The Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries

From the beginning of the 19th century up to the present, ornament has faced different crises because it is not an autonomous art but traditionally attached to a surface, be it architecture or applied arts. The fate of ornament has varied, according to leading theorists and critics in these fields....

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Autor principal:	Barbara von Orelli-Messerli
Formato:	article
Lenguaje:	PT
Publicado:	Universidade do Estado de Santa Catarina (UDESC) 2020
Materias:	ornament architecture applied arts design 19th century Art Deco Arts in general NX1-820 Visual arts N1-9211
Acceso en línea:	https://doaj.org/article/45d2a96abacb489e98621a74e67a08c8
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spelling	oai:doaj.org-article:45d2a96abacb489e98621a74e67a08c82021-11-05T14:30:57ZThe Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries10.5965/21752346122720200111984-95322175-2346https://doaj.org/article/45d2a96abacb489e98621a74e67a08c82020-05-01T00:00:00Zhttps://periodicos.udesc.br/index.php/palindromo/article/view/17290https://doaj.org/toc/1984-9532https://doaj.org/toc/2175-2346From the beginning of the 19th century up to the present, ornament has faced different crises because it is not an autonomous art but traditionally attached to a surface, be it architecture or applied arts. The fate of ornament has varied, according to leading theorists and critics in these fields. In 1812, Percier and Fontaine exhorted architects and artisans to use ornament with consciousness and care. Gottfried Semper could even conceive of applied arts without ornament, and his utmost concern was to show the original function of objects that they had lost over time. He wanted to clarify the purpose of an object, not only from a functional point of view, but also iconographically. Christopher Dresser, with a background as a biologist and ‘ornamentist’, was the first industrial designer to create objects without ornament, following the influence of Japanese art. The death knell apparently tolled for ornament in 1908 with Adolf Loos’ talk on Ornament and Crime. The subsequent opposition of Art Deco and Modernism was a clash of cultures, perceptible even nowadays among architects and art historians. At a certain point, as recent studies have pointed out, there was a merging of these two art movements. At present, ornament has made a comeback and been reintegrated into architecture in a new way and spirit.Barbara von Orelli-MesserliUniversidade do Estado de Santa Catarina (UDESC)articleornamentarchitectureapplied artsdesign19th centuryArt DecoArts in generalNX1-820Visual artsN1-9211PTPalíndromo, Vol 12, Iss 27 (2020)
institution	DOAJ
collection	DOAJ
language	PT
topic	ornament architecture applied arts design 19th century Art Deco Arts in general NX1-820 Visual arts N1-9211
spellingShingle	ornament architecture applied arts design 19th century Art Deco Arts in general NX1-820 Visual arts N1-9211 Barbara von Orelli-Messerli The Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries
description	From the beginning of the 19th century up to the present, ornament has faced different crises because it is not an autonomous art but traditionally attached to a surface, be it architecture or applied arts. The fate of ornament has varied, according to leading theorists and critics in these fields. In 1812, Percier and Fontaine exhorted architects and artisans to use ornament with consciousness and care. Gottfried Semper could even conceive of applied arts without ornament, and his utmost concern was to show the original function of objects that they had lost over time. He wanted to clarify the purpose of an object, not only from a functional point of view, but also iconographically. Christopher Dresser, with a background as a biologist and ‘ornamentist’, was the first industrial designer to create objects without ornament, following the influence of Japanese art. The death knell apparently tolled for ornament in 1908 with Adolf Loos’ talk on Ornament and Crime. The subsequent opposition of Art Deco and Modernism was a clash of cultures, perceptible even nowadays among architects and art historians. At a certain point, as recent studies have pointed out, there was a merging of these two art movements. At present, ornament has made a comeback and been reintegrated into architecture in a new way and spirit.
format	article
author	Barbara von Orelli-Messerli
author_facet	Barbara von Orelli-Messerli
author_sort	Barbara von Orelli-Messerli
title	The Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries
title_short	The Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries
title_full	The Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries
title_fullStr	The Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries
title_full_unstemmed	The Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries
title_sort	crisis of ornament: evaluation and intercultural divergences in the visual arts of the 19th and early 20th centuries
publisher	Universidade do Estado de Santa Catarina (UDESC)
publishDate	2020
url	https://doaj.org/article/45d2a96abacb489e98621a74e67a08c8
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The Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries

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