The 19th Century Aesthetic Movement The Arts and Crafts Movement is the main line of reform design in the 19th century that defines the period of its greatest development, roughly between 1875-1920. The Aesthetic Movement and Art Nouveau, whose roots were in the reaction to the Industrial Revolution in England in the middle of the 19th century, are the two major stylistic developments of this Movement’s philosophy (A Thing of Beauty 9). The term "Aesthetic Movement" refers to the introduction of principles that emphasized art in the production of furniture, metalwork, ceramics, stained glass, textiles, wallpapers, and books. The catalyst for its widespread popularity was the Philadelphia Centennial Exposition of 1876. There, in numerous displays, many Americans, artists and craftsmen as well as the general public, were exposed to art objects from a great variety of nations and periods (Bolger Burke et al. 19). Most writers on the Aesthetic Movement agree that its roots lie in the reaction to Industrialization in mid-19th century England The movement incorporated both exotic and historical sources of design generally, the Japanese influence became the strongest and best known. However, not all Aesthetic Movement design is in a Japanese style and vice versa. Today relatively little remains of the highest expressions of Aesthetic Movement design. Never inexpensive and therefore never plentiful, few objects and very few intact interiors, particularly the domestic interior, survive to suggest their richness and beauty (A Thing of Beauty 11-12). The Aesthetic movement in Britain began as a reform impulse. It was a part of a larger critique of the Industrial Revolution, which had radically altered Britain following the Napoleon... ... middle of paper ... ... oriented away from ritual and visual symbols and more towards social and community ideals, it reinforced the social nature of the movement (A Thing of Beauty 9). Thus, although the Movement definitely had its stylistic expressions, it was not simply an art movement but had a rather complex structure of social, political and moral ideas of the British life in during that period. Works Cited A Thing of Beauty (Catalog of an exhibition at the High Museum of Art in Atlanta, Georgia, February 1-April 6, 1980). Atlanta: The High Museum of Art. 1980. Bolger Burke, et al. In Pursuit of Beauty. New York: Metropolitan Museum of Art. 1986. Kaplan, Wendy. The Art That Is Life: The Arts & Crafts Movement in America, 1875- 1920. New York: Little, Brown and Company. 1987. Klein, Dan. Aspects of the Aesthetic Movement. London: Gordon House/Hillingdon Press. 1978.
The 18th century is well known for its complex artistic movements such as Romantism and Neo-classical. The leading style Rococo thrived from 1700-1775 and was originated from the French words rocaille and coquille which meant “rock” and “shell”; used to decorate the Baroque gardens1. Identified as the age of “Enlightenment”, philosophers would ignite their ideas into political movements1. Associated with this movement is England’s John Locke who advanced the concept of “empiricism”. This denotes that accepting knowledge of matters of fact descends from experience and personal involvement1. Locke’s concept assisted the improvements of microscopes and telescopes allowing art students in the French academy to observe real life1. Science and experience influenced painting more so in Neo-Classicalism. Locke fought for people’s rights and the power or “contract” between the ruler and the ruled. Reasoning that “the Light in Enlightenment referred to the primacy of reason and intellect…and a belief in progress and in the human ability to control nature”1. Hence, the commence of experimental paintings such as Joseph Wright’s (1734-1797) oil on canvas painting: Fig.1 An Experiment on a Bird in the Air Pump. This image was developed through science by placing a bird in glass container and pumping air to see the effects it would have on the bird (White cockatoo)1. Throughout the late 18th and early 19th century in Western Europe, Neo-Classical art became the “true Style” and was accepted by the French Revolution under Louis XIV. Neo-Classical art was a reaction to Rococo’s light hearted, humour and emotion filled pieces.
...lity for what it is but also gives me motivation to either make the world a better place. Through his writings he gives us a choice that I feel is vital and has the abilities to distinguishes his readers from good and evil, the just and unjust. This is a form of writing in relation to all societies that I have never seen before and I feel that it is vital for all to read Gulliver's Travels so that they can look within themselves and see who they are as individuals. Overall, it is my opinion that Jonathan Swifts works on Gulliver's Travels exemplifies a true literary masterpiece. It gives us a true description of society and how we as individuals interact with on another. It tells us of our "corrupt lawyers, politicians, avaricious doctors, mass slaughters in wars over trivial pretexts-aspects of our experience as well as of Gulliver's and reminders that this narrative Gulliver's and his experiences implicates the reader in the moral problem of how to judge-and perhaps how to change-society. In all there is a lot to learn from these writing and tell us a lot about society and how we as individuals need to gain a better understanding our ourselves as well as society as a whole.
The Art Deco movement had its beginnings in Paris, at the 1925 Exposition Internationale des Arts Decoratifs which was a showcase for new inspiration and was initially meant to advertise the authority of the French in the creation and manufacturing of luxury goods. With a small, yet faithful following from the early 20th century, Art Deco evolved from nationalism, Art Nouveau, Cubism, Futurism, Neo-Classism, and modernism, and flourished after World War 1, achieving global popularity between the two world wars, primarily in the jazz age of the roaring 20's and 30's. As a result of a civilization ravaged by war and the deprivation and poverty that follows war, intertwined with the hopefulness of the machine age and the new women's liberation
The Art Nouveau style and movement, at its height between 1890 and 1910, enabled a sense of freedom for both its artists and the public as a whole. It offered strikingly original ideologies and transformed both the artistic and the mundane world alike with common characteristics like curvilinear shapes and a sense of the return to the natural and to nature as well as being at the crux of a fundamental change in how artworks were mass produced. The Art Nouveau style seemed to walk between the two worlds: it was simultaneously fantastical and grounded in reality and there was no artist in the period that was better equipped to “know and see the dance of the seven veils,” (Zatlin) than Aubrey Beardsley. It is impossible to fully discuss the value
The fact that Frankenstein’s creation turns on him and murders innocent people is never overlooked; it has been the subject of virtually every popularization of the novel. What is not often acknowledged is the fact that Frankenstein himself embodies some of the worst traits of humankind. He is self-centered, with little real love for those who care about him; he is prejudiced, inflexible and cannot forgive, even in death. While some of these traits could be forgivable, to own and flaunt them all should be enough to remind a careful reader that there are two "monsters" in Frankenstein.
