Art Nouveau masters Charles Rennie Mackintosh and Henry van de Velde shared a commonality rare among the creative figures who played central roles in that turn-of-the-century design movement. Both began their careers with a lifetime of easel art-making as their goal, but ultimately redirected their energies to the primarily functional realms of architecture and the applied arts. This professional shift is especially noteworthy given the contrasts between the Scottish Mackintosh and the Belgian van de Velde, in personality, in cultural conditioning, and in the very nature of their Art Nouveau output.
One can point to other similarities between the two innovators. For one, while most at home with the painstaking precision of handcraftsmanship, both were, at the same time, drawn to the benefits of industrial manufacture, speed, high volume, and product uniformity, their shared attraction to industrial production nurtured by the respective environments in which they passed their young years. By the mid-19th Century, Mackintosh's native Glasgow had won global renown for its shipbuilding sector, enabled chiefly by technical advances made in the factories that ringed the city. Belgium, in turn, made its industrial mark on the European continent through the manufacture of high speed trains. Van de Velde, although raised in Antwerp, a mecca for handcrafted textiles, nonetheless capitalized on the advantages to his Brussels design firm offered by Belgium's industrial sophistication.
For another, both masters found greater appreciation for their groundbreaking efforts on foreign soil than in their home countries. Mackintosh, in concert with Margaret Macdonald, flourished in Vienna, where the couple's Scottish Rooms, featured in the Eighth Secession Exhibition (1902), generated excitement in public, as well as critical circles. Van de Velde's continental successes were more extensive. In 1896, his interiors played a significant part in Siegfried Bing's Maison Art Nouveau, while, in the first decade of the 20th Century, he was awarded multiple commercial commissions in Berlin. The respect generated by the impressive interiors he completed in that metropolis, resulted in the Directorship of the Weimar Kunstgewerbeschule and, in 1908, an invitation to join the DeutscherWerkbund.
There remains, however, one parting of the ways in the career trajectories of Mackintosh and van de Velde, a divergence linked to the emergence of women as creative forces in design. Here, the pooling of skills by Mackintosh and Macdonald in the completion of major commissions, added to the freedom given the couple by Catherine Cranston in the fitting out of her Glasgow tearooms, finds no parallel in van de Velde's professional path. The major impact of women's stylistic judgment on today's design cosmos is owed, in large part, to these Scotswomen.
Автор: Belli Bose Melia Название: Intersections: Art and Islamic Cosmopolitanism ISBN: 1683401972 ISBN-13(EAN): 9781683401971 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 10395.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This richly illustrated volume highlights the history of Islamic cosmopolitanism as documented through works of art from the eighth century to the present; from the Mediterranean, North Africa, South Asia, and the United States; and including painting, architecture, textiles, calligraphy, photography, and animation.
Автор: Muir Название: Gordon Matta-Clark`s Conical Intersect ISBN: 1472411730 ISBN-13(EAN): 9781472411730 Издательство: Taylor&Francis Рейтинг: Цена: 22968.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: In this in-depth analysis, Peter Muir argues that Gordon Matta-Clark`s Conical Intersect (1975) is emblematic of Henri Lefebvre`s understanding of art`s function in relation to urban space. By engaging with Lefebvre`s theory in conjunction with the perspectives of other writers, such as Michel de Certeau, Jacques Derrida, and George Bataille.
ООО "Логосфера " Тел:+7(495) 980-12-10 www.logobook.ru
