History of Design Test 1 Objects

industrial revolution

imperial Federation Map of the World, from The Graphic, July 24, 1886 

words at the top freedom fraternity and federation. There are slaves and goods. Exchange of not only people but also the exchange of goods and land 

industrial revolution

Robert Stephenson, The Rocket, 1829

first locomotive. This was chose as the preferred mode of transportation and it was not only about transporting people but also goods and resources between locations. Coal powered this. 

industrial revolution

Kara Walker, Fons Americanus, 2020 and Thomas Brock, Victoria Monument, 1901 

Kara walker Fons Americanus AND Thomas brock Victoria monument: Victoria monument is celebrating and glorifying England and the queen while the Fons Americans is critiquing the exploitation of the slave trade under British power. It is showing the cost of colonization which often times is hidden and forgotten.  

industrial revolution

Yinka Shonibare, “Gay Victorians,” 1999.

References batik cloth common in Nigeria

Europeans/Dutch took fabrics and added wax to the fabrics then sold them in mass markets in africa

Today these fabrics are known as african when they were dutch appropriations of african textiles

Brings into question “who gets the credit?”

Also brings into question what else we use/know of that we don’t know the true origen

industrial revolution

Interior of the Great Exhibition

visited by high society people very wealthy. Machinery manufacturing fine arts and raw materials. It wasn’t only showing casing products from the UK. Around 25 countries were represented here. A lot more info on google doc about this :)

industrial revolution

Henry Cole for Felix Summerly’s Art Manufacture, designed 1846, made 1846-71.

industrial revolution

John Nash, Stuffed Elephant and Howdah from India, The Indian Court, Crystal Palace, 1851.

at this time India was considered a place that they could extract goods from to make money. symbolized Britain’s global trade and imperial reach. These exhibits showcased the raw materials, craftsmanship, and cultural influence that fueled industrial growth and reinforced colonial dominance.

industrial revolution

A.W.N. Pugin, Wallpaper Design, c. 1851. For Palace of Westminster. Pencil and wash on paper

This embodied the Gothic Revival style, which opposed the mass-produced aesthetics of the Industrial Revolution by emphasizing craftsmanship and historical design. His work reflected a broader reaction against industrialization, advocating for a return to medieval-inspired artistry and influencing later movements like the Arts and Crafts Movement. 

industrial revolution

A.W.N. Pugin, Table, c.1847, Carved Oak 

Is an example of the gothic period

Can see all components of the table

Is seen as what it is: a table been to hold something

It is a carved oak table, the surface is carved oak, not painted or embellished

industrial revolution

Wallpaper illustrating the Crystal Palace, probably produced by Heywood, Higginbottom & Smith, about 1853 – 55, Manchester. Museum no. E.158-1934.

idk what this means

arts and crafts

William Morris, Acanthus, 1874. Printed distemper from wood blocks on paper;

William Morris,Brother Rabbit , 1880–1. Indigo discharged and block printed cotton.

Produced by Morris and Co. Merton Abbey, England

idk what this means

arts and crafts

Peacock and bird carpet c.1800s © William Morris Gallery, London Borough of Waltham Forest

• Pre raphaelites 

• Looked back in time (before the 1800s)

• Craft guilt

• Focused on joy 

arts and crafts

D.G. Rosetti for William Morris and Co., Sussex side chair, Black painted bent wood and wicker, 1865.

idk what this means

arts and crafts

Alphonse Mucha, Job Cigarette Papers, 1896, Color lithograph 

• Advertisement for cigarettes

• Chromolithography was used as it allowed for mass production

Jules Cheret, La Loie Fuller, 1897, Color Lithograph

• Inspired by japanese art

• After trading rights were established with japan in the 1860s 

art nouveau

Émile Gallé, Vase, Cameo glass with enamel decoration, 7 7/8 x 5 ¼ in. (20 x 13.3 cm), c. 1890

Philadelphia Museum of Art

• Inspired by nature

• Emile Galle was a glass maker and a furniture maker, created the museum of decorative art 

  • Let go of historical styles and being inspired by nature 

  • Promoted the union between art and industry 

art nouveau

Henry Clemens van de Velde. Tropon, l'Aliment Le Plus Concentré (Tropon, the most concentrated nourishment), 1899 (Poster advertising protein extract)

• Designed to advertise an egg based protein

• Shows egg whites being separated from the yolks

art nouveau

Victor Horta, Hotel Tassel, 1893. Main façade , Iron railings, First floor landing with view towards staircase, 1893. Brussels. 

idk what this means

art nouveau

Hector Guimard, Banquette (For the Castel Beranger.), c. 1897. 

