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 36
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... 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 ...
... 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 ...
Página xiv
... past and foreign styles . This book is part visual guide and part cultural history . It explains how ornament works , and why it has to be explained . It is not a survey of styles , an anthology of patterns , or a detailed history of ...
... past and foreign styles . This book is part visual guide and part cultural history . It explains how ornament works , and why it has to be explained . It is not a survey of styles , an anthology of patterns , or a detailed history of ...
Página xvi
... past continues to shape the present . I have tried to preserve the sense of adventure I felt as I moved further and further into new territory . It is not an easy journey , but if it were , it would not be an adventure . Anyone who ...
... past continues to shape the present . I have tried to preserve the sense of adventure I felt as I moved further and further into new territory . It is not an easy journey , but if it were , it would not be an adventure . Anyone who ...
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... past , it set itself above traditional identities . The widely proclaimed twilight of modernism coin- cides with a worldwide political and social fragmentation . Not just the ideal of inter- nationalism but the reality of an inclusive ...
... past , it set itself above traditional identities . The widely proclaimed twilight of modernism coin- cides with a worldwide political and social fragmentation . Not just the ideal of inter- nationalism but the reality of an inclusive ...
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... past at a time when the past was supposed to be nothing and the future was supposed to be everything . Born in 1948 , I was part of the generation whose child- hood science lessons seemed always to culminate in a vision of the world ...
... past at a time when the past was supposed to be nothing and the future was supposed to be everything . Born in 1948 , I was part of the generation whose child- hood science lessons seemed always to culminate in a vision of the world ...
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