What makes American Design American Essay Example | Topics and Well Written Essays - 2250 words

What makes American Design American - Essay ExampleAmerica.AUDAC was a dramatic gesture at a crucial time in the evolution of the ornamental cunnings in America. Many art historians have suggested that until 192 there was essentially no true form known as American image and that craftspeople in the United States from the 16th to the 19th centuries interpreted European prototype& Granted, the handmade copies of lath-century English furniture mode in Boston, Connecticut, virgin York, and Philadelphia were aesthetically of a high order.Some of the earliest examples of true American design appeared offer the Civil War. Americans were exposed to the new design trends from Europe - the most Influential of which may hove been japonisme the root of Art NouveauAmerican design began to show itself as having unique traits particularly from the lost quarter of the 19th century. George Hunzinger as emigre-craftsman, Louis Comfort Tiffany as native artist-designer, wienerwurst Furness as des igner-architect, and the Herter Brothers as manufacturer are prime examples of producers with an American aesthetic. - From Vienna, Austria, architect-designer Joseph Urban, furniture-designer PourFrankl, designers Wolfgang and Polo Hoffmann, and architect Frederick Kiesler.- From Paris, France, decorative artist Paul lribe and industrial designer Raymond Loewy.- From New Zealand, industrial designer Joseph SinelWalter von Nessen and Peter Muller-Munk and film set designers Hans Drier andIribe incur one of the first film art directors in America to offer the more baroque, if non bizarre, aspects of the Art Deco style in France,Those native Americans who attended 1925 French far included Donald Deskey, Kern Weber, Eugene Schoen, and Hollywood set-designer Cedric Gibbons, In the 192O, Ruth who become known for her cloth and carpet designs for Radio City Music Hall in New York City, was an art student in Paris. Few other American designers attended the case or were living in Paris a t the time, although the city was packed with American literati. Soon after the fair, numerous American designers and soon-to-be AUDAC members traveled to Europe-Walter Dorwin Teague in 1926, sarin Rohde n 1927, Raymond Hood, and Ely Jacques Kahn-and the exposure is manifested in their subsequent work. Viennese architect Kiesler was the director of the Paris expositions Austrian pavilion, designing its theater and architecture section.The influence of the French decorative arts at the exhibition was appreciable. Having lived in the U.S. for 14 years by 1928, hit commitment to ,American design was widely known.In the best tradition of European designers, AUDAC members were active in oil areas of design. in this book, Modern American Design, we find individual designers who were active in most of the minor-arts media interiors, lighting, textiles, industrial design, and graphics, For example, by 1929 Gilbert Rohde had become art active designer of furniture, textiles, lighting, Indus trial products and interiors. Unlike American design and American organizations, European design often had a political agenda, whether or not overly expressed The UAM (Union des Artistes Modernes), which, was formed in Paris a year after AUDAC began, had members in the decorative arts, fine ants, and architecture-the full spectrum of art mineur and art majeur. French artist Amedes Ozenfont and Swiss architect Le Corbusier pointed out, There is a hierarchy in the arts... decorative art is at the bottom. Nouveau pavilion A overplus of the new French Art Deco style furnishings and interiors filled pavilion at the fair. Neither the Bciuhcius nor Art DecoThe apartment in the Hotel Delmonicos & 502 Park Avenue n New York designed by AUDACs president Lee Simonson was more charming than many of the