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Symbolist Style. Chronology The Edwardian Period and World War I 1900 Exposition Universelle held in Paris; couturiers display their designs International.

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Presentation on theme: "Symbolist Style. Chronology The Edwardian Period and World War I 1900 Exposition Universelle held in Paris; couturiers display their designs International."— Presentation transcript:

1 Symbolist Style

2 Chronology The Edwardian Period and World War I 1900 Exposition Universelle held in Paris; couturiers display their designs International Ladies Garment Workers Union (ILGWU) founded 1901 Queen Victoria’s death, Edward VII assumes the throne First Paris exhibit by Pablo Picasso 1903 First successful flight by Orville and Wilbur Wright at Kitty Hawk, North Carolina The Great Train Robbery, first feature film, released 1905 Einstein formulates the theory of relativity 1908 Henry Ford makes first Model T Ford 1909 First newsreel film shown in Paris The Russian Ballet appears in Paris 1910 Women’s Wear Daily begins publication Death of Edward VII, George V succeeds to the throne Mexican Revolution Vernon and Irene Castle’s success as a dance team helps to launch a dance craze in the United States

3 Chronology The Edwardian Period and World War I Continued 1911 Cubists exhibit in Salon des Indépendants in Paris Fire in Triangle Shirtwaist Company, New York 1912 Henry Ford introduces the assembly line in Detroit for manufacturing cars Poiret designs costumes for show Le Minaret in which he uses hobble skirts Woodrow Wilson elected president 1913 16 th Amendment, establishing the income tax, is ratified G. Sunderback invents the slide fastener-later called the zipper 1914 Outbreak of World War I 1917 The United States enters World War I Russian Revolution overthrows Czarist government 1918 World War I ends 1919 The Bauhaus is established as a center for contemporary design in Germany

4 Symbolists Style: Baudelaire had an unremitting concern for structure and composition that would turn the intuitive, irrational, and subliminal into a carefully planned artistic product. Art was a movement, a self conscious attempt to impose a personal style and form onto the intangible moods and feelings lying below the surface of life. Symbolism… turned its back on objective reality… used symbols to stand for subliminal, intuitive feelings. Impressionistic Symbolism: artistic products that stressed the inner secrets of life through mood and suggestion without much concern for form. (art of suggestion) Stylism: artistic products that stressed style and manner of presentation over content. (marriage of mood and feeling to form and design) Expressionistic Symbolism: artistic products that depicted inner emotional states through violent, harsh, and distorted attacks on the senses. (distorted and shocking abstractions from real life)

5 Salome - Aubrey Beardsley (1872-1898) For Salome, Beardsley ironically appropriated the decadent theme of the evil, emasculating woman. His characters are often grotesque - notably in drawings he later described as "naughty." The Climax "Salomé", Oscar Wilde 1907 ed The Black Cape "Salomé", Oscar Wilde 1907 ed. The Dancer's Reward "Salomé", Oscar Wilde 1907 ed.

6 Art Nouveau Architecture and Decoration

7 Arts and Crafts – Glasgow School of Art (1898-1909) By Charles Rennie Macintosh (Scotland) Asymmetrical Sculpture - industrialization Rectilinear furnishings - cast and wrought iron, reinforced concrete and glass

8 ^ The Wassail By Charles Rennie Macintosh > The Music Room in Mackintosh's House For An Art Lover

9 French Art Nouveau Hector Guimard curvilinear - sinuous, flowing lines Malleability of wrought iron Machine aesthetic

10 Belgian Art Nouveau – Hotel Tassel Victor Horta (1892) Same style in Domestic Architecture

11 Spanish Art Nouveau – Casa Mila By Antonio Gaudi (1905-1910) Defying rational structure

12 Spanish Art Nouveau – Casa Balto By Antonio Gaudi (1906)

13 Arts and Crafts Movement - William Morris Biomorphic curves - or "whiplash" curves - found in nature Natural Body Shape

14 Nancy School - Louis Majorelle, Eugene Vallin, Emile Gallé Naturalism in design Revival of marquetry

15 1890’s & Edwardian Dress

16 The Belle Epoch ~1890’s, Through much of the 1890s some creative draping of the skirt remains. As the turn of the century approaches skirt construction will simplify. Newly inflated leg-of-mutton/gigot sleeves so large that both waists and heads appear abnormally small by comparison. Bustle dissolved… exaggerated fullness moves from the rump back to the torso. The standing band collar is an almost universal feature of bodices during this decade.

