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Session 17: Industrial Revolutions 3 - Coggle Diagram
Session 17: Industrial Revolutions 3
Impacts of the arts
Humanism: Philosophical stance thatemphasises the individualand social potential andagency of human beings
Books were no longer a single object reproduced or written by request but were now a publication enterprise
Italy: Humanism and Germany: Printing Press
Neoclassicism
Late 18th and early 19th: aimed to regain for art and design the purity of form and expression which was felt lacking in the Rococo style of the first half of the 18th c.
New themes with moral an civic values, as a rejection to the frivolity amorality and superficiality of the French and Spanish Monarchs preferred style
Establishment of Good Taste,supposedly based on universalaesthetic judgment but stronglybased on the stylistic canon ofClassicism.
Artists increasingly sought noble themes of public virtue and personal sacrifice from the history of ancient Greece or Rome.
Italian tours to study classical remains became an essential part of artistic education
Perceptions
In 1757, David Hume argued that "beauty is not a quality in things themselves: it exists merely in the mind which contemplates them, and each mind perceives different beauty"
Emmanuel Kant also pointed out that the ground of aesthetic experience and good taste was assumed to be:
An innate capacity, an unmediated, non-rule-boundsense of what was beautiful guided by reason)
Seen to derive from purely empirical encounters with the world (experience
Understood to come from ‘subjective universality
The focus is placed on the one or ones who experience rather than onthe object’s intrinsic qualities:Objects were admired not for what they were but for their meaning
Productive systems
British Josiah Wedgwood industrialised the pottery business, transforming this ancient and traditional craft into a lucrative, modern activity closely linked to the world of luxury.
Throughout the 18th century, Wedgwood experimentedwith revolutionary techniques and designs,introducing glazes and clays unknown then into theporcelain market. He was also the driving forcebehind England's first pottery factory
In 1785, Wedgwood copied the shape of an ancientGreek amphora, originally a type of two-handledvessel for storing wine and oil
Wedgwood's version is purely decorative and wasprobably displayed on a domestic mantelpiece orin a private library.
Both the front and back are finely painted. The vasewas probably intended to be seen from both sidesor displayed in front of an overmantel mirror.
Artists were hired and separated from themanufacturers to satisfy production and consumption:The designers were key thus in terms of modelling,providing instructions for consistent execution andtaste appealing to the upper and middle class, givingvariety without increasing the costs