The Chicago School: Evolving Systems of Value
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Open Etoth Dissertation Corrected.Pdf
The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity. -
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D.Baciu, Chicago School, OSF Preprints June 2, 2020, pg. 2 Introduction Among the architectural historians of the modern movement, Sigfried Giedion was the most internationally active. Born in Prague to Swiss-Jewish parents, Giedion studied in Vienna and Munich, where he earned his doctorate under Heinrich Wölfflin. 1 A luminary in early modern art history, Giedion's mentor taught methods for the com- parative study art. Wölfflin juxtaposed artworks taken from different time periods and geographical settings, evaluating formal similarities and differences between them. This comparative approach went hand in glove with applied psychology that added a new, scientific perspective to art and architectural history. Giedion later adapted juxta- positions of images from in-class lecturing to print publications,2 and he found his own voice as spokesman in a network of artists and architects who united art and science in the service of cultural transformation. The scientific worldviews of the Vienna school together with Bauhaus design and Gestalt psychology formed some of the greatest achievements of this midcentury European vanguard that surrounded the enthusiastic Czech-Swiss historian. Immigrating to the United States in 1938 at age 50, Giedion expected to publish a global history of architecture and industrialization, tentatively titled "The Life of Archi- tecture."3 When weaving American architecture into his narrative, he emphasized the importance of the Chicago school as a future-oriented movement in the late 19th cen- tury. The Chicago school was one of the happy moments in American architecture, in no other country could be seen in the 15 years between 1879-1893 such a vigor to push into the future as shown by the Chicago school.4 These laudatory lines, used by Giedion to open a symposium held at New York University (NYU) in 1939, certainly attracted and pleased the general audience, but they also entangled Giedion into a dispute that he may not have fully foreseen. -
Chicago No 16
CLASSICIST chicago No 16 CLASSICIST NO 16 chicago Institute of Classical Architecture & Art 20 West 44th Street, Suite 310, New York, NY 10036 4 Telephone: (212) 730-9646 Facsimile: (212) 730-9649 Foreword www.classicist.org THOMAS H. BEEBY 6 Russell Windham, Chairman Letter from the Editors Peter Lyden, President STUART COHEN AND JULIE HACKER Classicist Committee of the ICAA Board of Directors: Anne Kriken Mann and Gary Brewer, Co-Chairs; ESSAYS Michael Mesko, David Rau, David Rinehart, William Rutledge, Suzanne Santry 8 Charles Atwood, Daniel Burnham, and the Chicago World’s Fair Guest Editors: Stuart Cohen and Julie Hacker ANN LORENZ VAN ZANTEN Managing Editor: Stephanie Salomon 16 Design: Suzanne Ketchoyian The “Beaux-Arts Boys” of Chicago: An Architectural Genealogy, 1890–1930 J E A N N E SY LV EST ER ©2019 Institute of Classical Architecture & Art 26 All rights reserved. Teaching Classicism in Chicago, 1890–1930 ISBN: 978-1-7330309-0-8 ROLF ACHILLES ISSN: 1077-2922 34 ACKNOWLEDGMENTS Frank Lloyd Wright and Beaux-Arts Design The ICAA, the Classicist Committee, and the Guest Editors would like to thank James Caulfield for his extraordinary and exceedingly DAVID VAN ZANTEN generous contribution to Classicist No. 16, including photography for the front and back covers and numerous photographs located throughout 43 this issue. We are grateful to all the essay writers, and thank in particular David Van Zanten. Mr. Van Zanten both contributed his own essay Frank Lloyd Wright and the Classical Plan and made available a manuscript on Charles Atwood on which his late wife was working at the time of her death, allowing it to be excerpted STUART COHEN and edited for this issue of the Classicist. -
Economic Utilization of History-1913.Pdf
THE ECONOMIC UTILIZATION OF HISTORY The Economic Utilization of History and Other Economic Studies By HENRY W. FARNAM Professor of Economics, Yale University NEW HAVEN: YALE UNIVERSITY PRESS LONDON: HENRY FROWDE OXFORD UNIVERSITY PRESS MCMXIII COPYRIGHT, 1913 BY YALE UNIVERSITY PRESS Printed February, 1913, 1100 copies THE ECONOMIC UTILIZATION OP HISTORY AND OTHER ECONOMIC STUDIES CHAPTER PAGE I. The Economic Utilization of His- tory ..... 1 II. Some Questions of Methodology . 18 III. Economic Experimentation in the United States . .34 IV. The Pathology of Progress . 58 V. Economic Progress and Labor Legis- lation . .68 VI. Fundamental Distinctions in Labor Legislation . .82 VII. Purposes of Labor Legislation . 94 VIII. Practical Methods in Labor Legis- lation 104 IX. Acatallactic Factors in Distribu- tion 122 X. A Socialized Business Enterprise . 