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Art deco history of art & design
Art deco history of art & design
Art deco history of art & design
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In the early 1920s being a woman and owning your own business was unheard of and thought of as “daring”. Women back then weren't really thought of as being business owners. It was a common way of life that a woman back then would just get married and have children. One woman challenged this way of thinking, her name was Dorothy Draper. Dorothy Draper was the first person to make interior design into a real career, and not just people arranging their homes on their own. She was established in 1923, her business was called Dorothy Draper & Company. With her blends concoction of color and classical furniture she really made a name for herself and invented the term and design practice of “Modern Baroque” (Dorothy Draper & Company,1). Though she …show more content…
Her bright colors shocking backgrounds and wild choices on pigments made her a full candidate for the anti-minimalistic way of design. Her blend of old world furniture from the Georgian and Victorian ages really made her have one foot in the past and one right in the future. Though she is hailed for her work with these bright vibrant colors, there are many who thought her work was well, on the gaudy side. Minimalistic art is basically pared down art. It's art without pomp and circumstance. Though many minimalistic art pieces can be very beautiful and soothing to the eye, they are the complete opposite from what Draper’s designs were going for. Dorothy never said that she didn't love minimalistic types of design she just loved the color of her designs. Minimalist interior designs are very symmetrical and are very calming to the eye. Being in a room where it is a minimalist design scheme makes you calm. Dorothy liked the connection people made with colors and never wanted to see that change with her design. Many people hailed her designs as being costume-y and gaudy. But Dorothy knew all along that what she was doing was what she loved and she really loved color. It seems as though now a days, minimalist took the place of Drapers large colors. But we can still find many of her work in department store and hotels. It is still debated as to which is better for a room but there are many different ways of thinking …show more content…
With her friends encouragement she started, Architectural Clearinghouse. It was "arguably the first official interior design business."( Collins ,4). Being a woman also this was quite the feat in the 1920s. Women didn't really own businesses back then and it was seen as very brave to own one and such a an influential one as hers. Soon after she starting getting more and more design gigs, she changed her company name to Dorothy Draper & Company. One of Draper’s biggest gigs was her commissioned to design The Carlyle Hotel on Madison Avenue in Manhattan. She was commissioned by Douglas Elliman. This hotel was hugely important to Draper because she to put her design style and name on a huge piece of Manhattan. She felt as though she could really make her mark on Manhattan even though she already had in many ways being where she was from and what not. Draper was hired many more times by Douglas. He had her designing homes all over Manhattan. Draper did a great deal of hotel design, including Sherry-Netherland in New York, the Drake in Chicago, the Fairmont in San Francisco. At the height of the Depression, Draper spent $10 million designing the Quitandinha in Rio de Janeiro.” (Dorothy Draper & Company,2). Draper was commissioned to do many other places including hotels, homes, and restaurants. Draper’s most well-known and famous interior design was the Greenbrier of West Virginia. The Greenbrier was used as a hospital
Working at her father’s clothing shop, she became very knowledgeable about expensive textiles and embellishments, which were captured in her works later in career. She was able to capture the beauty and lavishness of fabrics in portraits of aristocratic women.
Women have spent a large amount of time throughout the 20th century fighting for liberation from a patriarchal form that told them that they must be quiet and loyal to their husbands and fathers. For the duration of this essay, I will be discussing how the “Modern Woman” image that appeared through the Art Deco style — that emulated ideas such as the femme fatale and masqueraded woman, and presented new styles to enhance women’s comfortability and freedom — is still prevalent and has grown in contemporary art and design since. Overall I will describing to you how fashion, sexuality, and the newly emerged ‘female gaze’, and how these tie in together — in both periods of time — to produce what can be described as powerful femininity.
8. Hutchins, Elizabeth Leigh, and J. J. Mallon. Women in modern industry .. with a chapter contributed by J.J. Mallon.. London: G. Bell and Sons, 1915.
As the stock market booms and society prospers, women’s fashion undergoes drastic change during the 1920’s. The hems of skirts and dresses rise to newer, more promiscuous level. The traditional long hair, supposedly the crowning glory of a women, is cut shoulder-length or shorter. Defined waistlines are lost, giving way to a shapeless and loose fitting style of clothing. Manufacturing of cosmetics emerges during this decade, and a variety of products become popular among women. The famous Gabrielle Chanel, more commonly known as “Coco Chanel,” introduces her renowned perform in the late 1920s (Yarwood 139). Peggy Whitley, dean at Lone Star College, sums up the newfound cosmetic craze in her American Cultural article: “Powder, lipstick, rouge, eyebrow pencil, eye shadow, colored nails. They had it all!” Associated with the distinct new styles of the era, the iconic “flapper girl” is born. This term is often used for women who donned the edgy style of the time, particularly with a defiant and independent outlook on life. Outside the exciting and rebellious life of the flapper girl, everyday clothing also experiences significant change. Relaxed sport’s attire bec...
How were young women of all classes dressing to be modern in the nightclubs and dance halls of the 1920s and 1930s? Focusing on the middle-classes, yet considering women of both the upper and working classes, discuss what were the influences in their fashion choices.
