Crystal Palace, Exterior
The Crystal Palace was dismantled and rebuilt in Sydenham after the closing of the Fair and stood there until 1936 when it was destroyed by fire. Although it is no longer standing today, this structure is documented in photographs such as this one, through which it can continue to influence the worlds of architecture and engineering.
The Great Exhibition of 1851 was the first event of its kind, bringing together people from all over the earth in an environment of peace and intellectual stimulation. Conceived as an "Exhibition of the Works of all Nations", the Great Exhibition was the brainchild of Prince Albert and Henry Cole of England. Queen Victoria's husband, his mind always "bent towards the artistic", was easily convinced by Cole to take on this event of massive proportions (Beaver, 11). As President of the Society of Arts, the Prince had played a large role in the exhibitions of 1847, 1848, and 1849. When a Royal Commission was formed in 1850, he was again chosen as President. Consequently, when Cole proposed a larger British Exhibition for the year 1851, he looked to the Prince for approval (Beaver, 11).
The idea of a National Exhibition did not originate with the British, but with the French, who had organized the first exhibition of national products as early as 1798 and had held an exposition every five years since the beginning of the century. The fair in 1849 was particularly well organized and Cole hastily took leave to Paris to observe this event. He found that the initial plans for the 1851 Exposition in London were far too naïve, and if the British wanted to surpass the French, they must set their sights higher. The original site for the Great Exposition was to be the courtyard of...
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...in Hyde Park for the Great Exhibition of the Works of Industry of All Nations, 1851. London: Victoria and Albert Museum. 1972.
Hitchcock, Henry Russell. The Crystal Palace: the structure, its antecedents and its immediate progeny: and exhibition. Northampton, Mass.: Smith College Museum of Art, 1952.
Hobhouse, Christopher. 1851 and the Crystal Palace; being an account of the Great Exhibition and its contents; of Sir Joseph Paxton; and the erection, the subsequent history and the destruction of his masterpiece. London, Murray, 1950.
Hyman, Isabelle; Trachtenberg, Marvin. Architecture. New Jersey: Prentice Hall, Inc. 1986.
Newhall, Beaumont. The History of Photography: from 1839 to the present. New York: Museum of Modern Art. 1982.
Smithsonian. India Trough the Lens: Photography 1840-1911. Freer Gallery of Art and Arthur M. Sackler Gallery. February 2001.
For my museum selection I decided to attend Texas State University’s Wittliff Collection. When I arrived, there was no one else there besides me and the librarian. To be honest, I probably would have never gone to an art museum if my teacher didn’t require me to. This was my first time attending the Wittliff Collection, thus I asked the librarian, “Is there any other artwork besides Southwestern and Mexican photography?” She answered, “No, the Wittliff is known only for Southwestern and Mexican photography.” I smiled with a sense of embarrassment and continued to view the different photos. As I walked through Wittliff, I became overwhelmed with all of the different types of photography. There were so many amazing pieces that it became difficult to select which one to write about. However, I finally managed to choose three unique photography pieces by Alinka Echeverria, Geoff Winningham, and Keith Carter.
Findling, John E., Historical Dictionary of World's Fairs and Expositions, 1851-1988 New York: Greenwood Press, 1990 Komendant, August, "Post-Modern on Habitat", Progressive Architecture 1968 March vol.49, p.138-147
Johnson, Brooks. Photography Speaks: 150 Photographers on their Art.” New York: Aperture Foundation Inc., 2004. Print.
William H. Thompson, the chairman for the fair's committee on grounds and buildings, established a thirteen-member team to arrange the fairgrounds. Gilbert was assigned to this commission and served as chairman of the committee that devised the site plan. He had a unique knowledge of the grounds as he had recently studied the adjoining grounds for the competition to design nearby Washington University.
Greenhalgh, Paul. "Art, politics and society at the Franco-British Exhibition of 1908." Art History 1985 Dec., v.8, no.4, p.434-452
Gustavon, Todd. Camera: A History of Photography from daguerreotype to Digital. New York, NY: Sterling Publishing, 2009
Tolmachev, I. (2010, March 15). A history of Photography Part 1: The Beginning. Retrieved Febraury 2014, from tuts+ Photography: http://photography.tutsplus.com/articles/a-history-of-photography-part-1-the-beginning--photo-1908
image on Exposition souvenirs was ideal in light of the fair's theme - our nation's 150th
The Exhibition Hall built by Stephen Kemp, is the oldest and most unique hall on the fairgrounds; it was the first hall to be built (Wynn). Only used “from (1850-1860), the innovation octagon style was used for hou...
The Metropolitan Museum of Art came about as an idea from Jon Jay in Paris, France in 1866 with the idea of “national institution gallery of art” within the United States. Once this idea was proposed, it was immediately moved forward with his return to the United States. With the help of the Union League Club in NY they began to acquire civic leaders, businessmen, artists, and collectors who aided in the creation of the museum. For over 140 years, the visitors who go here have received everything the mission of the institution states.
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
Victoria and Albert Museum, no date given, Art Nouveau and the erotic, found here: http://www.vam.ac.uk/content/articles/a/art-nouveau-and-the-erotic/, (accessed 26/11/2013).
The Palace of Westminster, also known as the Houses of Parliament, serves as the meeting place for the House of Commons and the House of Lords. The Old Palace was a medieval building that was destroyed by fire in 1834. After the fire, a competition was held for architects to submit plans for the new building that should be in a Gothic or Elizabethan style hoping to embody the conservative values of England. A Royal commission chose Charles Barry’s designs for a Perpendicular Gothic palace. Barry’s own style was more classical than Gothic, which is why Augustus Pugin’s involvement was so crucial in Barry winning the competition.
During the 1800’s Great Britain’s empire stretched around the world, and with raw materials easily available to them this way, they inevitably began refining and manufacturing all stages of many new machines and other goods, distributing locally and globally. However, despite being the central ‘workshop of the world,’ Britain was not producing the highest quality of merchandise. When comparing factory-made products made in England to surrounding countries, most notably France, those products could not compare as far as craftsmanship and sometimes, simply innovation. It was suggested by Prince Albert that England host a sort of free-for-all technological exposition to bring in outside crafts into the country and also show their national pride.
Herbert, James D. Paris 1937: Worlds On Exhibition. Ithaca, N. Y.: Cornell University Press. 100.