaboration between the Soviet Union and Ford to create an assembly plant to produce the Model A. New York is redrawn as a series of elevated walkways and train tracks with flying taxis and hovering past food drive-ins. Harley J. The Firebird 1 featured a gas turbo powered engine and a bubbletop single seat cockpit. Delegations of engineers and factory workers travelled to Stalingrad to help with the start of operations, training the Soviets in the processes of assembly-line production. Molino imagining the transport of the future in which commuters travel in selfcontained pods. Known for creating fantastical, elaborately staged images, Walker collaborates with set designers, stylists, hair and make-up artists, models and muses to bring his imagination to life. Snuffbox France, about Chased gold, lacquer. Inlaid hardstones, burgau shell and gold, 7. The Lives of the Objects Tristram Hunt, ed. Through these stories, this insightful history of museum curation — a world of careful study and sometimes remarkable fortuity — shows how the priorities of a museum are shaped and change over time. Some were acquired soon after completion, others have had a more convoluted journey to the museum, but these histories combine to tell us something of their reputation, and of their impact. It shows where the museum has come from, and where our priorities lie. Prized by collectors from East to West, Japanese netsuke are tiny objects of wonder that originated as utilitarian accessories for traditional Japanese dress. Over the centuries these small carved toggles, designed to hook over the top of the kimono sash, evolved into high-fashion depictions of all aspects of Japanese life. Ivory 52 Tiger and young. Ivory with inlaid eyes. Signed with inlaid eyes. Dresden Bequest. Salting Bequest. Another, subtler concept of movement is frequently conveyed in netsuke decoration. Other netsuke use carefully planned components to draw the eye first in one direction, usually to the extremities, before another element takes over, diverting attention to another part. In this way, the unwitting viewer is lured into scrutinizing the netsuke from all angles. The interaction between two or more people engaged in a fight was yet another method used to convey dramatic movement. By careful positioning of the head, limbs and clothing, for example, the netsuke of Taira no Tadamori mistakenly attacking the oil thief successfully conveys the impression of both action and force Plate As inro- and netsuke rapidly grew in popularity from around the mid-eighteenth century onwards, becoming items of high fashion, they also underwent a fundamental change in the nature of their decoration, and their clientele sought examples of an increasingly interesting and inventive nature. One method of achieving this was to expand the small and restricted size of the netsuke by incorporating unlikely, unusual or hidden elements as an integral part of the overall composition, at the same time often exploiting the unexpected. This is well illustrated by the netsuke of oniyarai at New Year, with Okame throwing beans from a container while, unknown to her, an oni can be seen hiding under the skirt of her kimono, taking cover from the beans Plate The story in its various versions stems from a tenth-century legend, which subsequently formed the basis of No- and Kabuki plays. According to the story, Kiyohime, the beautiful young daughter of an innkeeper, fell in love with a priest, Anchin, who scorned her persistent advances. Furious, she was transformed first into a witch, then a dragon. When Anchin took refuge underneath the great bronze bell of the temple, she used her magical powers to force the bell to crash to the ground, trapping Anchin inside. Netsuke portray an extremely wide range of subjects, reflecting not only the real or imaginary world, but also the many facets of daily life in Japan. The main inspiration for netsuke subjects was undoubtedly the natural world, most frequently animals, birds, sea creatures Plate 37 and insects, both real and imaginary, and of course, people. These were depicted in numerous compositional groupings, individually, as pairs, mother and young or as a larger assemblage, either on their own or with some reference to their natural habitat or the human world. Top results View all results. Shop by category. Victoria and Albert Museum Search. Previous Next. Sold out Sorry, this item is out of stock. Format Box-set 4 hardbacks. ISBN Pages 80 pp x 4. Dimensions x mm. Pictures 65 colour x 4. Product code V&A Pattern: Indian Florals by Rosemary Crill More filters. Sort order. 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Previous Next. Sold out Sorry, this item is out of stock. Format Box-set 4 hardbacks. ISBN The museum owns the world's largest collection of post- classical sculpture, with the holdings of Italian Renaissance items being the largest outside Italy. The East Asian collections are among the best in Europe, with particular strengths in ceramics and metalwork , while the Islamic collection is amongst the largest in the Western world. Overall, it is one of the largest museums in the world. New 17th- and 18th-century European galleries were opened on 9 December These restored the original Aston Webb interiors and host the European collections — The Victoria and Albert Museum has its origins in the Great Exhibition of , with which Henry Cole , the museum's first director, was involved in planning. Initially it was known as the Museum of Manufactures , [10] first opening in May at Marlborough House , but by September had been transferred to Somerset House. At this stage the collections covered both applied art and science. By February discussions were underway to transfer the museum to the current site [13] and it was renamed South Kensington Museum. In the German architect Gottfried Semper , at the request of Cole, produced a design for the museum, but it was rejected by the Board of Trade as too expensive. The official opening by Queen Victoria was on 20 June This was to enable in the words of Cole "to ascertain practically what hours are most convenient to the working classes" [17] —this was linked to the use of the collections of both applied art and science as educational resources to help boost productive industry. This led to the transfer to the museum of the School of Design that had been founded in at Somerset House; after the transfer it was referred to as the Art School or Art Training School, later to become the Royal College of Art which finally achieved full independence in From the s to the s the scientific collections had been moved from the main museum site to various improvised galleries to the west of Exhibition Road. Queen Victoria returned to lay of the foundation stone of the Aston Webb building to the left of the main entrance on 17 May Queen Victoria's address during the ceremony, as recorded in The London Gazette , ended: "I trust that it will remain for ages a Monument of discerning Liberality and a Source of Refinement and Progress. In , on the outbreak of the Second World War, most of the collection was sent to a quarry in Wiltshire , to Montacute House in Somerset, or to a tunnel near Aldwych tube station , with larger items remaining in situ , sand-bagged and bricked in. Before the return of the collections after the war, the Britain Can Make It exhibition was held between September and November , [28] attracting nearly a million-and-a-half visitors.