17 The Belle Epoch kick-ups: fitted sleeve shapes are generally cut with gathered fullness at the arm hole. Plastron Front: the “breast-plate” insert filling in the bodice center resembling a jacket. Apron Front: swaging at the front of the skirt.

18 1897.Outdoor costume. The bolero jacket (tailored, short open jacket ending above the waist) and matching skirt, with a sleeve shirting back to a more standard size. The Belle Epoch

19 1890’s. A young women with a decorative lace-trimmed shirtwaist blouse and skirt of brocade. A shirtwaist blouse similar to a mans with the exception of the leg-of-mutton sleeve. (Tortora, 338). The Belle Epoch

20 1896. A double-breasted jacket with contrasting trousers for the yachtsman: a tuxedo for dress; and a light-colored, double- breasted suit with a sack jacket and worn with a straw “boater” hat all were appropriate for summer wear. (Tortorro, 334). 1890’s Men

21 1896.Front and back view of the Chesterfield coat. Middle frockcoat. Hats worn include derby (left, a top hat (center), and a homburg (right). (Tortora, 345). 1890’s Men fedora

22 1890’s Men 1892.Man’s Inverness overcoat (Great Coat). (Payne, 18-38).

23 Edwardian Women ~1900-1914, The early Edwardian period is in essence a continuation of the Belle Epoque that is marked by what clothing historians call the "S-Curve" Silhouette. Pouter Pigeon: (pouched) front Health Corsets

24 The spirit of Edwardian woman was captured in the artwork of Charles Dana Gibson. The Gibson Girl and the Gibson Man. The man, clean shaven and angular, was the perfect mate for the woman whose shirtwaist was the power outfit of the time. The Gibson look was the first fashion that was completely American in origin. The shirtwaist itself was an American style and the first outfit to be easily massed produced. (Hoobler, 60)

25 The Gibson look and women’s shirtwaists were used of leisure and sporting activities as well as business. Bicycling was the great fad and outdoor activity of the turn of the century. These two couples are enjoying a find day in Denver, Colorado. (Hoobler, 63).

26 Edwardian Women Female clothing made in this fashion was labeled a tailormade. Generally these ensembles were suits comprised of matching skirts and jackets paired with a shirtwaist blouse. Louis Heel The late Edwardian period sees an abrupt silhouette change. The S-Curve evolves into a more vertical, columnar line. Referred to as Empire-Revival Picture hats (cartwheels): large in scale and lavishly decorated with artificial flowers, lace, buckles, feathers, and/or bird wings.

27 Edwardian Women Hats continue to be an important accessory in a lady's wardrobe. They remain on the larger side, but some styles grow in height rather than width. The evening gown displays a hobble skirt: long, tapered skirt. Orientalism Toque hat is characterized as being a tall brimless hat that somewhat resembles a lampshade.

28 Edwardian Men Edwardian men emulated the image of the "Arrow Shirt Man" drawn by J. C. Leyendecker. ~1900-1919, "There never was a time in history when everybody was dressed so nearly alike" --1898 Fashion Column The terms "blue collar" and "white collar" begin to refer to the type of profession in which one is employed. The new available tie is the oxford tie-a version of the broad end four-in- hand tie that was only 1 1/2" wide.

29 Edwardian Men Jacket, vest, trousers, shirt, and tie make up the appropriate attire for professional and business employees during the work week. Ditto Suit Sport Coats Morning/Cutaway Coats are still sometimes worn for daytime formal occasions.

30 Scene Design by Robert Edmond Jones Macbeth (1921) Discuss this image in regard to the ELEMENTS OF DESIGN

31 Costume Design by Leon Bakst Vaslav Nijinsk in "L'Après-Midi d'un Faune" by Debussy (1912) Discuss this image in regard to the ELEMENTS OF DESIGN

32 Costume Design by Leon Bakst Bacchante in "Narcisse" by Tcherepnin (1911) Discuss this image in regard to the ELEMENTS OF DESIGN


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