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Sto caricando le informazioni... Tiles & Styles, Jugendstil & Secession: Art Nouveau and Arts & Crafts Design in German and Central European Decorative Tiles, 1895-1935di Ken Forster
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This book looks at decorative tiles manufactured in Germany, Austria, Hungary, and Bohemia/Moravia/Czechoslovakia in the years between 1895 and 1935. These ceramic tiles, used primarily on walls, floors, and stoves, but also furniture, trays, and more, were an affordable decor element that made art accessible to many. They would also turn out to be some of the best examples of the Jugendstil and Secession movements in design: Both were variations of international art nouveau and rejected the conservative aesthetics of mainstream art. In Part I of the book, the author places these movements within the context of art history, then explores the history of the tiles. In Part II, a broad look is taken at Arts & Crafts and Art Nouveau tiles, including influences from other Western and Central European nations. With almost 600 color photos of tiles, this book will appeal to art historians, decorative arts aficionados, and anyone who appreciates beautiful, inspirational design. Non sono state trovate descrizioni di biblioteche |
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Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)738.6The arts Sculpture and related arts Ceramic arts Ornamental bricks and tilesClassificazione LCVotoMedia:
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Art Nouveau is my period. It was the last time that form mattered over function, before mass production took over from artistic exuberance. My own collection ran to several hundred objects.
Tiles and Styles is an extremely well organized colorful compendium focused on tiles – wall, floor, stove and furniture, as well as ceramic trays. Forster has chosen a lovely selection in full color, and displayed them in his pages differently and pleasantly, some big, some small, interrupting the text and making for a variety of layouts. The book is a pleasure and a comprehensive reference. He has chapters on the styles, which were dramatically different in every country, biographies of the artists, and examinations of the very different production techniques employed by the very large number of factories making tiles. He describes (but does not show) their makers’ marks on the backs of tiles.
There are a couple of issues with the book. I am disappointed there are no examples of the fantastic designs of the Glasgow School he describes, though I understand his focus is continental. The difference is so dramatic it would have been worth cheating a little. And I can’t imagine why he would repeat photos of tiles when there are so many thousands to choose from. There are probably a dozen photos he has used at least twice.
My heartfelt thanks to Ken Forster; I am grateful Tiles and Styles was not around when I was collecting tiles and trays, discovering all this for myself. It would most certainly have freed me to obsessive buying of these stunningly bright, dramatic and still avant-garde pieces.
David Wineberg ( )