• At a time where smoking is very chic

• Lines in the bench mimic the lines of the smoke of the cigarette 

• Has same lines as the lines in the posters 

• Lines are a big part of art nouveau

art deco

The Exposition’s poster, designed by Robert Bonfils, c. 1925, 15 1/2 x 23 3/4 in., Courtesy of the Victoria and Albert Museum

France was at the center of Art Deco 

• Also center of WWI western front 

art deco

Jacques-Emile Ruhlmann, Grand Salon in the Hotel d’un Collectionneur, at the Paris 1925 Exhibition

• In the exhibition 

• Still looks traditionally french instead of modern 

• Designers in art deco look at historical styles within their installations

art deco

Jacques-Emile Ruhlmann, Dressing Table, 1925, Oak with amaranth and mahogany veneer; ebony and ivory inlays 

• New forms, proportions, and materials 

• Mahogany, ebony, and ivory (raw materials that aren't from France but from French colonies(asia, africa, north america, and the caribbean)

  • Luxurious and “exotic” 

  • Goes against the locality and use for every person ideals in Art Nouveau 

  • Some pieces were sold directly into museums instead of going into homes  

  • Such raw materials lead to appropriations in culture 

art deco

Cartier, Egyptian Sarcophagus Vanity Case, 1925, Gold, platinum, carved bone, sapphires, emeralds, diamonds, onyxes, and enamel

• Example of tutmania 

• Clearly see egyptian motifs through the shapes, colors, and imagery

art deco

Jacques-Emile Ruhlmann, George Fouquet, Corsage Ornament, 1923, Jade, onyx, diamonds, enamel, and platinum

• Shows the bias the west has of the east

art deco

Jean Dunand, Vase, 1925, Copper with gold 

• Inspired by Art Nouveau and new materials circulating through Art Deco movement

• Regular and geometric shapes

• Decorative arts 

• Inspired by japanese art

• Abstract grass depictions 

art deco

Eileen Gray, Screen, c. 1923, Lacquer on wood

• Modernist architect and furniture designer

• Straddled Art Deco and Modernist Movement 

• Bi icon 

• Paris allowed women to be a safe haven for bi and lesbian women 

• Work revolves around these “unconventional” lifestyles 

• Adapted the wall to be a stand alone wall to be made for people that didnt have the funds or the space for that whole wall 

art deco

Eileen Gray, ”Lit Pirogue” (Canoe Daybed), before 1922, lacquered wood, 28 ½ x 106 ¼ x 25 5/8 in. Source: Virginia Museum of Fine Arts. Digital Image

• Inspiration from the shape of canoes in caribbean

art deco

Georges-Marie Haardt, photograph of Nobosudro La Croisiere Noire: Expedition Citroen Centre-Afrique 

-Photo taken in 1924 by George Specht during La Croisière Noire expedition. 

• Nobosodru: Mangbetu woman, wife of King Touba, from the Democratic Republic of the Congo. 

• Photo circulated in popular culture, intended to showcase African beauty and the advanced Mangbetu society. 

• Image symbolizes exoticism and sexuality assigned to Africa by European and American cultures.

art deco

Aaron Douglas, Opportunity: A Journal of Negro Life, 1927 *

• Reclaimed by the African American community in New York 

• Showing what the future would look like without the racist implications of our society 

art deco

Paul Colin, Josephine Baker, “Le Tumulte Noir”, Paris, 1929 

Color pochoir lithographs from Le Tumulte Noir, Published by Éditions d'art, Succès: Paris, 1929

• Lithographs drawn on stone and colored by hand 

• Not only the content of the image but the materiality 

  • How its made and the technique being used

art deco

A.M. Cassandre, Poster (Normandie Cie Gle Transatlantique French Line), 1935, Lithograph, 39 3/4 × 24 1/4 in. (100.97 × 61.6 cm)