138 XI. Social Myopia . .165 XII. Signs of a Better Social Vision . 187 PEBFACE The contents of this little volume consist in the main of studies which have already appeared in print. All of them have, how- ever, been revised, and the greater part of the first two chapters is new. Though the studies have been written for special occa- sions during the past four years, they all represent one point of view, and the last nine chapters may be considered an appli- cation in the several fields of labor legisla- tion, business organization, and charity, of the scientific methods advocated in Chap- ters I, II, and III. In order to bring out better this continuity of thought most of the essays have been subdivided, and new titles assigned to them. Chapters I, II, and III contain the presi- dential address delivered in Washington in 1911 at the annual meeting of the Ameri- can Economic Association. -
The Democratic Architecture of George W. Maher: a Preservation Perspective
Roger Williams University DOCS@RWU School of Architecture, Art, and Historic Historic Preservation Theses Preservation Theses and Projects 2018 The eD mocratic Architecture of George W. Maher: a Preservation Perspective Cody chase Roger Williams University, [email protected] Follow this and additional works at: https://docs.rwu.edu/hp_theses Part of the Historic Preservation and Conservation Commons Recommended Citation chase, Cody, "The eD mocratic Architecture of George W. Maher: a Preservation Perspective" (2018). Historic Preservation Theses. 16. https://docs.rwu.edu/hp_theses/16 This Thesis is brought to you for free and open access by the School of Architecture, Art, and Historic Preservation Theses and Projects at DOCS@RWU. It has been accepted for inclusion in Historic Preservation Theses by an authorized administrator of DOCS@RWU. For more information, please contact [email protected]. The Democratic Architecture of George W. Maher: A Preservation Perspective Cody Chase Master of Science Historic Preservation School of Architecture, Art and Historic Preservation Roger Williams University May 2018 SIGNATURES Submitted in fulfillment of the requirements of the Master of Historic Preservation degree: ______________________________________________________________________________ Cody Chase Date Master of Science, Historic Preservation ______________________________________________________________________________ Elaine Stiles Date Thesis Advisor | Roger Williams University School of Architecture, Art and Historic Preservation ______________________________________________________________________________ -
VOPELIUS Ernst Wandersleb, Hans Boegehold Und Harald Straubel Postum Gewidmet
Reinhard E. Schielicke Prof. Dr. phil. habil. Dr. Dr. h. c. Dr.-Ing. E. h. Rudolf Straubel 16. Juni 1864 – 2. Dezember 1943 Mathematiker, Physiker, Geschä"sleiter des Zeiss- und Schott-Werks in Jena, Initiator der Saaletalsperren und – schließlich trotz des politischen Zwanges – ein würdiger Vollender Abbescher Ideale Rudolf Straubel um 1920 »Er war über 30 Jahre lang der wissenschaliche Kopf der Firma Zeiss und der erste Mann der ganzen optischen Industrie Deutschlands, die wiederum die erste der Welt ist .« Felix Jentzsch, 1934 VOPELIUS Ernst Wandersleb, Hans Boegehold und Harald Straubel postum gewidmet © Verlag VOPELIUS Jena www.verlagvopelius.eu 1. Au%age 2017 Alle Rechte vorbehalten Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwendung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne ausdrückliche Zustimmung des Verlages unzulässig und strafbar. Das gilt ins - besondere für Vervielfältigungen, Übersetzungen, Mikrover'lmungen und Speicherung und Verarbeitung in elektronischen Systemen. Bibliograsche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliogra'e; detaillierte bibliogra'sche Daten sind im Internet unter http://dnb.ddb.de abrufbar. Satz, Layout: Bernd Adam, Jena Schri": Garamond Premier Pro, Helvetica Neue Druck und buchbinderische Verarbeitung: Druckhaus Gera GmbH Bilder Umschlag (1936) und Frontispiz (1920): Familienarchiv Linda Langer Snook Printed in Germany ISBN 978-3-939718-29-1 Inhalt -
Chicago Skyscrapers, 1871–1934 by Thomas Leslie (Urbana: University of Illinois Press, 2013
