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 42
Página xiii
... shapes and patterns worked into an object or building for the pleasure of outline , color , or fantasy . Often ornament is so familiar as to work subliminally , a kind of visual back- ground music . Sometimes , unpredictably , it claims ...
... shapes and patterns worked into an object or building for the pleasure of outline , color , or fantasy . Often ornament is so familiar as to work subliminally , a kind of visual back- ground music . Sometimes , unpredictably , it claims ...
Página xvi
... 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 turns to the ...
... 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 turns to the ...
Página 4
... shape and func- tion of the object are intact . Ornament is unnecessary . In every corner of our created world , the ... shapes our perception of those needs . Only the least imaginative would simply call it obsolete , and abandon it ...
... shape and func- tion of the object are intact . Ornament is unnecessary . In every corner of our created world , the ... shapes our perception of those needs . Only the least imaginative would simply call it obsolete , and abandon it ...
Página 6
... shapes and contrasting colors have long been familiar to textile , fashion , and interior design- ers , and through them to the public . We may not even realize how closely our tastes are bound up with his decorative contribution , for ...
... shapes and contrasting colors have long been familiar to textile , fashion , and interior design- ers , and through them to the public . We may not even realize how closely our tastes are bound up with his decorative contribution , for ...
Página 14
... shape of a garment and the texture of a yarn , and many thousands more who rely on a sin- gle set of instructions for the style of the garment , the technique of making it , and the choice of yarn and decorative stitches.4 Their pride ...
... shape of a garment and the texture of a yarn , and many thousands more who rely on a sin- gle set of instructions for the style of the garment , the technique of making it , and the choice of yarn and decorative stitches.4 Their pride ...
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