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Quiz 2 Study Guide and Week 6 and 7 notes

by: Skylar Evans

Quiz 2 Study Guide and Week 6 and 7 notes ARH 358

Marketplace > University of Oregon > Art History > ARH 358 > Quiz 2 Study Guide and Week 6 and 7 notes
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About this Document

Week 6 and 7 notes compiled together into a study guide. Very detailed and organized with quotes directly from the professor. All images are italicized, defined clearly, analyzed and explained.
History of Design >1
Lord C
Study Guide
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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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