One of the most influential and inspiring feminist artists to produce work, Judy Chicago was able to (how she changed the world) through her work including ‘the dinner party’ (1979).an instillation completed after 5 years of development. Triangular in configuration, equilateral in structure, reflecting the goal of feminism, an equalized world. Completed using ceramics, needle and fiber techniques as well as china painting. The table holding 39 place settings each commemorating a mythical or important woman or historical figure. Beneath the table was 2304 handmade porcelain tiles, 999 of which were inscribed of other important woman’s names. In her artwork the dinner party Judy Chicago gave recognition to woman both achievers and oppressed. In this way she gave a voice to the duality of woman’s issues, not only was she advocating for recognition of woman’s achievements but she was also bringing to the forefront the concept of inequality. Judy Chicago‘’ had been trying to establish a respect for woman and woman’s art; to forge a new kind of art expressing woman’s experience’- challenge and redefine conventions of gender’’ The fact that the names of woman were placed on a high end table setting challenged gender equality in itself as tables like this had previously been only acc...
Elsie de Wolfe, (1865-1950) is a design legend and to many, she is referred to as America's first decorator. According to the New Yorker, "Interior design as a profession was invented by Elsie." Because of her support system and increasing social status, de Wolfe's style and interiors were noticed, and accepted. She was able to open up a whole new sense of style to her era. Her reputation as an actress, her success in decorating the interior of her own home at the Irving House, and her social connections all aided in her success.
When concerning the home front of 19th century Europe, women were “the cult of domesticity” and were highly regarded as wives, mothers, and part of the working class. A lofty character was necessary in completing the demanding tasks surrounding the home life. Images of women ranging from newspapers to fine art all displayed the univ...
The Museum Of Modern Art “MOMA” was firmly established on 53rd street in 1939 in Midtown Manhattan New York, after a decade of moving due to its growth in modern art pieces. Originally Patrons Miss Lillie P. Bliss, Mrs. Cornelius J. Sullivan, and Mrs. John D. Rockefeller Jr. wanted to establish a program dedicated to modern art in the late 1920s. A. Conger Goodyear, Paul Sachs, Frank Crowninshield and Josephine Boardman Crane, whom later became trustees, created the Museum Of Modern Art in 1929. It’s founding Director, Alfred H. Barr, Jr. wanted the MOMA to be "the greatest museum of modern art in the world." Its intent was to provide ordinary blue collar individuals with a better understanding and acknowledgment of art in its era.
In the early 1900’s the ideal woman would be dressed with long dresses and would normally have long hair. Several events such as World War I, in July of 1914, changed women’s role in society. They were not only taking care of the children and the household but they were also taking the role of a man. As men went to war, women replaced them in factories. This caused woman to be more independent. Women realized that having a job was something that could be done; their sex didn’t restrict them from taking this action. This was extremely important as it lead to women being more confident and capable. In the 1920s young women began to change. They went from having long dresses and long hair, to a short haircut and wearing dresses that were above the knee. Women developed a greater interest in looking attractive. According to Russell L. Johnson, the beauty industry grew rapidly as cosmetic expenses sky rocketed from 750 million to 2 billion dollars (Johnson 3). This was one of the causes of the sexual revolution. Women became “ less formal but more expressive (Mag...
"1920's Art." The 1920's - Roaring Twenties - The Nineteen Twenties in History. 2005. Web. 28 Feb. 2011. .
Freeman S. (2004). In Style: Femininity and Fashion since the Victorian Era. Journal of Women's History; 16(4): 191–206
Paul Poiret was born on April 20th, 1879 in Paris, France. His contributions to twentieth-century fashion has earned him the title in many people’s eyes as the “King of Fashion”, because he established the principle of modern dress and created the blueprint of the modern fashion industry. Poiret’s designs and ideas led the direction of modern design history. He was born into a working class family and his natural charisma eventually gained him entry into some of the most exclusive ateliers of the Belle Époque. Jacques Doucet, one of the capital’s most prominent couturiers, hired him after seeing promising sketches he had sold to other dressmakers. Furthermore, he was hired by the House of Worth and was put to work to create less glamorous and more practical, simple items because his out of the ordinary designs were not welcomed in open arms by opulent clientele. Despite this experience he was still confident in his ideas and ventured out on his own with money barrowed from his parents and opened a storefront. Moreover, he wanted to promote of the concept of a "total lifestyle” was seen as the first couturier to merge fashion with interior design. His independent work broke the normal conventions of dressmaking, and overturned their underlying presumptions. He liberated the woman’s body from the petticoat and the corset to allow clothing to follow woman’s natural form. Poiret also radically revolutionized dressmaking to switch from the emphasis surrounding the skills of tailoring towards those based on the skills of draping and began to use bright colors. Furthermore, Poiret was apart of the art deco movement, which was surrounded by a period of immense social upheaval, particularly for women, and emergence of technol...
Mies created established characteristics that became essential for modern architecture. “Less is more”. These three words really jump started the modernist movement in architecture and embodies the philosophy of minimalism. Stripping away the ornament and décor to get to the essence of a building. Mies van der Rohe changed architecture through these radical ideas. Many of these concepts we still see today in modern and minimalist styles. The simple and open plan has been replicated
Judy Chicago comments in her essay that she “had been made to feel ashamed of her own aesthetic impulses as a woman, pushed to make art that looked as if it had been made by a man.” The idea that female artists were not permitted to draw from their personal experiences completely undermines the basis of what art is. Art provides context of culture: it adds meaning and relevance to the time that it was created, and the artists’ personal experiences is what drives the artwork, and society, forward. Chicago’s blatant truths about women and their art in the early 70’s describes the struggles of walking between the worlds of femininity and the regular world talked about by Woolf. It’s impossible to deny the importance of femininity. If one is not