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57 Cards in this Set
- Front
- Back
The Crystal Palace, Exhibition Building for the Great Exhibition |
Joseph Paxton 1851 Industrialization --Won competition --Mission: show all art and increase consumer taste --Glass and iron --Built around tree --27 ft high pink glass fountain --Poor people were invited --First time with bathrooms --One main hallway with others parallel --Added top floor after realizing how strong |
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Stuffed Elephant and Howdah from India, The Indian Court, Crystal Palace |
John Nash 1851 Industrialization --Showed Britain's colonial power --British colony with lots of trade --People dressed in Indian garb -Houda on top of elephant |
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The Medieval Court, Crystal Palace |
Louis Haghe (artist), A.W.N. Pugin (designer) 1851 Industrialization --Showing Gothic Revival and fabric use --Pugin made Gothic Revival important --One of first reformers --Converted to Catholicism |
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Imperial Federation Map of the World, From The Graphic |
24 July, 1886 Industrialization --Britain's colonial and trade power --Celebration of empire to show what it could have been --Propaganda |
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Creamware Tureen, enamel painted |
Josiah Wedgwood c. 1790-1795 Industrialization --Mass production --Printed designs --"creamware" to "queensware" when approved by queen |
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Gas Jet Lamp in the shape of a convolvulus, Furnishing chintz, Roller printed glazed cotton |
R.W. Winfield of Birmingham 1848 c. 1850 Industrialization Included in Henry Cole’s “False Principles” Exhibition. --New technology for home --Imitates nature (frowned on by reformers) --No honesty of material --Cole hated them |
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The Rocket, steam powered locomotive |
Robert Stephenson 1829 Industrialization --Transportation innovation --Made trade of materials easier --Helped industrialization --Symbolize rail use |
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For Felix Summerly’s Art Manufacture Made by Minton and Co. Earthenware. |
Henry Cole Designed 1846, made 1846-71 Industrialization / Reform and Arts & Crafts --Victorian --Decoration should have function --Sold 100Ks after winning competition under Prince Albert |
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Egyptian No. 8, from The Grammar of Ornament Color lithograph |
Owen Jones 1856 Industrialization --Inspired by but didn't mimic nature --Design is language --Pattern should be conventionalized |
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Sheffield Teapot for James Dixon and Sons Electroplate metal and ebonized wood |
Christopher Dresser c. 1878 Industrialization --New materials --Effect of industrialization --Japanese inspired |
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Traveling Tea set Gilt and silver-plated white metal, split bamboo, leather-covered wood with velvet and glazed cotton linings. |
Christopher Dresser c. 1879 Industrialization --Japanese inspired --Inexpensive --Accepts industry and provides to normal people --Portable --No decoration |
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Sea Urchin Vessel Glazed earthenware, for Linthorpe Pottery |
Christopher Dresser 1879-82 Industrialization --Inspired by nature --South American influence --Not based in nostalgia --merging of ideas |
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Table Carved Oak |
A.W.N. Pugin c. 1847 Reform and Arts & Crafts --Honesty of material - wood should look like wood --Shows function and construction --Gothic Revival characteristics --Decoration within architecture of object |
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Motto Bread Plate Earthenware and colored inlaid decoration. Minton and Co. |
A.W.N. Pugin c. 1850 Reform and Arts & Crafts --Not painted on exterior, actually colored if broken open --Religious |
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Persian No. 2, from The Grammar of Ornament Color lithograph |
Owen Jones 1856 Reform and Arts & Crafts --Patterns were a language with rules --Goal was "conventional" |
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Acanthus Printed distemper from wood blocks on paper |
William Morris 1874 Reform and Arts & Crafts --Shows depth, illusion --Imitation of nature --Morris was not against it |
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Brother Rabbit Indigo discharged and block printed cotton. Produced by Morris and Co. Merton Abbey, England. |
