By Jeffrey L. Meikle
From the Cadillac to the Apple Mac, the skyscraper to the Tiffany lamp, the realm within which we are living has been profoundly stimulated for over a century by means of the paintings of yankee designers. however the product is just the tip of a narrative that's choked with attention-grabbing questions. What has been the social and cultural function of layout in American society? to provide precious issues that buyers desire? Or to cajole them to shop for issues they don't desire? the place does the fashion designer stand in all of this? and the way has the function of layout in the United States replaced over the years, because the early days of the younger Republic?
Jeffrey Meikle explores the heritage of yank layout, from the home made furnishings and artifacts of the early 19th century, throughout the period of industrialization and the mass construction of the desktop age, to the information-based society of the current, masking every little thing from the humanities and Crafts circulation to artwork Deco, modernism to post-modernism, the MOMA to the Tupperware bowl. superbly illustrated, Design within the USA additionally comprises feedback for extra examining, a timeline, and a listing of suitable museums and sites. it's an exceptional resource of knowledge for a person looking to discover the mind's eye and at the back of American layout.
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Additional resources for Design in the USA (Oxford History of Art)
Only nine cities had more than 100,000 inhabitants in 1860. By 1900 there were 28 such cities, and their share of the national population had risen from 8 per cent to nearly 20 per cent. Urbanization utterly transformed all aspects of life, including the economic relationships of people who within living memory had relied on peddlers for tinware, clocks, and chairs. Large cities depended on national markets exchanging raw materials and manufactured goods by railroad or by shipping on the Great Lakes and the Mississippi River.
Scattered throughout the book, in no particular order or scale, with silverware next to statuary, revolvers next to papier-mâché novelties, these images generated a complex phantasmagoria, as in the exhibition itself , pleasantly disorienting, which invited viewers to aspire to the artefacts displayed, to imagine a time when such goods would be ‘within the reach of the mechanic and tradesman as well as the opulent and noble’. 29 Even more enthusiastic was newspaper editor Greeley, a social reformer and abolitionist, for whom the New York Crystal Palace offered evidence that the nation’s mechanics, artisans, and designers the emergence of the american system, 1790‒1860 47 19 Gustav Herter Carved oak sideboard, 1853 According to the 1853 exhibition catalogue, Herter designed the sideboard, E[rnest] Plassman contributed the carving, and together they supervised its construction for Bulkley & Herter of New York.
Customers who were unable to visit the New York furniture showroom of Joseph Meeks, with its relatively inexpensive Empire tables and cabinets, could instead choose by number from among items offered on a lithographed broadside. The company boasted that it was ‘impossible to exhibit all the patterns’ because they had ‘to keep [on hand] so great a variety, to suit the taste of our numerous purchasers’. 10 Rural Americans gained access to consumer products by trading with a small army of peddlers travelling through the settlements and into the back country .