The Sources of Modern Architecture and Design by Nikolaus Pevsner

By Nikolaus Pevsner

"No one yet Dr Pevsner may have packed a lot details into so compact a piece or illustrated it extra effectively."―The instances Literary Supplement

The flip of the 19th century observed a rare flowering of invention in structure and layout, with contrasting types emerging―Art Nouveau and the overseas variety. Professor Pevsner brings a brand new readability to a regularly complicated interval, tracing―with assistance from approximately 2 hundred conscientiously selected illustrations―the origins of twentieth-century principles in structure and the utilized arts. Black-and-white illustrations all through

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He must have known WiUiam Blake, as the Pre-Raphaelites did, but he was also famihar - socially too with Whistler, and although Whistler was an Impressionist in his formative years, he soon found an aim of his own, the aim to blend the Hght, soft, hazy tones of Impressionism with the 43 ///. 88 ///. zy 29 Three trends after i860: (top ri^ht) seeming naturalism pleasantly formalized in the signet of Morris and Co. R. Leyland's collection of porcelain lavish decoration creation abstract, o{ piquant decorative patterns, sometimes almost sometimes linear as in the celebrated Peacock Room of 1876-7.

26) uM^m fs g r^^r""'- newer New York, and one in which traditions could this novel and logical treatment and made it the standard of its skyscrapers. Moreover, Chicago added of its own the equally logical and most far-reaching innovation of applying the system of the iron frame, originally a system used for factories, to the high office building. This was first done by WilHam Le Baron Jenney in the Home Insurance Building in 1883-5. It was an untidy and fussy building, but the tidying up was done only five or six years later by a few more talented architects Burnham & Root, Holabird & Roche and Louis SulHvan.

43 III. F. Willunisen in 1890 turning to ceramics very much of the Gauguin kind. Willumsen stayed in France and then returned to Denmark. There, however, while he had been away, a parallel development had begun in ceramics, independent, it seems of Pont-Aven. Thorvald Bindesb^ll, two years older than Gauguin, and an architect by training, the son in fact of the most original Danish architect of the neo-Greek movement, his friends ///. 46 ///. 43 Among Gauguin's friends at Pont-Aven many were roused by his example to take up crafts.

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