William Morris 1880-1 Reform and Arts & Crafts --Conventional --Natural materials --Unique techniques |
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Sussex side chair Black painted bent wood and wicker |
D.G. Rosetti for William Morris and Co. 1865 Reform and Arts & Crafts --Simple design --Made for lower-middle class --Respect for vernacular of design (old ways) --Based off chair found in barn |
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Card Table Mahogany veneer, gilded gesso, verd antique, gilded brass, die-stamped brass borders, one of a pair, Metropolitan Museum of Art |
Charles-Honore Lannuier, New York 1817 American Neoclassicism --Borrowing from Greek & Romans --Metamorphosis --Empire --Very high end --French immigrant --Playing cards implies leisure time --gilded caryatid --legs extending to leaves - ancient vocabulary |
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Pier Table, Mahogany veneer, marble, mirror glass, Metropolitan Museum of Art |
Joseph Meeks and Sons, New York City c. 1835 American Neoclassicism --Federal --Placed between windows --Purely decorative --Meant for wealthy --Featured in lithograph |
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Lithograph New York City, Metropolitan Museum of Art |
Broadside for Joseph Meeks and Sons 1833 Gothic Revival --First furniture catalogue --Options for customization |
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Hall Chair White Plains, New York, of oak and cane, for Lyndhurst, Tarrytown, NY |
Alexander Jackson Davis, designer Richard Byrne c. 1845 Gothic Revival --Resembles cathedral windows --Similar designs as Notre Dame |
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Etagere-Sideboard Black walnut, pine, poplar, Metropolitan Museum of Art |
Alexander Roux, New York 1853-54 Rococo Revival --Shown in 1853 exhibition --French immigrant --Designed for man's dining room |
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Centripetal Spring Chair, Troy, New York, Cast iron, steel, birch, yellow-poplar, basswood, brass, paint, Munson-Williams-Proctor Institute, Utica, NY |
Design attributed to Thomas E. Warren Possibly manufactured by American Chair Company c. 1849-58 Rococo Revival --Shown in 1853 exhibition --Hourglass --Foliage --Incorporates coach springs --"First office chair" |
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Sofa, New York City Rosewood with contemporary upholstery, Milwaukee Museum of Art |
Attributed to John Henry Belter and Company c. 1855 Rococo Revival --Patented --Middle-class mass market --Curved cauls |
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Dragonfly Lamp NY, New-York Historical Society |
Probably designed by Clara Driscoll, Tiffany Studios Pre-1906 American Aestheticism --Thought to be made by son of Tiffany until letters were found saying Driscoll and other women made them |
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Wisteria Lamp NY, New-York Historical Society |
Designed by Clara Driscoll, Tiffany Studios c. 1901 American Aestheticism --Thought to be made by son of Tiffany until letters were found saying Driscoll and other women made them |
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Makume Tea Caddy with Foo Dog Finial New York, New-York Historical Society |
Designed by Edward C. Moore for Tiffany & Co. c. 1878-80 American Aestheticism --Ancient Japanese metal technique --Wealthy Americans |
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The Glasgow School of Art Façade and Library |
Charles Rennie Mackintosh and Margaret Macdonald 1900-1910 --Skilled ironwork --Showing off skill --Balcony faced the wrong way |
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6 Florentine Terrace Drawing Room |
Charles Rennie Mackintosh and Margaret Macdonald 1906 --He reconstructed interior --She decorated everything, including all motifs to represent their relationship --Tall, elongated furniture --Natural light |
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The Hill House |
Charles Rennie Mackintosh and Margaret MacDonald 1903-4 --Asymmetrical --Minimum decoration --Square windows --Exotic, smooth interior |
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Hotel Tassel First floor landing with view towards staircase, 1893. Brussels. |
Victor Horta 1893 Art Nouveau --Second floor --Vines up wall --Beams appear to grow out of the ground --New iron and glass technology --Flowers reach out to grab you |
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Banquette For the Castel Beranger |
Hector Guimard c. 1897 Art Nouveau --Smoking chair with built-in humidor --Animated movement |
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View of the Paris Metro |