The Art Nouveau movement stands as a marked shift in artistic production and artist liberties as it existed between two worlds: it was simultaneously fantastical and irrevocably real. It offered a return to the natural with characteristics like meandering curvilinear shapes and bold colorings. There is no artist within the Art Nouveau movement that was better equipped to “know and see the dance of the seven veils,” (Zatlin, 8) than Aubrey Beardsley. To attempt discussions of the complexity of Art Nouveau without including Beardsley is to not fully envelop the movement and style, as Beardsley himself moved between the two worlds of the fantastical and the real. He illustrated the sexuality and grotesque decadence of the era while maintaining
From these case studies, it becomes evident that Art Nouveau was perhaps the biggest influence on art and design in the late 19th century. Although the movement was later replaced by 20th century Modernist styles, it is nonetheless recognised today as an important stepping stone between the fixed traditional art style of the time and the later Modernist approach to art, opening up new pathways and endless possibilities for artists, architects and designers alike.
Past the political satire and laughable motifs in the book Gulliver's Travels by Jonathan Swift, the purpose of this story is to show everything ignoble and tactless of the human species in general and that humans are truly disgusting. Also exploring the idea of a utopia. Swift uses the literary device of political satire to show how childish and ignorant human acts were. This is because during Swift's time in the eighteenth century, Britain was modernizing at this time. The reader follows the four narrative travels of the main character, Lemuel Gulliver. Each of the four voyages Gulliver has traveled to, is a different society that portrays one of the main ideals of the eighteenth century in Britain. The four places Gulliver has traveled to were Lilliput; being Gulliver's first voyage, Brobdingnag; his second voyage, Laputa; the third voyage, and lastly to the land of the Houyhnhms; being his last voyage and afterwards traveling back home to England. The experience from being exposed to these four societies has had a huge impact on how Gulliver now sees humans.
...s such at flowers and plants. This form was mainly embraced during its decline as a movement as it became so popular that it was being watered down and lost its ingenuity and integrity as an art form. this was helped by the first world war as the war required an influx of new technology to fight with. things were further stimulated by the returned growth of the economy which meant that people had more money to spend thus were able to purchase better quality and luxury products. art deco began after as the period of glamour and extravagance which saw the creation and usage of new materials such as metals chrome and platinum, and the increase usage of vibrant paters such as stripes and zigzags used of furniture pieces both movements have greatly influenced their later years even after the second world war up to the 1960s which saw art deco revived for a short while.
Janson, Harry W. History of Art. 5th Ed. New York: Harry N. Abrams, 1995. Print.
Jonathan Swift's story, Gulliver's Travels, is a very clever story. It recounts the fictitious journey of a fictitious man named Lemuel Gulliver, and his travels to the fantasy lands of Lilliput, Brobdinag, Laputa, and Houyhnhmn land. When one first reads his accounts in each of these lands, one may believe that they are reading humorous accounts of fairy-tale-like lands that are intended to amuse children. When one reads this story in the light of it being a satire, the stories are still humorous, but one realizes that Swift was making a public statement about the affairs of England and of the human race as a whole.
They all stressed the importance of handmade, decorative, ornamental and functional designs. William Morris started the movement as a reaction against the machine and stressed the importance of working with your hands. He didn’t see the beauty in mechanically produced things and neither did Art nouveau artists and Modernista architects. They all collectively stressed the importance of new never before seen structures and styles that would inspire people and bring beauty to a world that was becoming bland and repetitive.
Towards the end of the nineteenth century, the Art Nouveau style became an international movement. For the first time in decorative arts history there was a simultaneous movement throughout Europe and America. Art Nouveau brought the finest designers and craftsmen together in order to design buildings, furniture, wallpaper, fabrics, ceramics, metalwork and glasswork. Art Nouveau was considered more than a style, it was a philosophy. From this philosophy carefully designed articles for the home were designed intended to fit into the scheme of the whole Art Nouveau style. Line was the most important aspect of the Art Nouveau period. Art Nouveau was a rebellion against machine made articles of the 19th century that were copies of past designs. Art Nouveau was also a reaction against the old Victorian tradition. Art Nouveau designers borrowed from the past but because of the emphasis on line and adaptation of natural forms to design. Art Nouveau is easily distinguishable from any other period in decorative arts.
In conclusion, the art of the 19th century was composed of a sequence of competing artistic movements that sought to establish its superiority, ideologies and style within the artistic community of Europe. These movements, being Romanticism, Realism, Impressionism and Post-Impressionism, ultimately spread far beyond the confines of Europe and made modern art an international entity which can still be felt in today’s artistic world.
The Arts and Crafts movement, like many art movements, began as a reaction to the industrialization of society nearly a century earlier. Although it had roots in Britain, where the Industrial Revolution began, around 1880, the Arts and Crafts move...