REVIEWS 283 Chicago Skyscrapers, 1871–1934 By Thomas Leslie (Urbana: University of Illinois Press, 2013. Pp. xi, 234. Illustrations, maps, appendix, notes, bibliography, index. $39.95.) Post-Fire Chicago was an intense con- plain “the city’s skyscraper evolution struction site for decades. Between from five-story mill construction at the 1871 and 1934, 330 major buildings time of the Fire to a type recognizable were erected—some of them short- by 1934 as the basic template for tall lived, others still standing today. This building construction throughout the book is a sweeping and thorough twentieth century” (p. xv). examination of the forces that shaped Leslie divides his book into chap- that long generation of building ters dealing consecutively with a construction—soil conditions, fire, range of constructive types. He materials, programs, technologies, chronicles the movement from early clients, and codes. Descriptions of the taller masonry buildings to skeletal constant changes in these forces are frames, wind-braced frames, and intertwined with accounts of Chicago terra-cotta skins, through to twenti- architects’ quick responses to the op- eth-century towers with more solid portunities that they afforded. curtain walls that took advantage of Chicago Skyscrapers is also an ac- changes in codes, more sophisticated count of the architectural history and construction methods, electric lights, criticism that have surrounded this and elevators. Readers move through activity. The buildings of this era have time with a constant awareness of occupied critics and historians for changing developments in design and decades. The author cites early writ- construction. Floating foundations ers such as Montgomery Schuyler and unique to the city are challenged Thomas Tallmadge and incorporates by piles and ultimately replaced by critiques from Inland Architect and the caissons, which were first used in Chicago Tribune, as well as the writings Dankmar Adler and Louis Sullivan’s of architects of the times. -
Met Bravoure Geportretteerd Van Gogh Museum Verwerft Zijn Eerste Munch – En Wat Voor Één
VERZAMELGEBIED GESTEUND MODERNE EN HEDENDAAGSE KUNST Met bravoure geportretteerd Van Gogh Museum verwerft zijn eerste Munch – en wat voor één Gedurende zijn leven kreeg Van Gogh slechts beperkt erkenning, maar al vrij snel na zijn dood werd zijn werk een belangrijke bron van inspiratie voor talrijke kunstenaars. In toenemende mate richtten schilders als Matisse en Van Dongen hun aandacht op Van Gogh voor zijn expressieve kleurgebruik en zijn vurige penseelstreek. Het Van Gogh Museum toont deze ontwikkeling in de laatste zalen van de vaste presentatie. In de lange keten kunstenaars die zich hebben laten inspireren door Van Gogh is Edvard Munch een onmisbare schakel. Tot voor kort had het Van Gogh Museum echter geen schilderij van Munch in zijn collectie. De kans om diens Portret van Felix Auerbach aan te kopen, werd dan ook met beide handen gegrepen. e Noorse kunstenaar Edvard Munch (1863- RADICALE BENADERING Portret van 1944) had een grote bewondering voor de tien Het portret van Felix Auerbach kwam tot stand in een Harry Graf Kessler jaar oudere Van Gogh. In 1933 schreef hij in periode van Munchs carrière waarin zijn reputatie in Edvard Munch 1906. Olieverf op doek, eenD brief: ‘Van Gogh liet in zijn korte leven zijn vlam Duitsland groot was. Via enkele succesvolle tentoon- 200 x 84 cm niet doven – zijn penselen waren vol vuur en gloed. Ik stellingen tussen 1901 en 1906, onder andere in Berlijn, NEUE NATIONALGALERIE, wilde mijn vlam ook niet laten doven en met brandend had hij de aandacht getrokken van een nieuwe culturele BERLIJN penseel tot het laatste moment schilderen.’ Deze waar- elite. -
Lisa Smit and Maite Van Dijk
Lisa Smit and Maite van Dijk Edvard Munch, Portrait of Felix Auerbach, 1906 Nineteenth-Century Art Worldwide 18, no. 1 (Spring 2019) Citation: Lisa Smit and Maite van Dijk, “Edvard Munch, Portrait of Felix Auerbach, 1906,” Nineteenth-Century Art Worldwide 18, no. 1 (Spring 2019), https://doi.org/10.29411/ncaw. 2019.18.1.5. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Smit and Dijk: Edvard Munch, Portrait of Felix Auerbach, 1906 Nineteenth-Century Art Worldwide 18, no. 1 (Spring 2019) Edvard Munch, Portrait of Felix Auerbach, 1906 by Lisa Smit and Maite van Dijk Though not a “new discovery” in the strictest sense, the portrait by Edvard Munch depicting the German physicist Felix Auerbach has not been seen in public for nearly forty years and was therefore one of the lesser-known works by the artist (fig. 1). [1] The portrait was first published in March 1964 in a short article in The Burlington Magazine. [2] The author, Ruth Kisch-Arndt, a niece of Auerbach and then owner of the painting, described the genesis of the portrait and its journey from Jena, Germany, to New York City. More than half a century later, this painting recently entered the collection of the Van Gogh Museum in Amsterdam— representing a significant addition to the museum’s expanding collection of works by Vincent Van Gogh’s contemporaries. -
Bauhaus · Modernism · Design