• Prominent in Graphic Design history 

• Important as it shows travel 

• Geometric clean and precise lines 

• Style is distinct by this time period 

• Airbrush 

• Airbrushes were relevant for catalogs 

Modernism

Pavillon de l'Esprit Nouveau was a model home constructed for the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris, France. The building was designed by Swiss architects Le Corbusier and Pierre Jeanneret

Swiss architect - le corbusier - the model home

Modernism

Konstantin Melnikov, Soviet Pavilion at the Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes, 1925.

idk what this is

Art Deco

Jacques-Emile Ruhlmann, Grand Salon in the Hotel d’un Collectionneur, at the Paris 1925 Exhibition

Represents the ideal home of the collector

Modernism

Le Corbusier and Pierre Jeanneret, Interior of Pavillion de L’Esprit Nouveau, 1925 Paris Exhibition

Post WWI focus in need for housing

Inspired by symmetry

These standards are for everyone

Standardized living in cities

Multipurpose furniture pieces

furniture as equipment for living

Furniture to easily clean

• Flu epidemic and tuberculosis

Modernism

Aleksandr Rodchenko, USSR Worker’s Club, 1925 Paris Exposition

-Constructivism 

-Image of the interior of workers club 

-Idea that Workers deserved a space for relaxation 

- In the form of reading, playing chess. Productive leisure time 

- Absence of decoration, emphasis on standardization - 

A seriousness to play - the value of play

Modernism

Le Corbusier (Charles-Édouard Jeanneret), Pierre Jeanneret, Charlotte Perriand, Grand Confort, 1928

• Efficient and easy to clean 

  • Cushions come out 

• Symmetric elements compiled into one object

• Machine- “a machine for sitting on” how he describes it 

• Undecorated elegance 

• Comfort and functionality often being the top priority 

• Ornaments are considered unnecessary 

Modernism

Le Corbusier (Charles-Édouard Jeanneret), Pierre Jeanneret, Charlotte Perriand, B306 Chaise Lounge, c. 1928

• Built for health in mind (better blood circulation) 

• Reclining in a way to boost blood circulation 

• Inspired by the way a hospital bed can move and recline 

Modernism

Charlotte Perriand, Revolving Armchair, 1928 Manufacturer: Thonet Frères, Paris, France, Chrome-plated tubular steel and leather, 29 3/4 x 22 x 21 1/4" (75.6 x 55.9 x 54 cm), seat h. 21 5/8" (54.9 cm

• Revolving armchair 

  • required a lot of hand work = increased cost

•  This is an example of that collaboration with Le Corbusier

• Partially inspired by an office swivel chair

• Built for health in mind with a soft cousin

Modernism

Eileen Gray, interior of E-1027, Roquebrune-Cap-Martin, France, 1926-29.

Eileen Gray, “E1027, Adjustable Table, Breakfast Table”, 1927 Aram Designs Ltd., London, Chrome-plated tubular steel, sheet steel, and glass,

• Name shows the code from each of the artists 

• Codes for names were being integrated into a lot of the designs to devoid of the emotion held in the objects 

• Home filled with modern rugs 

• Everything in the house could move and could be used as a multipurpose 

• Exterior looks like the outside of a ship, referencing the sea 

• Tubular steel table (known as the breakfast table or the E 1027 table)

  • Bedside table so you could eat in bed without leaving crumbs on the sheets 

  • Could tuck above and under the bed was built to hug around the side of the bed 

  • The table top could be lifted or dropped in height 

Modernism

Aleksandr Rodchenko, Design for USSR Worker’s Club, Chess Table, Black and red India ink and gouache on paper, 1925 Paris

• Constructivism in the soviet union 

  • Constructivism: alteration of modernism

  • Constructivism - art and design is constructed 

• New methods of creation 

• Theoretical and scientific approach to making 

• Similar to modernism in Europe but different

• Proletariat - workers 

  • Taking over society... Opportunity to build new world 

• USSR 1922 - under lenin

Modernism

Vavara Stepanova, Design for Sport Clothing, 1923

• Unisex 

• Promotes equality among sexes

• Worker focused society

Modernism

Liubov Popova, Textile Design c.1924, Pencil and ink on paper

Liubov Popova, Space Force Construction 1921, Oil, with wood dust on plywood, 710 x 639 mm State Museum of Contemporary Art, Thessaloniki, The George Costakis Collection

• Fun Textile designs were created due to the shortage of cloth 

• Everyone was actively participating in working for the people 

• Favored geometric forms 

• Geometry is associated with the machine

  • Emphasized the working class

Modernism

Aleksandr Rodchenko, “Lengiz. Books on all the branches of knowledge,” advertising poster for the Leningrad Department of Gosizdat (State Publishing House), 1924

• Russia is struggling economically. 

