Download e-book for iPad: Design in the USA (Oxford History of Art) by Jeffrey L. Meikle

By Jeffrey L. Meikle

ISBN-10: 0192842196

ISBN-13: 9780192842190

From the Cadillac to the Apple Mac, the skyscraper to the Tiffany lamp, the realm within which we are living has been profoundly inspired for over a century through the paintings of yankee designers. however the product is barely the tip of a narrative that's choked with interesting questions. What has been the social and cultural function of layout in American society? to supply beneficial issues that customers desire? Or to cajole them to shop for issues they don't desire? the place does the fashion designer stand in all of this? and the way has the position of layout in the US replaced over the years, because the early days of the younger Republic?

Jeffrey Meikle explores the heritage of yank layout, from the handmade furnishings and artifacts of the early 19th century, during the period of industrialization and the mass creation of the desktop age, to the information-based society of the current, protecting every thing from the humanities and Crafts circulation to paintings Deco, modernism to post-modernism, the MOMA to the Tupperware bowl. superbly illustrated, Design within the USA additionally contains feedback for additional examining, a timeline, and an inventory of appropriate museums and websites. it truly is a superb resource of data for someone trying to discover the mind's eye and at the back of American layout.

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Extra resources for Design in the USA (Oxford History of Art)

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Insist on assuming the semblance of luxuries which they cannot really afford’. If consumers could be taught to demand quality as opposed to stylistic extravagance, then manufacturers would be forced to instruct designers to create ‘good artistic furniture . . quite as cheap as that which is ugly’. 1875 Made of American black walnut with bird’s-eye maple veneer, these pieces were typical of custom furniture inspired by Charles Eastlake. The relatively severe ornamentation accentuates the austere simplicity of the architectonic Gothic revival forms.

Designs varied according to ‘the market or class of customers for which the goods are intended’. A calico printer in Pawtucket, Rhode Island, produced ‘showy patterns, large in form, and strong in contrasts of colour’ for distribution to southern and western states, while northeastern states received ‘smaller patterns, more subdued in colour, and approaching to the best character of goods used in England’. For the most part, Americans followed European styles as manufacturers and merchants pored over reports of the latest French fashions before making decisions.

To make matters worse, the US executive committee had contracted for a space too large for the number of exhibits. 14 With British attention focusing on French decorative arts, there was little interest in utilitarian goods like Borden’s meat biscuits, Goodyear’s rubber boots and life-rafts, Cincinnati cured hams, and a towering pyramid of soap. Over the summer, however, three highly publicized events provoked reassessment of practical Yankee ingenuity. The first involved an American locksmith who succeeded in picking a famous British bank lock, the ‘Bramah’, which had withstood all challenges since 1788.

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Design in the USA (Oxford History of Art) by Jeffrey L. Meikle

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