Bauhaus · Modernism · Design Editorial The State Bauhaus School was founded in 1919 and became more than just a world-famous school of architecture and art: The Bauhaus was a trailblazer, representing the modernism movement that gained interna- tional acclaim. Today it is considered to be the most influential German cultural export of the 20th century. The Bauhaus stands for great ideas in both design and social reform. It significantly shaped architecture, art, and design, and its influence has lasted up until the present day. Experi- ments in form and colour, architectural icons and everyday design, wild parties and minimalist buildings are closely associated with the Bauhaus. The roots of this modern movement — how it evolved, how it inspired and polarised — can all be experienced in and around Weimar more impressively than in almost any other region. Revolution. New begin- nings. Departure into a new era in Germany’s first democracy, which was also founded in Weimar in 1919. Full of hope, with the absolute will to design and to change. Courage to experiment and zest for life. But also: Arguments and contradiction. Rejection. Expulsion. In Weimar and the surrounding cities of Jena, Erfurt, and Gera, along with the nearby countryside, the bountiful architectural testimonials, the artistic works and historical venues, the current exhibitions and events explain the suspenseful history of the Bauhaus and modernism. Travellers in Thuringia not only find the heritage left by the international artistic avantgarde during the Bauhaus era, but they can also discover the in spiring designers who are working there today and will continue to do so in the future. -
Appendix a I
Appendix A I Appendix A Professional Institutions and Associations AVA: Aerodynamische Versuchsanstalt (see under --+ KWIS) DFG: Deutsche Forschungs-Gemeinschaft (previously --+ NG) German Scientific Research Association. Full title: Deutsche Gemeinschaft zur Erhaltung und Forderung der Forschung (German Association for the Support and Advancement of Sci entific Research). Successor organization to the --+ NG, which was renamed DFG unofficially since about 1929 and officially in 1937. During the terms of its presidents: J. --+ Stark (June 1934-36); R. --+ Mentzel (Nov. 1936-39) and A. --+ Esau (1939-45), the DFG also had a dom inant influence on the research policy of the --+ RFR. It was funded by government grants in the millions and smaller contributions by the --+ Stifterverband. Refs.: ~1entzel [1940]' Stark [1943]c, Zierold [1968], Nipperdey & Schmugge [1970]. DGtP: Deutsche Gesellschaft fiir technische Physik German Society of Technical Physics. Founded on June 6, 1919 by Georg Gehlhoff as an alternative to the --+ DPG with a total of 13 local associations and its own journal --+ Zeitschrift fUr technische Physik. Around 1924 the DGtP had approximately 3,000 members, thus somewhat more than the DPG, but membership fell by 1945 to around 1,500. Chairmen: G. Gehlhoff (1920-31); K. --+ Mey (1931-45). Refs.: Gehlhoff et al. [1920]' Ludwig [1974], Richter [1977], Peschel (Ed.) [1991]' chap. 1, Heinicke [1985]' p. 43, Hoffmann & Swinne [1994]. DPG: Deutsche Physikalische Gesellschaft German Physical Society. Founded in 1899 a national organization at to succeed the Berlin Physical Society, which dates back to 1845. The Society issued regular biweekly proceedings, reports (Berichte) on the same, as well as the journal: Fortschritte der Physik (since 1845). -
ALIENATING LABOR: a DISSERTATION Anikó Eszter Bartha HISTORY 2007 in CEU Etd Collection Permission of the Author
ALIENATING LABOR: WORKERS ON THE ROAD FROM SOCIALISM TO CAPITALISM IN EAST GERMANY AND HUNGARY (1968-1989) Anikó Eszter Bartha A DISSERTATION IN HISTORY Presented to the Faculties of the Central European University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2007 CEU eTD Collection Supervisor of Dissertation and Ph. D. Director _______________________ Professor Jacek Kochanowicz Copyright Notice Copyright in the text of this dissertation rests with the Author. Copies by any process, either in full or part, may be made only in accordance with the instructions given by the Author and lodged in the Library of the Central European University. Details may be obtained from the Librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. CEU eTD Collection 2 Abstract The rapid collapse of the Eastern European socialist regimes rendered the year of 1989 a watershed event. Because of the focus on political upheaval, 1989 was often seen as a “year zero” – an unquestionable turning point. This boundary was first challenged by economic history, which showed that the economic decline of the system started well before its political collapse. This dissertation seeks to explore the social roots of the decline of the socialist regimes through two factory case studies in East Germany and Hungary (Carl Zeiss Jena and Rába MVG in GyĘr) from the late 1960s until 1989. By undertaking a comparative study of the party’s policy towards the working class in these two, partly similar, partly different socialist environments, the dissertation locates common factors in order to answer the question of why there was no independent working-class action against the regimes during the examined period – in complete contrast to the Polish case – but neither did the workers defend the socialist system in 1989.