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Fashion, disguise, and transformation origins of the Modern Art movement in Vienna, 1897--1914.

机译:维也纳现代艺术运动的时尚,伪装和转型起源,1897--1914年。

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摘要

The social and artistic culture of Vienna at the turn of the century was deeply rooted in a tradition of "dressing up." Expanding textile and tailoring industries, the nationalistic display of folk costumes and embroidery, imperial court festivals, and carnival masquerades were the context for a modern program of artistic reform that revolved around the language and mechanism of fashion and disguise. This dissertation explores the social and theoretical origins of the Vienna Secession of 1897 and its related educational and commercial ventures before World War I. Gottfried Semper's theory of "dressing" was the foundation for the subsequent work of Otto Wagner, Adolf Loos, and Josef Hoffmann, each of whom related the architectural "cladding" of their buildings to the process of "clothing" the human body. The Secessionists, including Gustav Klimt, Josef Hoffmann and Kolo Moser, were influenced by contemporary architectural theory in their turn towards the applied arts---an interest reflected in their style of exhibition as well as in the establishment of the Wiener Werkstatte (Vienna Workshops) in 1903. After 1899 the Secessionists became increasingly interested in fashionable interior design inspired by the traditional women's embroidery used to decorate household linens and upholstery, as well as by the introduction of the "artistic dress" to the Vienna fashion world in 1902. Experiments with dress designs by Klimt, Hoffman, Moser and their women partners and collaborators led the Wiener Werkstatte to establish a highly successful fashion division in 1911. By examining this aspect of the modern art movement in Vienna in written texts, catalogues and reviews of exhibitions, and visual motifs of transformation through dress, this dissertation presents a new model for understanding the Secession. This study asserts that the Secessionists found the rejuvenating modern visual language they sought in the very processes of "dressing up."
机译:世纪之交的维也纳社会和艺术文化深深植根于“打扮”的传统。扩大纺织和制衣业,民族服装和刺绣的民族主义展示,皇家宫廷节日和狂欢节化妆舞会是围绕着时尚和伪装的语言和机制进行的现代艺术改革计划的背景。本文探讨了1897年维也纳脱离国家及其相关的教育和商业活动的社会和理论渊源。戈特弗里德·森珀(Gottfried Semper)的“装扮”理论是奥托·瓦格纳,阿道夫·洛斯和约瑟夫·霍夫曼随后工作的基础,每个人都将自己建筑物的建筑“外墙”与“给人体穿衣服”的过程联系起来。包括古斯塔夫·克里姆特(Gustav Klimt),约瑟夫·霍夫曼(Josef Hoffmann)和科洛·摩泽(Kolo Moser)在内的分离派人士在转向实用艺术的过程中受到当代建筑理论的影响-这种兴趣体现在他们的展览风格以及维也纳维也纳艺术博物馆(Viener Werkstatte)的建立上)(1903年)。1899年以后,分离派主义者对时尚的室内设计越来越感兴趣,其灵感来自用于装饰家用亚麻布和室内装饰品的传统女性刺绣,以及1902年在维也纳时尚界引入了“艺术服装”。由克林姆特(Klimt),霍夫曼(Hoffman),摩瑟(Moser)及其女合伙人和合作者设计的服装,带领维也纳维也纳艺术博物馆(Wiener Werkstatte)在1911年建立了非常成功的时装部门。通过以书面文字,目录和展览回顾的方式研究维也纳现代艺术运动的这一方面,和通过穿衣转变的视觉图案,本论文提出了一种新的模型来理解服装退役。该研究断言,分离主义者在“装扮”过程中找到了他们寻求的复兴的现代视觉语言。

著录项

  • 作者

    Houze, Rebecca.;

  • 作者单位

    The University of Chicago.;

  • 授予单位 The University of Chicago.;
  • 学科 Art History.; Design and Decorative Arts.
  • 学位 Ph.D.
  • 年度 2000
  • 页码 395 p.
  • 总页数 395
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 艺术史、艺术思想史;建筑科学;
  • 关键词

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