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Modern Art Made Practical: Intersections of Fine Art and Design in America, 1920-1945.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Modern Art Made Practical: Intersections of Fine Art and Design in America, 1920-1945./
作者:	Padgett, Jennifer Christine.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:	317 p.
附註:	Source: Dissertations Abstracts International, Volume: 80-04, Section: A.
Contained By:	Dissertations Abstracts International80-04A.
標題:	American studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10935736
ISBN:	9780438394452

Modern Art Made Practical: Intersections of Fine Art and Design in America, 1920-1945.
Padgett, Jennifer Christine.

Modern Art Made Practical: Intersections of Fine Art and Design in America, 1920-1945. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 317 p.

Source: Dissertations Abstracts International, Volume: 80-04, Section: A.

Thesis (Ph.D.)--Washington University in St. Louis, 2018.

This item is not available from ProQuest Dissertations & Theses.

During the early twentieth century, a range of artists, writers, and theorists saw design as a promising avenue for popularizing modern art and establishing the relevance of modern painting and sculpture to daily life. In educational texts, interior decoration guides, newspaper articles, museum publications, and artists' writings, the idea that painting and sculpture could (and should) inform the design of household goods became a frequently repeated validation for the wholesale embrace of modernism. This dissertation examines this discourse and individual projects in design by fine art artists that contributed to this development. In particular, I analyze the print discourse in newspapers and popular texts, the 1934 exhibition Practical Manifestations in American Art at the Downtown Gallery, the Federal Art Project's Design Laboratory, and the 1942 exhibition New Rugs by American Artists at the Museum of Modern Art in New York. My study opens a new line of thought regarding the role of practical goods as a means to promote a greater understanding of fine art during the early twentieth century. Rejecting the idea that modern art should occupy a discrete and autonomous realm, artists and theorists sought to define American modernism through its practical applications, integration into everyday life, and ability to transform consumer goods and industry for the better. Designs for textiles, salt and pepper shakers, glassware, and other goods by prominent painters and sculptors demonstrated the crossover potential of modern aesthetic languages many Americans still considered strange and alienating. The intersections between fine art and design signaled hope for a shifting role of the arts in national life, employing the agency of everyday objects to extend the scope of and audience for modernism.

ISBN: 9780438394452Subjects--Topical Terms:

2122720
American studies.
Subjects--Index Terms:

American art

Modern Art Made Practical: Intersections of Fine Art and Design in America, 1920-1945.
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520 $a During the early twentieth century, a range of artists, writers, and theorists saw design as a promising avenue for popularizing modern art and establishing the relevance of modern painting and sculpture to daily life. In educational texts, interior decoration guides, newspaper articles, museum publications, and artists' writings, the idea that painting and sculpture could (and should) inform the design of household goods became a frequently repeated validation for the wholesale embrace of modernism. This dissertation examines this discourse and individual projects in design by fine art artists that contributed to this development. In particular, I analyze the print discourse in newspapers and popular texts, the 1934 exhibition Practical Manifestations in American Art at the Downtown Gallery, the Federal Art Project's Design Laboratory, and the 1942 exhibition New Rugs by American Artists at the Museum of Modern Art in New York. My study opens a new line of thought regarding the role of practical goods as a means to promote a greater understanding of fine art during the early twentieth century. Rejecting the idea that modern art should occupy a discrete and autonomous realm, artists and theorists sought to define American modernism through its practical applications, integration into everyday life, and ability to transform consumer goods and industry for the better. Designs for textiles, salt and pepper shakers, glassware, and other goods by prominent painters and sculptors demonstrated the crossover potential of modern aesthetic languages many Americans still considered strange and alienating. The intersections between fine art and design signaled hope for a shifting role of the arts in national life, employing the agency of everyday objects to extend the scope of and audience for modernism.
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