Quiz 2 Study Guide and Week 6 and 7 notes
Quiz 2 Study Guide and Week 6 and 7 notes ARH 358
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This 4 page Study Guide was uploaded by Skylar Evans on Saturday November 14, 2015. The Study Guide belongs to ARH 358 at University of Oregon taught by Lord C in Summer 2015. Since its upload, it has received 156 views. For similar materials see History of Design >1 in Art History at University of Oregon.
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Date Created: 11/14/15
Week 6 Monday-‐ Midterm Exam Week 6 Wednesday and Friday ** Today we did a Rap up of Christopher Dresser and began talking about William Morris and John Ruskin • Christopher Dresser Pitcher and cups for watercombe. Ca. 1870-‐ readily available and used in different perspectives. The beauty of the natural material; the aquamarine bands symbolize native material and are very evocative and machine like. • Unlike Pugin, Dresser favored the machine. He was constantly thinking and approaching new ideas. Dresser was known for his machine like forms within his designs. Pitchers for linthorpe. Ca 1880-‐ degree of thoughtfulness. Many of Dresser’s vases and pitchers possessed a strong Japanese influence. His pitchers and vases for linthorpe possess different medium, surrealism and ceramic lines. His work these forms were inspired by indigenous art. The Peruvian stirrup pot ca.1500 and the vase for linthorpe, 1880 showed that Dresser was a very original thinker and he had the ability to pause on his own merit and analyze design. The vases for linthorpe were Dresser’s way of thinking in terms of the market, collectors, and upper middle class market. • Dresser had different stages of thinking such as positive and negative space, tones, colors and depth. He thinks in a way that goes back to human culture. Dresser possessed a very visionary and imaginary quality in his designs. Professor Lord pointed out that Dresser refined a time of design that was parallel in literature and he became a designer’s designer. • Dresser was “purist” and oversaw smaller manufactures in an instristic state. He had a way of using lightness and darkness in his designs. Dresser also had the ability to produce an object that could answer the questions asked by the mind of the viewer. An important aspect in art and design. • Dresser’s The Silver sugar bowl made in 1880 for Queen Victoria made of Victorian silver, a much more simplistic and Dresser appreciates the beauty of the metal. • In 1899 there was a high quality design magazine where Dresser was recognized. William Morris • A “purist”, founder of the arts and crafts movement, which was extremely influential in the US. Morris was associated with the political climate and socialism and the idea of the worker. He was a writer and activist (part of the socialist movement in Britain) 1834-‐1896. He was very similar to Pugin and had a work span similar to Dresser. • John Ruskin-‐ most important critic in England, thinks intensely about art and design, and founds schools for working men. Week 7 Monday * Philip Web (neo-‐gothic architect) and close associate of Morris. Web had a way of looking at materials in a new way. There is an intersection between Philip web’s candleholder of 1862 and Christopher Dresser’s candleholder of 1894. Web’s design is a type of design that moves forward. • William Morris-‐table 1856, influence of John Ruskin who was skilled in the study of buildings • The importance of prerafolites-‐ a very long production process of image making • Another important figure in during the arts and crafts movement was Edward Burn Jones who favored the medieval style similar to Pugin. Jones was known for his arts and crafts model of design. Jones possessed an element of honesty connected with arts and crafts ideas. • William Morris’s Sussex chair 1860’s, a very simple very elegant design for everyday use. • William Morris-‐ green dining room south Kensington museum 1866, very rich in color and very lavish • Jane Morris on reform dress 1860s-‐ the role of women, feminism influenced the design movement • James Whistler-‐ The White Girl 1862 Avant garde trends, sophisticated exploration approach to women’s clothing and women’s fashion 1800s • Eliel Saarinen, chairs, 1900-‐1910 • Arts and crafts movements was extremely important in the US cover of the first issue of the crafts man on October 1900 • Ad for