Ornament: A Modern PerspectiveUniversity of Washington Press, 2003 - 265 páginas Ornament - "the art we add to art," as James Trilling defines it - makes people happy; it stands for everything that makes life worth living. But ornament was effectively banned from our world almost a century ago, with modernism's doctrine that ornament was a betrayal of the beauty of function. Devotion to modernism stripped away our historical awareness of ornament and broke the tradition of craft that once kept ornament alive. Now that modernism is itself receding into history, ornament is again acceptable, but moving forward seems to mean reinventing the wheel. "Not since the artists and connoisseurs of fifteenth-century Italy set out to rediscover classical antiquity has a culture been so completely on its own in relation to the past," Trilling writes. This engaging, generously illustrated book - part visual guide, part cultural history - is a wide-ranging consideration of the cultural and symbolic significance of ornament, its rejection by modernism, and its subsequent reinvention. Trilling explains how ornament works, why it has to be explained, and why it matters. His discussion of ornament - in textiles, ceramics, metalwork, architecture, manuscripts, and books - is enhanced by insights drawn from religion, science, ancient and modern literature, political history, and moral philosophy. The result is a resoundingly original, highly readable contribution to art history and, more broadly, to cultural and social history. James Trilling is a writer and art historian. He is former associate curator of Old World textiles at The Textile Museum, Washington, D.C., and has taught at the Rhode Island School of Design. He lives in Providence, Rhode Island |
Dentro del libro
Resultados 1-5 de 30
Página xv
... hand , cosmophobia - fear of ornament or , more loosely , prejudice against it — was already strong before the Industrial Revolution.2 Mass production was only the last straw . On the other hand , the modern movement never really ...
... hand , cosmophobia - fear of ornament or , more loosely , prejudice against it — was already strong before the Industrial Revolution.2 Mass production was only the last straw . On the other hand , the modern movement never really ...
Página 3
... hand a hundred years ago . Ornament is one of those resources . Its rediscovery offers more than a new infu- sion of ... hands is artificial , but ornament has come to stand for artifice in the worst sense , something not only contrived ...
... hand a hundred years ago . Ornament is one of those resources . Its rediscovery offers more than a new infu- sion of ... hands is artificial , but ornament has come to stand for artifice in the worst sense , something not only contrived ...
Página 4
... hands , embody- ing not just the conscious aspirations of a people , but a vision beyond goals or words . Unlike some of my generation , who fell wholly under the spell of the new , I find no cause in that vision to reject or mock the ...
... hands , embody- ing not just the conscious aspirations of a people , but a vision beyond goals or words . Unlike some of my generation , who fell wholly under the spell of the new , I find no cause in that vision to reject or mock the ...
Página 14
... hands shot up , and the first voice spoke for all : " But we're supposed to be original . All our teachers say so ! " The story has no dramatic ending , but it led eventually to this book . In thinking about ornament I had taken the ...
... hands shot up , and the first voice spoke for all : " But we're supposed to be original . All our teachers say so ! " The story has no dramatic ending , but it led eventually to this book . In thinking about ornament I had taken the ...
Página 17
... hand has learned to shape whatever the mind conceives . Drawing is the bridge between imagination and execution , between the pride of the designer and the pride of the maker . Without it , our enormous reservoir of skill and patience ...
... hand has learned to shape whatever the mind conceives . Drawing is the bridge between imagination and execution , between the pride of the designer and the pride of the maker . Without it , our enormous reservoir of skill and patience ...
Contenido
WHAT IS ORNAMENT? | 19 |
How Ornament Works | 21 |
How Ornament Evolves | 47 |
From Function to Meaning In Search of Universals | 71 |
Ornament Meaning Symbol In Search of Specifics | 91 |
MODERNISM AND THE REJECTION OF ORNAMENT | 113 |
Preface to Part II | 115 |
The Revolution That Never Happened | 119 |
The Flight From Enchantment Moral and Religious Objections to Ornament | 137 |
Anxieties of Industry Social and Economic Objections to the Ornament | 169 |
Modernism and the Rebirth of Ornament | 201 |
Epilogue | 227 |
Notes | 233 |
Bibliography of Ornament | 255 |
259 | |
Términos y frases comunes
abstract Adolf Loos aesthetic animals ANXIETIES OF INDUSTRY architecture Art Nouveau artifice artistic Auguste Comte Author's photo Clarence John Laughlin classical color complex Comte cosmophobia craft Crystal Palace cultural decorative art detail division of labor E. H. Gombrich eclecticism effects eighteenth century ENCHANTMENT ORNAMENT Exhibition FLIGHT FROM ENCHANTMENT function Gothic Gothic Revival Greek Hagia Sophia Henri Matisse history of ornament human idea ikat imitation implies interlace Japanese London look Loos's luxury machine marble Marx materials Matisse means medallion medieval ment modern modernist motifs Museum of Art nature never nineteenth century object original orna Ornament and Crime ORNAMENT Fig painting pattern Pazyryk Pevsner pleasure REBIRTH OF ORNAMENT rejection of ornament religious Revolution rococo Roman Ruskin sense shape shawls social society spontaneity symbol taste technique textile things tion trans transformation twentieth century University Press Vianen Victorian visual Western word worker York