  • Lenin introduces a limited form of capitalism 

• Posters are a strong choice of advertising 

  • This one: For soviet airline - convince investors to join 

• Encourages literacy - “literacy will change society” 

• A society with no hierarchy - where everyone participates,

• Photomontage: composite image by juxtaposing different images - innovative form of making art 

  • First used by Dada artist, later surrealists

Modernism

Gustav, Kluzis, The Moscow Spartakiade, Russia, 1928. (Communist Sports Swimming Propaganda Poster)

• Technology used to create the poster

• The message the poster is sending 

• Simple typography and composition 

• Bold colors 

• Using actual images (its real) 

  • Gives a more real message to the viewer

Bauhaus

Peter Keler, Cradle, 1922

... moving on to bauhaus and how Modernism evolved in Germany -Simple shapes & forms 

-Primary colors and forms - all made by hand 

-Similar to the design reform but without the religious connotation

Bauhaus

Anni Albers Black White Yellow 1926, re-woven 1965

Anni Albers , Sample, 1926/65, Cotton and linen, combined twill weave with paired wefts

• Examples of her textiles at Bauhaus 

• Bold and simplistic 

• New vision using traditional mediums 

• She taught weaving in the bauhaus → it became profitable 

  • women are helping fund the school 

• They turned textiles into objects so they could be sold

Bauhaus

Marianne Brandt, Teapot, Metalwork and Ebony, 1924

• Designer that taught foundation courses at Bauhaus 

• She was the assistant for the metal shop 

• Teapot is the one of her most successful design 

  • designed for mass production - basic shapes, simplicity, efficiency, economy of design. Nothing is hidden, can be mass produced with readily available materials 

• She ended up designing the lighting fixtures after Bauhaus changed location

Bauhaus

Joseph Hartwig, Chess Set, 1924

• No kings or queens

  • No hierarchy 

• Simplicity 

• The shape of the pieces relate to the movement of the pieces 

• Pieces are indicative of their functions

Walter Gropius, Bauhaus, 1925-6 

Postcard sent to Jan Tschichold with aerial photograph of Bauhaus Dessau. Building: Walter Gropius, 1926. Photo: Junkers Luftbild, 1926.

• Art and design school 

  • Similar to constructivism after the revolution 

  • All in effort to make life better through design

• From Art and industry → Art and technology 

  • Craft workshops start to disappear - more manufacturing and less handmade 

• Walter Gropius - first director

• Art is not a profession - it should be channeled into building 

  • Hence the emphasis on architecture 

• Belief that art cannot be taught but craft can 

• Modeled after a factory

Bauhaus

Herbert Bayer, Universal Typeface, 1925

• Another bauhaus designer: herbert bayer 

• A student and then became a master 

• Universal typography - 

• No capitals - idea to remove hierarchy 

• Dream like images 

• Bauhaus first comes to NYC through Herbert Bayer 

• Bauhaus - still the foundation of how art and design classes function to this day

Jan Tschichold. Die Frau ohne Namen (The Woman Without a Name) poster, 1927. Printed by Gebrüder Obpacher AG, Munich. Photolithograph.

• Not bauhaus nor constructivist, but truly inspired by them 

• Adopted ideals of bauhaus 

• Asymmetrical page design - to stimulate the eye 

• Published a manifesto - the new typography - encourages use of images

Bauhaus

Margarete Schutte-Lihotzky, The Frankfurt Kitchen, 1927

• Bauhaus exhibition in Baumarkt 

• The New Frankfurt - 1925-1930 - affordable housing 

  • New kitchen design: rational, unpretentious and socially engaging 

    • aligned with egalitarian society 

• Designed like a laboratory or factory - hygiene, efficiency and workflow 

• Adjustable component and removable things  

• Oak flower containers to repel worms 

  • Everything is carefully thought out 

• More of a study than pure design 

• 1930 frankfurt kitchen installed for the last time because of Nazi party rise