reproductions of Morris Chairs • Arts and crafts tiles. Ca 1910-‐ start of furniture influence Week 7 Wednesday • New comb vase/New Orleans, 1906, the importance of positive and negative space in this image. It possesses a very appealing form and balance of large and small • Recap: American arts and crafts ca. 1910, arts and crafts movement was very influential in the US along with William Morris’s ideas. • Publication of Morris’s ideas present in the craftsman, Adalaide Robineau vase, 1910. Vases rock wood pottery, 1902-‐ influence of Japanese design, possessed richness, earthiness, organisism, and warmth of colors. • The Beaten copper lamp, old mission copper craft copper and silver bookcase, Roy crafters Buffalo, ca.1910 were symbolic of industrial mass production. The authenticity and the beauty of these materials are very pleasing to the eye. • Gustave Stickley craftsman table lamp 1910 possessed a very decorative quality of earthiness, simplicity in the lines and is very appealing to the viewer. • Craft societies under Morris’s ideas emerged all over the US. • Craftsman or the Mission interior 1900-‐1910, (arts and crafts approach in the US) emphasized the medieval style. • Frank Lloyd Wright was a very important figure at this time that developed the importance of the hearth. His influence was no other than William Morris. The importance of the hearth was to promote togetherness and human and family interaction and express the importance of communication. • Another design by Gustave Stickley Table 1900-‐1910 became a religious momentum within design because of its essentialness, simplicity, and elegance. • Gustave Stickley 1900-‐1910, interiozation of the Gamble house of Pasadena-‐ very structural, heavy influence of arts and crafts, emphasis on wood, engagement of the building with the environment, the interior possesses a grandized interpretation of arts and crafts, rich, warm, wood tones. Late 19 Century Printmaking • Henri Toulouse-‐ Lautrec and Charles Zilder 1890 Moulin Rouge in Paris. Henri Toulouse-‐ Lactrec/Red Haired Girl 1886 possesses a very evocative, emotional quality. Henri-‐ crique Fernando 1887-‐ contrast of color, and essence of new spaces. It is important to recognize the middle spaces between the paintings and graphic work. • Sketch and poster for Moulin Rouge-‐ his message is integrated within the image. Paintings of Moulin Rouge 1890-‐1892-‐ recognize the lucrid evocations of these interiors. • Posters for lithography shop 1893, Bicycle Chain factory 1897-‐ importance of the printer commercial efforts. The bicycle was tremendously revolutionary and symbolic of racing. • Theophice Steinlen poster for Charles Verneau 1896-‐ very naturalistic and narrative Week 7 Friday • Alponse Mucha-‐ stylistic • Manuel Orzi, poster for Loie Fuller 1900-‐ very emplamatic, evocations of talent, beauty, and glamour of the time period. • Fuller was a very important dancer. Fuller played a part in the piece Jules Cheret 1893 by Henri Toulouse Lautrec-‐ this piece was very naturalistic, and took a very decorative with an irredesant form, the piece is of lithographic medium and has a very modern approach. • Loie Fuller Pavilion, Paris World Exhibition 1900-‐ immediates with more popular venues • Hector Guimard Subway entrance 1900-‐ the design has a liquid, organisism form similar to plant forms; very graceful and lyric like and very conventional. • Felix Valluton, poster for Siegfried Bing’s gallery, Manuel Orci poster for Julius Meier. Both of these are important examples of printmaking important in providing venues in Paris. • Siegfried Bing 1899-‐ representation of Japanese resign, Japanese pavilion, international exposition in Paris, 1878 • Vincent Van Gough-‐ The flowering plum tree 1887 impacted French impressionist and Japanese design. The piece has an organic frame that presents a segmented view of glass. The piece expresses non-‐local or non-‐ original color and a thrilling approach that catches the viewer off guard. The design is very fresh from victorial traditions. It obtains an obsessive crudeness. • John La Farge stained glass window Tiffany and company ca.1900-‐ designed for Tiffany. Expresses lightness and charm and overlaps with natural forms. • Louis Comfort Tiffany Veteran’s room 7 century regimen armory new york city 1879-‐81-‐ cohesive interior very rich and lavish.
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