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"Decorative arts"
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The Female Secession
Decorative handcrafts are commonly associated with traditional femininity and unthreatening docility. However, the artists connected with interwar Vienna's \"female Secession\" created craft-based artworks that may be understood as sites of feminist resistance. In this book, historian Megan Brandow-Faller tells the story of how these artists disrupted long-established boundaries by working to dislodge fixed oppositions between \"art\" and \"craft,\" \"decorative\" and \"profound,\" and \"masculine\" and \"feminine\" in art.
Tracing the history of the women's art movement in Secessionist Vienna—from its origins in 1897, at the Women's Academy, to the Association of Austrian Women Artists and its radical offshoot, the Wiener Frauenkunst—Brandow-Faller tells the compelling story of a movement that reclaimed the stereotypes attached to the idea of Frauenkunst, or women's art. She shows how generational struggles and diverging artistic philosophies of art, craft, and design drove the conservative and radical wings of Austria's women's art movement apart and explores the ways female artists and craftswomen reinterpreted and extended the Klimt Group's ideas in the interwar years. Brandow-Faller draws a direct connection to the themes that impelled the better-known explosion of feminist art in 1970s America. In this provocative story of a Viennese modernism that never disavowed its ornamental, decorative roots, she gives careful attention to key primary sources, including photographs and reviews of early twentieth-century exhibitions and archival records of school curricula and personnel.
Engagingly written and featuring more than eighty representative illustrations, The Female Secession recaptures the radical potential of what Fanny Harlfinger-Zakucka referred to as \"works from women's hands.\" It will appeal to art historians working in the decorative arts and modernism as well as historians of Secession-era Vienna and gender history.
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Artisans, Objects and Everyday Life in Renaissance Italy
Did ordinary Italians have a 'Renaissance'? This book presents the first in-depth exploration of how artisans and small local traders experienced the material and cultural Renaissance.
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Symmetry : through the eyes of old masters
A large range of symmetries in art is presented through clear and aesthetically outstanding examples of historical ornaments.Compendious comments illustrate the selected photographic material by addressing the interested and specialist reader alike.
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The decorative art of Arabia
Combining the best of 19th Century literary and artistic documentation, this book offers a comprehensive view of applied design through the paintings, murals, tiles, stained glass, woodwork, book bindings, carpets, fabrics and ceramics which are among the highest achievements of Muslim civilization.--From book jacket.
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Art Against Dictatorship
Art can be a powerful avenue of resistance to oppressive governments. During the dictatorship of Augusto Pinochet in Chile, some of the country's least powerful citizens-impoverished women living in Santiago's shantytowns-spotlighted the government's failings and use of violence by creating and sellingarpilleras, appliquéd pictures in cloth that portrayed the unemployment, poverty, and repression that they endured, their work to make ends meet, and their varied forms of protest. Smuggled out of Chile by human rights organizations, thearpillerasraised international awareness of the Pinochet regime's abuses while providing income for thearpilleramakers and creating a network of solidarity between the people of Chile and sympathizers throughout the world.
Using the Chileanarpillerasas a case study, this book explores how dissident art can be produced under dictatorship, when freedom of expression is absent and repression rife, and the consequences of its production for the resistance and for the artists. Taking a sociological approach based on interviews, participant observation, archival research, and analysis of a visual database, Jacqueline Adams examines the emergence of thearpillerasand then traces their journey from the workshops and homes in which they were made, to the human rights organizations that exported them, and on to sellers and buyers abroad, as well as in Chile. She then presents the perspectives of thearpilleramakers and human rights organization staff, who discuss how thearpillerasstrengthened the resistance and empowered the women who made them.
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History of design : decorative arts and material culture, 1400-2000
\"Spanning six centuries of global design, this far-reaching survey is the first to offer an account of the vast history of decorative arts and design produced in Africa, the Americas, Asia, Europe, the Indian subcontinent, and the Islamic world, from 1400 to the present. Meticulously documented and lavishly illustrated, the volume covers interiors, furniture, textiles and dress, glass, graphics, metalwork, ceramics, exhibitions, product design, landscape and garden design, and theater and film design. Divided into four chronological sections, each of which is subdivided geographically, the authors elucidate the evolution of style, form, materials, and techniques, and address vital issues such as gender, race, patronage, cultural appropriation, continuity versus innovation, and high versus low culture. Leading authorities in design history and decorative arts studies present hundreds of objects in their contemporary contexts, demonstrating the overwhelming extent to which the applied arts have enriched customs, ceremony, and daily life worldwide over the past six hundred years. This ambitious, landmark publication is essential reading, contributing a definitive classic to the existing scholarship on design, decorative arts, and material culture, while also introducing these subjects to new readers in a comprehensive, erudite book with widespread appeal\"-- Provided by publisher.
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Taxidermy and the Gothic
Taxidermy and the Gothic: The Horror of Still Life is the first extended study of the Gothic's collusion with taxidermy. Focusing on contemporary cultural and material texts, it shows how taxidermy's imbrication with Gothic horror is more than skin deep: these are rich discourses stuffed by affinities for corporeal transgressions, the uncanny, and the counterfeit.
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