Full Description
Filling the gap for an extensively illustrated history of modern design, this introduction provides a balanced, chronological survey of the decorative arts, industrial design and graphic design from the eighteenth through the twentieth centuries. Focusing on the appreciation of design as a creative activity, as well as an enterprise conditioned by economic, technological and social history, Raizman includes the study of products and furnishing designed for mass consumption, and examines the social context for the democratization of culture. KEY TOPICS: The author examines supply, demand, and design from 1700-1850, arts, crafts, and machines from 1850-1914, design after the Great War, 1918-1944and international modernism and mass culture after World War II. MARKET: For design professionals.
Contents
Preface 8Acknowledgments 10Introduction: Thinking about Design 11Products, Technology, and Progress 11Designers and the Expansion of Design 12Discourse 13PART IDemand, Supply, and Design (1700-1800) 15Introduction to Part I 161 Royal Demand and the Control of Production 17State-owned Manufactories 17Artists and Craftsmen 20Porcelain 22The Guilds 23The Printer's Art 282 Entrepreneurial Efforts in Britain and Elsewhere 31Design in an Expanding Market 31Wedgwood and Antiquity 33Commodities and Fashion 36The United States 38Popular Literature and the Freedom of the Press 39PART IIExpansion and Taste (1801-1865) 40Introduction to Part II 423 Growing Pains: Expanding Industry in the Early Nineteenth Century 43A Culture of Industry and Progress 43New Materials and Processes 44Beyond the Printed Page 50Wallpaper and Fabric Printing 52The American System 544 Design, Society, and Standards 57Early Design Reform 57Industry and its Discontents 58Reform and the Gothic Revival 59Henry Cole and the "Cole Group" 61The Great Exhibition of 1851 63Images for All 70Popular Graphics in the United States 74A Balance Sheet of Reform 76Conclusion 77PART IIIArts, Crafts, and Machines - Industrialization: Hopes and Fears (1866-1914) 79Introduction to Part III 805 The Joy of Work 81Ruskin, Morris, and the Arts and Crafts Movement in Britain 81Morris and Socialism 85Morris as Publisher 85The Influence of William Morris in Britain 88The Arts and Crafts Movement in the United States 91Printing in the United States 98Chicago and Frank Lloyd Wright 996 The Equality of the Arts 103Design Reform and the Aesthetic Movement 103Books, Illustration, and Type 110The Aesthetic Movement in the United States 113Dress 118Design Reform in France: L'Art Nouveau 120Art Nouveau in Print and in Public 125Glasgow: Charles Rennie Mackintosh 130Austria 131Belgium 136Munich 138Scandinavia, Eastern Europe, and the Vernacular 140Italy and Spain 1437 Mechanization and Industry 147Design and the Workplace 147Germany 148The American System of Manufacture and Fordism 151Developments in Merchandising, Printing, and Advertising 154Conclusion 155PART IVAfter World War I: Art, Industry, and Utopias (1918-1944) 157Introduction to Part IV 1588 Paris and Art Moderne (Art Deco) Before and After World War I 161Furniture and Modern Art 162Glass and Metal 166The Paris Exposition of 1925 1729 "Modernism": Design, Utopia, and Technology 181Futurism 181De Stijl 184Constructivism 189The Bauhaus 196Beyond the Bauhaus 204The Printing Industry and the "New Typography" 206Jan Tschichold and the New Typography 208Britain and Modern Design 214Scandinavia and Modern Design 21910 Design, Industry, and Advertising in the United States 223Industrial Design and Fordism 228Advertising, Art, and the Selling of Modern Design in the United States 229The United States and International Modernism 237Streamlining 240The 1939 New York World's Fair 242Photography and Graphic Design 244Industrial Design and Austerity 248Graphic Design During World War II 251Conclusion 252PART VHumanism and Luxury: International Modernism and Mass Culture after World War II (1945-1960) 255Introduction to Part V 25611 Modernism After World War II: From Theory to Practice 260Promoting Postwar Design: Art Direction and the New Advertising 267Graphic Design and Technical Information 273Scandinavia and Britain 275Italy 283Germany 288The International Graphic Style (Die Neue Grafik) 291Means and Ends 296Japan 298Design and Corporate Culture 301Trademarks and Beyond 30212 Design and Mass Appeal: A Culture of Consumption 306Detroit: Transportation as Symbol 308Critics of Styling 313Resorts and Luxury 314Housing: Suburbia, Domesticity, and Conformity 317Beyond High and Low Art: Revisiting the Critique of Mass Culture 322Conclusion 325PART VIProgress, Protest, and Pluralism 1961-2010 326Introduction to Part VI 32813 New Materials, New Products 330Plastics and their Progeny 331Product Housing 335Sports: Equipment and Progress 338Visual Identity, Information, and Art Direction 338Laminated Materials 345Nature and Craft 34614 Dimensions of Mass Culture 349Mass Design and the Home 351Mass Design: The Fringes 353Pop, Protest, and Counterculture 355Graphics and the Underground 356Anti-Design in Italy 358Radical Reform: Technology, Safety, and the Environment 36215 Politics, Pluralism, and Postmodernism 367Design and Postmodernism 369Postmodern Products 370Pluralism and Resistance 374Hi-Tech 377The Expanding Definition and Role of Design 37816 Design in Context: An Act of Balance 381Consumers 381Reform and Social Responsibility 387Design, Safety, and Terror 391Production Technology: Meanings of Miniaturization 393Design and Softness 396Materials Technology and Softness 396Lifestyle 400Politics, Technology, and the Media 400Graphic Design in a Digital Age 401Craft: The Persistence of Process 406Design and Continuity: Creativity, Responsibility, and Resilience 408Timeline 409Further Reading 412Bibliography 417Credits 422Index 424
