The other, taken from experiments made in the automobile industry, was foam- rubber upholstery. These advances had great significant for the furniture. Another important development was the way in which architects began to think of rooms as " capsules" in which the building structure, furniture, and function were completely integrated ("St. James", 658). All of these elements emerged in the post war period. .
In the development of furniture, first came handcrafts, then came the industrial revolution, and then came chaos. A basic statement, but a realistic description of the history of furniture design. Once the machine age arrived in full force, there was a conflict between handcrafts and machine made products. There was confusion and debate. "Is the machine capable of producing art?" asked William Morris (Pile, 210). He decided it was not and called for the return to handcrafts (Pile, 210). But he was wrong. The machine is capable of producing art if it is properly used. This was the key to early twentieth century furniture design, experimentation to find the best possible materials and methods of construction.
From the Industrial Revolution to the present day, two main streams have existed: those who work with the machine and those who seem unwilling to acknowledge its invention (Pile, 183). While art nouveau, art deco, and following styles, right up to the current movement, strive to use ornamentation as a means of striking back at machine technology, some designers have chosen to accept the machine and it potential and to work with it in developing new technologies, new techniques, and new concepts (Pile, 210, 226). In this category are such designers as Belter and Thonet, who worked with machines to find fresh ways of bending wood ("St. James, 443). Going even beyond this class are the likes of Breuer, Le Corbusier, and Aalto, whose creative approaches mated design and industry to form entirely new products.
These efforts can be best understood by examining post-modernism. ... To understand post-modernism we must first understand modernism. ... Post-modernism can be viewed as an expansion of modernism. ... Post-modernism is all encompassing. Post-modernism does not allow for only one definition for anything. ...
Swiss typography carried out the desires of the pre-war pioneers for objectivity in visual communication. ... Weingart rebelled against the minimalism of Modernism and initiated a body of work with his students that pushed early modernisms Constructivist experiments to their logical extremes. ... Two years after he left Basel, Weingart was offered a teaching assistant post for the International Advanced program for Graphic Design and so returned. ... But the Avant-garde was there through-out Modernisms reign. ... As Postmodernism did to Modernism. ...
Collecting War Debts a. ... Traditionalism and Modernism Clash 1. ... During the post war Red Scare, fear that communists and socialists from eastern Europe were traveling to the U.S. with their revolutionary doctrines added emotional edge to the debate. 2. ... Modernism in Art and Literature 1. ... Post War Literature Flowers a. ...
Modernism in Art and Architecture The movement from modernism to postmodernism and the development of architectural form is clearly an underlying principle even in the late 20th century structures created by architects like Libeskind. ... This can be best understood through the assessment of economic and social changes that went along with the industrial development and post-World War II expansion of capitalism (Best and Kellner, 2000). ... "The culture of post-modernism is `dynamic and decentred'...as apparent opposites overlap. ... By comparison, the ideals of modern...
Both men wrote in a post-war era. Eliot wrote The Wasteland following World War I, although he denies that the poem was about the war, there is evidence of the overall feeling during this post-war period. ... Eliot wrote during a period of modernism. ... Each man's view of the world in a post-war society perfectly captures the feeling of the time. Eliot's work is titled The Wasteland; he believes all of the post-war society is just that, a wasteland. ...
From a prominent magazine that solely embraced on modernism, Margaret Anderson accused Duncan for being a "pseudo-artist." ... The post war generation brought immigrants into the United States. ... Duncan's expressive body was a surprise to the post war generation. The war brought more freedom to people. ...
This new style from these lost artists had Hemmingway as a figurehead, one of the literary minds who brought in the style of writing known today as Modernism. ... They distrusted the sickening behavior of the rich at home, and the world itself was torn apart by war. ... After the war, the "lost generation" lost their traditional values. ... Ernest Hemmingway unlike many of his contemporaries, was actually there during the wars and strife. ... He portrayed real emotion through honesty of the post war "lost generation", giving realism to a detached society. ...