Hector Guimard Art Nouveau --Sense of bones in ironwork --Freudal ideas of the unseen --Something we can't see, but it affects us |
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Job Cigarette Papers Color lithograph |
Alfonso Mucha 1896 Art Nouveau --New for women to smoke --Start of product-oriented culture --Whiplash curves of hair --Light draped gown --Conveys mystical/orgasmic experience |
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Bat Vase |
Emile Galle c. 1903-1904 Art Nouveau --Bats symbolize underworld --Glass - red - in-between space |
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Dragonfly woman corsage ornament Gold, enamel, chrysoprase, moonstones, and diamonds |
René Lalique c. 1897-1898 Art Nouveau --Wings are hinged to move with wearer --Extreme detail & use of gemstone --Life-like quality of stone --Metamorphosis |
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Grand Salon in the Hotel d’un Collectionneur |
Jacques-Emile Ruhlmann Paris 1925 Exhibition. Art Deco --Symmetrical forms are celebrated --Starting to feel contemporary --High-end inlay |
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Dressing Table Oak with amaranth and mahogany veneer; ebony and ivory inlays |
Jacques-Emile Ruhlmann 1925 Art Deco --Ebony, ivory from African French colonies --Showing off access to materials --Power, symmetry, material, emblematic, sturdy |
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Egyptian Sarcophagus Vanity Case Gold, platinum, carved bone, sapphires, emeralds, diamonds, onyxes, and enamel |
Cartier 1925 Art Deco --Exoticism --Celebrity as part of public imagination --Theatrical version of history |
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Screen Lacquer on Wood |
Eileen Gray c. 1928 Art Deco --Not based on stereotype --Did it from aesthetic place |
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Vase Stoneware |
Rene Buthaud c. 1926 Art Deco --Applied fabric styles to pottery |
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Stool Lacquered Wood, horn and gold, French |
Pierre Legrain 1923 Art Deco --Based heavily off of original stool |
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Plate from Paul Colin Le Tumulte Noir, Paris |
Paul Colin, Josephine Baker 1927 Art Deco --Pop culture phenomenon --Beyonce used in 2007 MTV Music Awards |
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Cathedral of the Future, woodcut, |
Lionel Feininger 1919 Bauhaus --Program when they opened school --Gothic Revival-esque --Bauhaus began current art school systems --Teachers = masters --"Cathedral" is center |
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Cradle |
Peter Keler 1922 Bauhaus --Geometric --Form contributes to function --No decoration, including handle |
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Wall Hanging |
Gunta Stolzl 1926 Bauhaus --Produced for manufacture --Escaped to Switzerland |
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"African Chair", Oak and cherry wood, hemp, wool, cotton and silk |
Gunta Stolzl and Marcel Breuer 1921 Bauhaus --Ties to exotic in Art Deco --Wove textile onto chair |
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Teapot |
Marianne Brandt 1924 Bauhaus --One of few women to get out of textile --Prototype for manufacture --Not meant for mass due to materials --Form meets function |
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Table Lamp Glass, brass silver plated. |
William Wagenfeld 1924 Bauhaus --Impossible to make by hand, easy by machine |
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Chess Set |
Joseph Hartwig 1924 Bauhaus --Universalism - Anyone can afford --Form tells function --No instructions needed |
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The Frankfurt Kitchen |
Margarete Schutte-Lihotzky 1927 Bauhaus --Taylorism - Design to make use as easy as possible --Small so that working can be done quickly and easily --Same principle as Ford and assembly line |
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Bauhaus |
Walter Gropius 1925-6 Bauhaus --Walls aren't load bearing, allowing glass down the front |
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Universal Typeface |
Herbert Bayer 1925 Bauhaus --Statement based on formula --Not "German" but "Universal" |
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Lamp |
Marianne Brandt 1928 Bauhaus |
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B3 Club Chair, “Wassily Chair” |
Marcel Breuer 1925 Bauhaus --Dematerialization --Appears to be floating --Reduction |
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Weissenhof Siedlung |
Walter Gropius Interior 1927 Bauhaus --Live in a place of light --Uncluttered --Fantasy of Architecture |
