Учебно-методическое пособие для студентов специальности «Дизайн»

27
4. Read the text. 
During the second half of the nineteenth century, a number of forces trans-
formed the avant-garde design scene. Two in particular played an important 
role: a reaction against the prevalent taste for academic historicism; and the 
rediscovery of the arts of Asia. Machine-produced pastiches of historical 
styles were increasingly shunned in favor of new designs that derived forms 
and decorative motifs from nature. Designers also began to reject superfluous 
surface ornament, often applied simply for the novelty of its effect, and fo-
cused instead on the total integration of form and decoration, recalling Asian 
prototypes. 
By the turn of the twentieth century, a new stylistic vocabulary with dis-
tinct regional characteristics had been firmly established
with exploration of 
new design influences.
Art Nouveau flourished in France and Belgium. Organic forms inspired by 
nature, frequently accentuated with asymmetrical curves or elaborate flour-
ishes, characterize its decorative vocabulary. Its elegant forms often evoke the 
Rococo style of mid-eighteenth-century France. The term Art Nouveau de-
rives from the name of Siegfried Bing’s Parisian shop L’Art Nouveau (“The 
New Art”), which opened in 1895 and sold exceptional works by many of the 
best-known designers working in this mode. In response to popular demand, 
however, poor-quality mass-production hastened the demise of this original 
style in the years after 1900.
Austrian and German Jugendstil, or “youth-style,” took its name from the 
popular illustrated magazine “Jugend” that was published in Munich. Con-
temporaneous with and related to Art Nouveau, the most innovative Jugendstil 
designers replaced the exuberance and naturalism of French and Belgian de-
sign with a comparatively restrained and abstracted aesthetic. Forms and deco-
rative motifs often were treated in a linear or geometric manner that rendered 
them almost unrecognizably derived from nature.
Originating in Britain the Arts and Crafts movement had considerable in-
fluence into the twentieth century. Primarily through publications, the move-
ment quickly spread across Europe (it was notably influential in Austria and 
Germany) and to America. Reacting against the perceived dehumanizing ef-
fects of industrialization, nineteenth-century British design reformers such as 
William Morris advocated a return to handcraftsmanship. The necessary 
handiwork, however, proved to be time-consuming and expensive, and designs 
could only be produced in limited numbers. Making well-designed objects ac-
cessible to a wide public required the assistance of machines, and in the years 
around 1900, designers began to reevaluate the importance of mass production 
as they attempted to make a new and positive alliance of art and industry. 

28
A number of Viennese avant-garde designers made a switch from the 
flowing organic lines of Jugendstil and Art Nouveau to a strict yet vigorous 
geometry. In 1903, these designers banded together to form the “Vienna Work-
shops” – a designers’ cooperative under the direction of the noted archi-
tect/designer Josef Hoffmann. They provided a wide range of well-designed, 
often handmade products for a sophisticated audience, and indeed could supply 
everything from an architectural setting to the smallest decorative accessory. 
Disillusioned by the failure of Art Nouveau and competing with advances 
in design and manufacturing in Austria and Germany in the early years of the 
century, French designers felt the need to reestablish their role as leaders in the 
luxury trade. The Société des Artistes Décorateurs, founded in 1900, encour-
aged new standards for French design and production through its annual exhibi-
tions at the Salon d’Automne. In 1912, the French government voted to sponsor 
an international exhibition of decorative arts. The exhibition, scheduled for 
1915, was postponed on account of World War I and did not take place until 
1925. It was this fair, the Exposition des Arts Décoratifs et Industriels Moder-
nes, that gave its name to the style now commonly known as Art Deco.

жүктеу/скачать 0,79 Mb.

Достарыңызбен бөлісу: