Relevant bibliographies by topics / Decorative art

Academic literature on the topic 'Decorative art'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Decorative art"

1

Gurzhii, I. "DECORATIVE CERAMICS AS A BRANCH OF MODERN ART." Aesthetics and Ethics of Pedagogical Action, no. 29 (June 14, 2024): 100–111. http://dx.doi.org/10.33989/2226-4051.2024.29.306146.

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The article examines decorative arts as a type of visual arts that focuses on works of art creation, with the aim of decorating and giving them aesthetic appeal, as well as objects of a purely exhibition nature. Decorative ceramics are divided into the following types: exterior, interior, and exhibition, and have two directions of development: traditional and academic. Modern Ukrainian decorative ceramics is characterized as an essential branch of decorative arts that developed based on millennial traditions and has its territorial features. It has been found that the technique of making modern decorative ceramics can be divided into forming and decorating. Traditional decorative ceramics are formed by the method of sculpting by hand and on the potter’s wheel. Academic ceramics have broader possibilities of formation, such as sculpting, pottery, pressing or casting in plaster molds, layer formation, and 3D printing. The decoration of modern decorative ceramics is quite diverse, but the traditional techniques remain unchanged. They are engobe, ceremony, pasting, smearing with water. For academic decorative ceramics, a variety of decoration methods, both traditional and experimental, are used. The methods are the following: engobing, etching, pasting, coating with water, painting with metal oxides, painting with metal salts, painting under watercolor paints, painting over watercolor paints, painting with precious metal products and chandeliers It has been found that the artists do not limit their possibilities in academic ceramics. They are not bound by traditional decoration methods. Artists can do whatever they fantasize about, while in traditional ceramics, they must stick to regional features in the methods of decoration and formation.
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Shen, Kangning, Rongrong Tu, Rongju Yao, Sifeng Wang, and Ashish K. Luhach. "Decorative Art Pattern Mining and Discovery Based on Group User Intelligence." Journal of Organizational and End User Computing 33, no. 6 (November 2021): 1–12. http://dx.doi.org/10.4018/joeuc.20211101.oa20.

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With the continuous developments of real estates and the increasing personalization of people, more and more house owners are willing to search for and discover their preferred decorative art patterns via various house decoration cases sharing websites or platforms. Through browsing and analyzing existing house decoration cases on the Web, a new house owner can find out his or her interested decorative art patterns; however, the above decorative art pattern mining and discovery process is often time-consuming and boring due to the big volume of existing house decoration cases on the Web. Therefore, it is becoming a challenging task to develop a time-efficient decorative art pattern mining and discovery method based on the available house decoration cases provided by historical users. Considering this challenge, a novel LSH-based similar house owners clustering approach is proposed. A set of experiments are designed to validate the effectiveness and efficiency of our proposal.
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Tang, Xi Ya. "Decorative Arts of Gates Detail Components in Chinese Traditional Architecture." Advanced Materials Research 860-863 (December 2013): 1237–43. http://dx.doi.org/10.4028/www.scientific.net/amr.860-863.1237.

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Gate decoration art is one of Chinese traditional architecture decoration. It not only has own structure form and material form of building passageway against with that of other nations in the world, but so is a cultural background miniature of Chinese nation, and it is a material carrier of folk culture and decorative pattern. Decorative arts of gates detail components in Chinese traditional architecture have contained abundant aesthetic value and cultural connotation, all of this endowed gate decoration art with secret oriental color.
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Zhu, Yun Ming, and In Sik Shin. "A study on the Application of Hanwha Sangseok Border Decorative Patterns Based on the Rules of Shape Grammar." Korea Institute of Design Research Society 7, no. 2 (June 30, 2022): 333–44. http://dx.doi.org/10.46248/kidrs.2022.2.333.

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The border decorative patterns of Hanwha Sangseok is usually engraved on the edge of the painting in the form of a band, and it can be said to be the same as the frame of the picture screen. The existence of the border decorative patterns meets the decorative demand of Hanwha Sangseok and at the same time harmonizes with the main designs of Hanwha Sangseok to give artistry to the picture screen. The decorative patterns of Hanwha Sangseok forms an art element with very distinct ethnic characteristics through its own unique expression method and implements excellent innovation and value in use. With the application of Hanwha Sangseok border decoration patterns as the research topic, this paper organizes border decoration patterns by pattern type and explores the aesthetic significance of Hanwha Sangseok border decoration patterns from an aesthetic and humanistic perspective. In addition, by extracting the elements of the border decoration pattern, a new pattern is created and applied to the design of daily necessities through combination with the shape grammar system. The decorative pattern created using the rules of shape grammar is not too bound by the typical frame of the original decorative pattern while making use of the art elements of the Hanwha Sangseok border decorative pattern. This study more effectively implements the ethnicity and redesign potential of decorative patterns by seeking a contact point between decorative patterns with ethnic characteristics and modern design through the combination of shape grammar systems and Hanwha Sangseok border decorative patterns.
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Zhu, Jin, and Yi Fan Chen. "The Application of Folkloric Textile Decorative Art to the Regional Character of the Hotel." Advanced Materials Research 331 (September 2011): 3–8. http://dx.doi.org/10.4028/www.scientific.net/amr.331.3.

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The construction of the regionalism is not only affected the architecture space pattern, but also is closely related to the soft decoration art. This paper has analyzed the elements of the folkloric textile decorative art from the level of decoration pattern, color, material and technology. Taking decorative arts with regional characteristics as an example, the paper discusses how folkloric textile decorative art express the theme of the hotel and implicate the regional characteristics in symbolic elements and stylized language combined with the cultural history and folk custom in different areas. Meanwhile this paper summarizes approaches of creating regional character of modern hotel space. The adornment style should be determined according to the hotel orientation. The folkloric features should be strengthened in serialized designs to create the non-material artistic conception combined with other soft adornment.
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6

Biemond, Dirk Jan, Menno Fitski, Jan Van Campen, Elsje Janssen, Eveline Sint Nicolaas, and Femke D. "Acquisitions: Decorative Art." Rijksmuseum Bulletin 62, no. 2 (June 15, 2014): 188–213. http://dx.doi.org/10.52476/trb.9846.

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7

Bystriakova, Valentyna, Alla Osadcha, and Olesia Pilhuk. "The Use of Decorative Art Elements in the Works of Ukrainian Designers." Culturology Ideas, no. 15 (1'2019) (2019): 177–84. http://dx.doi.org/10.37627/2311-9489-15-2019-1.177-184.

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The article assesses the role of elements of decorative art in domestic design. It allocates sources and interrelation of decorative art and design, considers separate definitions of a concept of design. It is established that basic characteristic which helps to separate design from decorative creativity is manual artwork inherent in decorative art. The article argues that generally the design and decorative art are interdependent, while being rather autonomous, providing particular examples from creative practice of the Ukrainian artists and designers. It also considers functioning of creative platforms of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine. It is unconditional that the role of design steadily increases in the modern world, and a similar trend will only gain strength. Designers of our country managed not only to accumulate the Ukrainian traditional, original art in modern art objects, but also to solve a problem of innovations in decorative art, to keep it as a valuable reference point of modern culture according to the level of social and technological development of society. The role of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine which act de facto as art spaces for creative exhibitions of designers and other artists of our country is considerable.
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Kerimova, Nurangiz Ali. "On Some Peculiarities of Talysh Decorative-Applied Art." Studia Orientalne 24, no. 4 (2022): 116–25. http://dx.doi.org/10.15804/so2022407.

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The article discusses the Talysh national culture and its decorative-applied art. The author dwells on issues connected with the Talysh people’s history and the Talysh language’s peculiarities, on the history of the study of Talysh culture and decorative-applied art. It is pointed out that the decorative-applied art of the Talysh people is rich, original, and quite imitative. The author enumerates the world museums where samples of Talysh decorative-applied art are exhibited. The author also pointed out the spheres of handicrafts in which Talysh craftsmen stood out. So, Talysh craftsmen were brilliantly proficient in carpet weaving (including pile and pileless carpets, hesirs and buriya), decorating swords and daggers, embroidery, wood-carving, stone-carving, and many others. Besides, the Talysh traditions in other spheres of art are also mentioned. For instance, everyday dishes, articles made from clay, various items, utensils of everyday and ritual purpose, and artistic ceramics are also mentioned in the article. The author points out that all items made by Talysh craftsmen were always in great demand, but large-scale production did not mean degrading their quality. Talyshes were jewellers of the highest level and created very interesting products, real masterpieces. It is not occasional that samples of Talysh decorative-applied art are considered a very interesting cultural phenomenon. So, the materials discovered during archaeological excavations and their comparison with modern products prove that rich traditions of Talysh decorative-applied art are saved, are continued nowadays and are enriched by new achievements.
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Dudnik, M., L. Zhukova, and Y. Gordin. "Coloristic properties of decorative copper coatings applied by cold gas dynamic spraying." E3S Web of Conferences 389 (2023): 06019. http://dx.doi.org/10.1051/e3sconf/202338906019.

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The results of the coloristic properties research of art items with copper coatings applied by cold gas-dynamic spraying (CGDS), as well as the color determination technique, allowing to improve the approach to the decoration and restoration of art items, are presented. This allows us to study the quantitative properties of the color of decorative surfaces, which largely determines the quality and aesthetic properties of coatings and their subsequent decorative treatment.
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Zadorozhny, Bogdan. "THE ROLE OF STAINED WINDOWS IN MODERN RESIDENTIAL INTERIOR DECORATION." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2024, no. 1 (May 17, 2024): 67–72. http://dx.doi.org/10.23939/sa2024.01.067.

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Stained glass has attracted the attention of art critics and scientists for centuries. Stained glass art plays a special artistic role in decorating windows, doors, and ceilings. In addition to the traditional use of stained glass windows, they are used in the design of modern interiors. Although stained-glass windows are not a common design solution in interior design, they are increasingly used for their individualization in modern decoration. In the process of researching decorative decoration of modern interiors with the use of stained glass, new techniques and technologies of their implementation, compositional solutions, their color range were considered, and the main features of artistic expression were revealed. In modern interiors of residential premises, you can find stylized decorative and ornamental stylized stained-glass compositions, which are characterized by a linear division of the glass canvas with the use of faceted glass elements. With the help of stained glass windows, the space of the living room is filled with warm or cold, monochrome or polychrome colors, which enhances the visual perception of certain interior elements. Stained glass compositions using traditional and modern production technologies were analyzed and their role in modern interior design was determined.
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Dissertations / Theses on the topic "Decorative art"

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Raksadeja, K. "Digital and interactive media analysis of myths and traditions expressed in Thai fairground art." Thesis, Liverpool John Moores University, 2018. http://researchonline.ljmu.ac.uk/8604/.

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The core themes in Thai art have traditionally been didactic Buddhist ethical works and popular folkloric beliefs. Both are permeated with a cosmology and worldview that is supernatural but which is pervaded with ethical implications for people’s daily lives. Buddhist art aims to encourage selfless acts for the good of others, including other individuals, society, the country and the natural world. Such abstract themes have been rendered accessible to ordinary people by means of fantastical creatures and supernatural myths that insinuate moral values and demonstrate a coherent Theravada worldview that is uniquely Thai. This thesis explores the popular manifestations of such phenomena at the intersection of traditional folk beliefs and practices, popular entertainment, Thai official/ royal high culture and confessional Buddhist ethical instruction by analysing the art forms associated with temple fairgrounds at major festivals. Based on a review of related literature and analysis of Thai artists, it concludes that the renaissance of traditional Thai culture is reciprocal with authentic grassroots activities such as temple fairs fostered and supported by traditional patronage and cultural resources from the royal court culture and Buddhist ethics. Based on this analysis, my own work offers a modern rendering in the spirit of traditional forms utilising modern multimedia methods to create an immersive and interactive artistic experience.
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Hoban, Sally. "The Birmingham Municipal School of Art and opportunities for women's paid work in the Art and Crafts Movement." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5124/.

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This thesis is the first to examine the lives and careers of professional women who were working within the thriving Arts and Crafts Movement in Birmingham in the late nineteenth and early twentieth centuries. It utilises previously unresearched primary and secondary sources in art galleries, the Birmingham School of Art and local studies collections to present a series of case studies of professional women working in the fields of jewellery and metalware, stained glass, painting, book illustration, textiles and illumination. This thesis demonstrates that women made an important, although currently unacknowledged, professional contribution to the Arts and Crafts Movement in the region. It argues that the Executed Design training that the women received at the Birmingham Municipal School of Art (BMSA) was crucial to their success in obtaining highly-skilled paid employment or setting up and running their own business enterprises. The thesis makes an important new contribution to the historiography of The Arts and Crafts Movement; women's work in Britain in the late nineteenth and early twentieth centuries; the history of education and the industrial and artistic history of Birmingham.
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Baldini, Elisa <1970&gt. "Arti decorative: Bologna e Faenza tra Ottocento e Novecento." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/2175/1/baldini_elisa_tesi.pdf.

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La ricerca approfondisce gli studi iniziati dalla dott.ssa Baldini in occasione della tesi di laurea e amplia le indagini critiche avviate per la mostra sull’Aemilia Ars, società attiva nel campo delle arti decorative bolognesi e romagnole tra la fine dell’Ottocento e i primi anni del Novecento. Inizialmente si intendeva allargare questo tipo di ricerca a tutto il territorio regionale, ma data la complessità e l’estensione della materia, si è optato per una ridefinizione degli ambiti. La ricerca si è quindi interessata alle aree di Bologna e Faenza individuando le connessioni che, nel periodo indicato, intercorrono tra la cultura artistica locale e quella nazionale ed europea. Per quanto riguarda l’ambiente faentino ci si è concentrati sull’opera degli artisti del Cenacolo baccariniano e delle botteghe artigiane locali, che stabiliscono un apprezzabile contatto tra le due città. L’indagine si orienta soprattutto allo studio degli aspetti decorativi legati agli arredi urbani, agli allestimenti d’interni e alle arti applicate, considerando gli eventuali collegamenti con pittura, grafica e scultura. Nella prima parte del lavoro viene delineato sinteticamente il panorama artistico e culturale di Bologna e di Faenza nel periodo che va dall’ultimo decennio dell’Ottocento al primo decennio del secolo successivo. Le due città, connesse da una rete di collaborazioni tra artisti e laboratori artigianali, vivono un momento di particolare vivacità e grazie all’impegno di valenti personalità e alla congiunzione d’interessanti sinergie, sono in grado confrontarsi con importanti esempi nazionali ed internazionali. Il clima artistico faentino di questi anni risente ancora della significativa eredità neoclassica lasciata da Felice Giani, il quale oltre a fornire ad artisti e artigiani ineludibili esempi nei palazzi locali – tra cui primeggiano gli splendidi apparati decorativi di Palazzo Milzetti – si era fatto promotore insieme al Laderchi della locale Scuola di Disegno. La Scuola, che dal 1879 era divenuta Scuola d’Arti e Mestieri, viene diretta da Antonio Berti per un quarantennio, dal 1866 al 1906. Il Berti, formatosi in area fiorentina e sostanzialmente antiaccademico, si fa portatore a Faenza d’istanze macchiaiole. In questi anni la Scuola si proietta anche verso una concezione delle arti decorative che s’ispira al mondo inglese delle Arts and Crafts. L’artigianato bolognese nella seconda metà dell’Ottocento è ancora saldamente ancorato ad una tradizione che affonda le sue radici nei due secoli precedenti. La cultura figurativa della città è inoltre influenzata dalla Accademia Clementina, i cui insegnamenti non risentono particolarmente del clima internazionale. Nasce proprio in questo periodo Aemilia Ars, uno dei più innovativi movimenti del contesto nazionale nel campo delle arti decorative. I membri del gruppo, raccoltisi intorno alla carismatica figura di Alfonso Rubbiani nei primi anni Ottanta, sono attratti da influenze nordeuropee e sin dall’inizio si mostrano orientati a seguire precetti ruskiniani e preraffaelliti. Molto importante in entrambe le città, per l’evoluzione dello scenario artistico e artigianale – in questi anni più che mai unite in un rapporto di strettissima correlazione – è l’apporto e il sostegno offerto dai salotti, dai circoli, dai caffé e dai cenacoli locali. Queste realtà alimentano il processo di rinnovamento, fornendo valide occasioni d’incontro e confronto tra gli operatori culturali locali e ospiti italiani e stranieri; supportano inoltre le nuove esperienze tese allo svecchiamento del settore produttivo, attraverso quel fenomeno sociale così tipico di questi anni che è la filantropia di marca più o meno utopista e socialista. Solo per citare alcuni esempi si deve ricordare l’attività dei cenacoli che si raccolsero a Faenza intorno ad Angelo Marabini, a Pietro Conti e a Domenico Baccarini, ma anche il sostegno che le famiglie Cavazza e Pizzardi non fecero mancare alle iniziative del gruppo bolognese, o ancora l’attività di cenacoli artistici come l’Accademia della Lira e il Comitato per Bologna Storica ed Artistica. Nella seconda parte del lavoro l’attenzione si è focalizzata sull’attività degli artisti e artigiani legati ad Alfonso Rubbiani, uniti in un sodalizio che fin dalla metà degli anni Ottanta prende il nome di Gilda di San Francesco e successivamente si istituzionalizza in Aemilia Ars. Si è cercato di esaminare l’intero campo di interventi per settori produttivi, delineando le principali modalità e caratteristiche operative di Aemilia Ars, dando risalto ai maggiori operatori di ogni settore. Ha inoltre dato ampio spazio dal punto di vista documentario, iconografico e fenomenologico al raffronto tra il lavoro dei bolognesi e quello che si ritiene essere stato per questi artefici il più rilevante ambito di riferimento, cioè l’attività degli artisti e artigiani inglesi che si formarono ed operarono attorno alla figura di William Morris. In conformità ai dettami anglosassoni si avvia un rinnovamento della tradizione artigianale sensibile dal punto di vista formale al mondo della natura, da cui sono selezionate forme eccentriche, idonee a subire un processo di razionalizzazione sintetizzante. Per quanto riguarda le modalità di realizzazione, si assiste spesso all’adozione di metodiche ibride che risentono di una volontà di recupero di modi produttivi antichi congiunti a materiali nuovi o perlomeno inusuali. Questo slancio innovatore, che si avvale di elementi fitomorfi, si fonde a un gusto storicista rivolto in particolar modo al recupero di modelli tardogotici – assai diffuso in Europa – o del primo Rinascimento; in entrambi i casi si tratta di forme particolarmente adatte alla modalità lineare ed astrattiva a cui tendono i principali interpreti dell’ultimo ventennio dell’Ottocento. I settori produttivi che si sono indagati riguardano prevalentemente la ceramica, l’ebanisteria, i ferri battuti, l’oreficeria, le arti tessili e i cuoi. Gran parte di queste lavorazioni – che si erano attardate nella realizzazione di oggetti dalle forme pesanti, di ispirazione seicentesca, certamente poco adatte all’affermarsi di una produzione industriale – subiscono ora una decisa accelerazione verso forme più leggere e svelte che, adeguandosi alla possibilità di riproduzione seriale degli oggetti, si diffonderanno quasi capillarmente tra l’aristocrazia e la borghesia, faticando tuttavia a raggiungere le classi meno abbienti a causa degli elevati costi di produzione. Nell’ultima parte viene tracciato sinteticamente il quadro delle attività artistiche e artigianali faentine del periodo indicato, con una particolare attenzione all’opera delle personalità afferenti al Cenacolo baccariniano: Giovanni Guerrini (Faenza 1887 – Roma 1972), Francesco Nonni (Faenza 1885 – 1976), Domenico Rambelli (Faenza 1886 – Roma 1972), Orazio Toschi (Lugo 1887 – Firenze 1972) e Giuseppe Ugonia (Faenza 1881 – Brisighella 1944). Viene notato che i giovani artisti, riunitisi intorno alla figura di Domenico Baccarini, interessati all’area anglosassone ed impegnati nel rinnovamento dell’artigianato locale, si avvicinano marginalmente al gusto floreale nella fase iniziale di ispirazione simbolista, per approdare negli anni successivi ad esiti spesso più vicini all’Espressionismo o al gusto déco. Viene tracciato un panorama delle attività articolato per settori produttivi: ceramica, ebanisteria e ferri battuti, all’interno dei quali si è dato risalto a coloro che maggiormente hanno influito sull’innovazione e lo sviluppo dell’artigianato locale. Si è inteso ricercare quelle che furono le principali collaborazioni con gli artisti e le botteghe prese in esame nel capitolo precedente, mettendo in rilievo le affinità stilistiche con il contesto nazionale ed europeo. Oltre ai già citati artisti inglesi è stato messo in evidenza il riferimento all’area scozzese e mitteleuropea. Questa ricerca si propone lo studio delle relazioni che si stabiliscono tra l’estetica neomedievalista e l’aspirazione al rinnovamento delle arti decorative. Tale orientamento, che nasce e si sviluppa tra Francia e Inghilterra alla metà dell’Ottocento intorno agli scritti e alle opere di figure quali Eugène Viollet-le-Duc e John Ruskin, è prontamente recepito in Italia tra gli anni Ottanta e gli anni Novanta dell’Ottocento dal gruppo di artisti e artigiani riunitosi nel capoluogo emiliano intorno ad Alfonso Rubbiani. In seguito questi artisti prenderanno strade diverse, portando con sé la propria cifra stilistica legata a quel gusto che in Italia si chiamerà “Stile Floreale”, che nel frattempo si diffonde anche attraverso importanti vetrine quali l’Esposizione Internazionale di Arte Decorativa di Torino e le Biennali veneziane nonché sulle pagine di autorevoli riviste come Emporium e Arte Italiana Decorativa e Industriale. Il successo dell’esperienza bolognese unito alla collaborazione che sorse con la città di Faenza, si ritiene abbia offerto significativi stimoli per la formazione di alcuni tra i principali artisti faentini di fine secolo.
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4

Baldini, Elisa <1970&gt. "Arti decorative: Bologna e Faenza tra Ottocento e Novecento." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/2175/.

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Abstract:
La ricerca approfondisce gli studi iniziati dalla dott.ssa Baldini in occasione della tesi di laurea e amplia le indagini critiche avviate per la mostra sull’Aemilia Ars, società attiva nel campo delle arti decorative bolognesi e romagnole tra la fine dell’Ottocento e i primi anni del Novecento. Inizialmente si intendeva allargare questo tipo di ricerca a tutto il territorio regionale, ma data la complessità e l’estensione della materia, si è optato per una ridefinizione degli ambiti. La ricerca si è quindi interessata alle aree di Bologna e Faenza individuando le connessioni che, nel periodo indicato, intercorrono tra la cultura artistica locale e quella nazionale ed europea. Per quanto riguarda l’ambiente faentino ci si è concentrati sull’opera degli artisti del Cenacolo baccariniano e delle botteghe artigiane locali, che stabiliscono un apprezzabile contatto tra le due città. L’indagine si orienta soprattutto allo studio degli aspetti decorativi legati agli arredi urbani, agli allestimenti d’interni e alle arti applicate, considerando gli eventuali collegamenti con pittura, grafica e scultura. Nella prima parte del lavoro viene delineato sinteticamente il panorama artistico e culturale di Bologna e di Faenza nel periodo che va dall’ultimo decennio dell’Ottocento al primo decennio del secolo successivo. Le due città, connesse da una rete di collaborazioni tra artisti e laboratori artigianali, vivono un momento di particolare vivacità e grazie all’impegno di valenti personalità e alla congiunzione d’interessanti sinergie, sono in grado confrontarsi con importanti esempi nazionali ed internazionali. Il clima artistico faentino di questi anni risente ancora della significativa eredità neoclassica lasciata da Felice Giani, il quale oltre a fornire ad artisti e artigiani ineludibili esempi nei palazzi locali – tra cui primeggiano gli splendidi apparati decorativi di Palazzo Milzetti – si era fatto promotore insieme al Laderchi della locale Scuola di Disegno. La Scuola, che dal 1879 era divenuta Scuola d’Arti e Mestieri, viene diretta da Antonio Berti per un quarantennio, dal 1866 al 1906. Il Berti, formatosi in area fiorentina e sostanzialmente antiaccademico, si fa portatore a Faenza d’istanze macchiaiole. In questi anni la Scuola si proietta anche verso una concezione delle arti decorative che s’ispira al mondo inglese delle Arts and Crafts. L’artigianato bolognese nella seconda metà dell’Ottocento è ancora saldamente ancorato ad una tradizione che affonda le sue radici nei due secoli precedenti. La cultura figurativa della città è inoltre influenzata dalla Accademia Clementina, i cui insegnamenti non risentono particolarmente del clima internazionale. Nasce proprio in questo periodo Aemilia Ars, uno dei più innovativi movimenti del contesto nazionale nel campo delle arti decorative. I membri del gruppo, raccoltisi intorno alla carismatica figura di Alfonso Rubbiani nei primi anni Ottanta, sono attratti da influenze nordeuropee e sin dall’inizio si mostrano orientati a seguire precetti ruskiniani e preraffaelliti. Molto importante in entrambe le città, per l’evoluzione dello scenario artistico e artigianale – in questi anni più che mai unite in un rapporto di strettissima correlazione – è l’apporto e il sostegno offerto dai salotti, dai circoli, dai caffé e dai cenacoli locali. Queste realtà alimentano il processo di rinnovamento, fornendo valide occasioni d’incontro e confronto tra gli operatori culturali locali e ospiti italiani e stranieri; supportano inoltre le nuove esperienze tese allo svecchiamento del settore produttivo, attraverso quel fenomeno sociale così tipico di questi anni che è la filantropia di marca più o meno utopista e socialista. Solo per citare alcuni esempi si deve ricordare l’attività dei cenacoli che si raccolsero a Faenza intorno ad Angelo Marabini, a Pietro Conti e a Domenico Baccarini, ma anche il sostegno che le famiglie Cavazza e Pizzardi non fecero mancare alle iniziative del gruppo bolognese, o ancora l’attività di cenacoli artistici come l’Accademia della Lira e il Comitato per Bologna Storica ed Artistica. Nella seconda parte del lavoro l’attenzione si è focalizzata sull’attività degli artisti e artigiani legati ad Alfonso Rubbiani, uniti in un sodalizio che fin dalla metà degli anni Ottanta prende il nome di Gilda di San Francesco e successivamente si istituzionalizza in Aemilia Ars. Si è cercato di esaminare l’intero campo di interventi per settori produttivi, delineando le principali modalità e caratteristiche operative di Aemilia Ars, dando risalto ai maggiori operatori di ogni settore. Ha inoltre dato ampio spazio dal punto di vista documentario, iconografico e fenomenologico al raffronto tra il lavoro dei bolognesi e quello che si ritiene essere stato per questi artefici il più rilevante ambito di riferimento, cioè l’attività degli artisti e artigiani inglesi che si formarono ed operarono attorno alla figura di William Morris. In conformità ai dettami anglosassoni si avvia un rinnovamento della tradizione artigianale sensibile dal punto di vista formale al mondo della natura, da cui sono selezionate forme eccentriche, idonee a subire un processo di razionalizzazione sintetizzante. Per quanto riguarda le modalità di realizzazione, si assiste spesso all’adozione di metodiche ibride che risentono di una volontà di recupero di modi produttivi antichi congiunti a materiali nuovi o perlomeno inusuali. Questo slancio innovatore, che si avvale di elementi fitomorfi, si fonde a un gusto storicista rivolto in particolar modo al recupero di modelli tardogotici – assai diffuso in Europa – o del primo Rinascimento; in entrambi i casi si tratta di forme particolarmente adatte alla modalità lineare ed astrattiva a cui tendono i principali interpreti dell’ultimo ventennio dell’Ottocento. I settori produttivi che si sono indagati riguardano prevalentemente la ceramica, l’ebanisteria, i ferri battuti, l’oreficeria, le arti tessili e i cuoi. Gran parte di queste lavorazioni – che si erano attardate nella realizzazione di oggetti dalle forme pesanti, di ispirazione seicentesca, certamente poco adatte all’affermarsi di una produzione industriale – subiscono ora una decisa accelerazione verso forme più leggere e svelte che, adeguandosi alla possibilità di riproduzione seriale degli oggetti, si diffonderanno quasi capillarmente tra l’aristocrazia e la borghesia, faticando tuttavia a raggiungere le classi meno abbienti a causa degli elevati costi di produzione. Nell’ultima parte viene tracciato sinteticamente il quadro delle attività artistiche e artigianali faentine del periodo indicato, con una particolare attenzione all’opera delle personalità afferenti al Cenacolo baccariniano: Giovanni Guerrini (Faenza 1887 – Roma 1972), Francesco Nonni (Faenza 1885 – 1976), Domenico Rambelli (Faenza 1886 – Roma 1972), Orazio Toschi (Lugo 1887 – Firenze 1972) e Giuseppe Ugonia (Faenza 1881 – Brisighella 1944). Viene notato che i giovani artisti, riunitisi intorno alla figura di Domenico Baccarini, interessati all’area anglosassone ed impegnati nel rinnovamento dell’artigianato locale, si avvicinano marginalmente al gusto floreale nella fase iniziale di ispirazione simbolista, per approdare negli anni successivi ad esiti spesso più vicini all’Espressionismo o al gusto déco. Viene tracciato un panorama delle attività articolato per settori produttivi: ceramica, ebanisteria e ferri battuti, all’interno dei quali si è dato risalto a coloro che maggiormente hanno influito sull’innovazione e lo sviluppo dell’artigianato locale. Si è inteso ricercare quelle che furono le principali collaborazioni con gli artisti e le botteghe prese in esame nel capitolo precedente, mettendo in rilievo le affinità stilistiche con il contesto nazionale ed europeo. Oltre ai già citati artisti inglesi è stato messo in evidenza il riferimento all’area scozzese e mitteleuropea. Questa ricerca si propone lo studio delle relazioni che si stabiliscono tra l’estetica neomedievalista e l’aspirazione al rinnovamento delle arti decorative. Tale orientamento, che nasce e si sviluppa tra Francia e Inghilterra alla metà dell’Ottocento intorno agli scritti e alle opere di figure quali Eugène Viollet-le-Duc e John Ruskin, è prontamente recepito in Italia tra gli anni Ottanta e gli anni Novanta dell’Ottocento dal gruppo di artisti e artigiani riunitosi nel capoluogo emiliano intorno ad Alfonso Rubbiani. In seguito questi artisti prenderanno strade diverse, portando con sé la propria cifra stilistica legata a quel gusto che in Italia si chiamerà “Stile Floreale”, che nel frattempo si diffonde anche attraverso importanti vetrine quali l’Esposizione Internazionale di Arte Decorativa di Torino e le Biennali veneziane nonché sulle pagine di autorevoli riviste come Emporium e Arte Italiana Decorativa e Industriale. Il successo dell’esperienza bolognese unito alla collaborazione che sorse con la città di Faenza, si ritiene abbia offerto significativi stimoli per la formazione di alcuni tra i principali artisti faentini di fine secolo.
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Thickpenny, Cynthia Rose. "Making key pattern in Insular art, AD 600-1100." Thesis, University of Glasgow, 2019. http://theses.gla.ac.uk/41009/.

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Key pattern is a type of abstract ornament characterised by spiral shapes which are angular rather than curved. It has been used to decorate objects and architecture around the world from prehistory onward, but flourished in a unique form in Insular art (the art of early medieval Britain and Ireland, c. AD 600-1100). Ornament of many kinds was the dominant mode in Insular art, however, key pattern has remained the least studied and most misunderstood. From the 19th century, specialists mainly have relied on simplified, line-drawn reproductions rather than original artworks. These 'correct' hand-made details, isolate patterns from their contexts, and in the case of Insular key pattern, de-emphasise its important physical structures. This resulted in misunderstandings of key pattern's structure and an inability to recognise evidence for medieval artists' working processes. Postwar art historians and archaeologists then largely abandoned study of ornament structure altogether, in critical reaction to this earlier method. For two centuries, academics have overlooked the artists' role in pattern-making, and how their creative agency is reflected in patterns' internal structures. In response, this thesis presents a new, artist-centred method for the study of Insular key pattern, which adapts Michael Brennan's pioneering approach to Insular interlace (a different pattern), to suit key pattern's distinct structure. Close examination of objects and monuments, rather than idealised 'types', has revealed how Insular artists themselves understood key pattern and handled it in the moment of creation. The core of the thesis is an analysis of key pattern's structural properties, i.e. its physical parts and the abstract, often mathematical concepts that Insular makers used to arrange and manipulate these parts, in order to fix mistakes, fulfill specific design goals, or invent anew. Case studies of individual artworks support this analysis and demonstrate how key pattern is a vehicle for accessing Insular artists' thought processes, as they improvised with the pattern's basic structures for maximum creative effect. For the first time, this thesis also places Insular key pattern in its global context, via comparative analyses of key patterns from other world art traditions. This investigation has confirmed key pattern's origin in prehistoric basketry and weaving technologies and explains why Insular key pattern's geometric complexity remains unparalleled. The adaptation and expansion of this new analytical method for key pattern also proves its applicability to any type of ornament from any culture, making it immediately useful to art historians and archaeologists. This thesis therefore represents a larger paradigm shift that brings ornament study into the 21st century.
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Lu, Qiang. "The art of traditional architectural ornaments in northern China." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3297119.

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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2007.
Title from dissertation home page (viewed Sept. 25, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0705. Adviser: Henry Glassie.
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Donahue, Nathaniel J. "Decorative Modernity and Avant-Garde Classicism In Renoir's Late Work, 1892-1919." Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3602655.

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Renoir's late work represents a paramount contribution to the history of modernism that has often been overlooked and obscured according to a paradigm of reactionary escapism. This dissertation instead positions Renoir's staunch commitment to the decorative arts, and his advocacy of decorative and classical styles of painting in the late work, as central to the political and cultural debates of its time--both as a link to the traditions of the eighteenth century that satisfied politically conservative cultural nationalists, and as a badge of avant-garde formalism among new collectors of modern art such as the Steins, Maurice Gangnat, Paul Guillaume, and Albert C. Barnes. Renoir's response to modernity was less one of denial than one of protest against a mode of production that diminished the hand crafted sensuality of the object in favor of machine made efficiency. This interpretation re-imagines the dominant teleology of Modernism by re-installing the decorative and the Symbolist movement as the important aesthetic revolutions they were for Renoir and his young admirers: the Nabis, Picasso, Maillol, and Matisse. During his late career Renoir adopted successive hybrid styles that combined decorative and classical forms and which encouraged synesthetic responses in the viewer. His pictures of music-making, dress-up, millenary, and the notorious late bather paintings and sculptures unabashedly revel in the depiction of decorative motifs and tactile flesh, ultimately locating the origins of aesthetic form in the slippages between the senses of sight and touch.

Ultimately Renoir's late work serves as an alternative paradigm of modernity, one that complicates the traditional narrative predicated on Greenbergian purity, media specificity, and flatness. Instead, Renoir presents a body of work which traffics in opposites: a decorative style that is willfully heterogeneous, synesthetic, and which explores the liminal space between the pictorial and the sculptural. As an antihero of modernism, a detailed understanding of Renoir's late work expands our understanding of this period by intertwining decorative, classical and avant-garde painting styles in a web connecting the diverse aesthetic movements and social upheavals of the late nineteenth and early twentieth centuries.

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Measell, James Scott. "A provincial school of art and local industry : the Stourbridge School of Art and its relations with the glass industry of the Stourbridge district, 1850-1905." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7008/.

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Founded in 1851, the Stourbridge School of Art offered instruction in drawing, art and design to students engaged in industries, especially glass. Using social history methodology and primary sources such as Government reports, local newspapers and school records, this thesis explores the school’s development from 1850 to 1905 and explicates its relationships with the local glass industry. Within the context of political, economic, social and cultural forces, the school contributed to the town’s civic culture and was supported by gentry, clergy and industrialists. The governing Council held public meetings and art exhibitions and dealt with management issues. Working class men attended evening classes. Women from wealthy families attended morning classes. This thesis argues that a fundamental disconnect existed between the school’s purpose (art instruction to train designers) and its instruction (basic drawing and fine art). The school enrolled men employed in glass decorating but few from glass manufacturing. Classes reflected the South Kensington curriculum, and the art masters were unaware of the design needs of industry. Glass manufacturing firms provided modest financial support but did not encourage employees to attend, creating frustration for the Council. In contrast, similar schools in Brierley Hill and Wordsley were well-supported by the glass industry.
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Gaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence." Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.

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This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.
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Yallop, Jacqueline. "Narrative objects : decorative art in the museum and the novel, 1850-1880." Thesis, University of Sheffield, 2006. http://etheses.whiterose.ac.uk/14892/.

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In the face of financial disaster, Dr Lydgate attempts to share his concerns with his wife, Rosamund, in George Eliot's Middlemarch (1871). Rosamund's refusal to engage with the crisis, or to sympathise with her husband's despair, is repeatedly presented by Eliot as a preoccupation with inanimate, decorative objects: Rosamund 'turned her neck and looked at a vase on the mantelpiece'. 1 The mid nineteenth-century novel increasingly explores what it means to own, collect and display objects, and how personal and public lives can be constructed and defined by 'things'. Recent critical discussion has examined the significance of the Great Exhibition in London in 1851, and the subsequent international exhibitions, as a catalyst for, and an expression of, new ways of producing and consuming objects. 2 These dazzling exhibitions, in conjunction with the foundation of the South Kensington Museum (1857), began to formulate principles of design and models of taste for the public. Increasingly influential, however, was the development of the smaller, regional museum collections of decorative objects which began to emerge in the second half of the nineteenth century. Most of these shared with their national counterparts an intention to educate the public; almost all retained the intimacy and distinct authoring of their roots with local collectors. This thesis draws together common impulses from real and fictional evidence to suggest ways in which people's relationships to their objects were becoming increasingly sophisticated and intimate. It explores the growing role of local municipal museums in presenting manufactured and decorative pieces, in reinforcing moral and social messages around collecting and display, and in popularising decorative 'things' in the home and beyond, while also examining the growing fictional fascination with, and the increasing visibility of, objects in the novel.
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Books on the topic "Decorative art"

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1805-1878, Palliser Bury Mrs, ed. Decorative art. New York: Parkstone Press International, 2011.

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Museum, British, ed. Medieval decorative art. London: Published for the Trustees of the British Museum by British Museum Press, 1991.

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Marie-Pierre, Morel, ed. Wallpaper: Decorative art. [London]: Scriptum Editions, 2010.

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Flinders, Petrie W. M. Egyptian decorative art. Mineola, N.Y: Dover Publications, 1999.

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Tolstukhina, N. V. Decorative wood painting. Moscow: Interbook Business, 2008.

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Margaret, Bishop, ed. Decorative art, 1880-1980. Oxford [Oxfordshire]: Phaidon-Christie's, 1986.

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Philippe, Garner, ed. The decorative twenties. London: Herbert Press, 1988.

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Philippe, Garner, ed. The decorative twenties. New York: Whitney Library of Design, 1988.

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Peter, Thornton. Form & decoration: Innovation in the decorative arts, 1470-1870. London: Weidenfeld, 1998.

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Leidy, Denise Patry. Chinese decorative arts. New York, N.Y: Metropolitan Museum of Art, 1997.

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Book chapters on the topic "Decorative art"

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Sinn, Friederike. "Decorative Art." In A Companion to Roman Art, 301–20. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886205.ch16.

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Wu, Xueshan. "Decorative Pictures." In Art and Modernism in Socialist China, 183–99. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003450535-14.

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Mendillo, Michael. "Constellations as Decorative Art." In Saints and Sinners in the Sky: Astronomy, Religion and Art in Western Culture, 179–92. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-84270-3_11.

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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "‘Bookbinding as a Decorative Art’." In Victorian Material Culture, 379–80. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-115.

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Kontou, Tatiana, Victoria Mills, and Kara Tennant. "[Anon], ‘Household Decorative Art. II – Diaphanie.’." In Victorian Material Culture, 375–77. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315399980-112.

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Li, Chi. "Decorative Art of the Yin-Shang Dynasty." In Anyang, 163–81. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0111-8_12.

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Grabar, Oleg. "Notes on the Decorative Composition of a Bowl from Northeastern Iran*." In Early Islamic Art, 650–1100, 299–310. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003418498-23.

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Akerman, Kim. "The esoteric and decorative use of bone, shell, and teeth in Australia." In The Archaeology of Portable Art, 199–219. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315299112-13.

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Chiarenza, Stefano, and Barbara Messina. "Geometry and Art in Decorative Panels of Salerno Cathedral’s Floor." In Graphical Heritage, 689–700. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47983-1_61.

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Hughes, Linda K. "Aestheticism on the Cheap: Decorative Art, Art Criticism, and Cheap Paper in the 1890s." In The Lure of Illustration in the Nineteenth Century, 220–33. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230233867_13.

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Conference papers on the topic "Decorative art"

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YE, Xiaoxia. "Study On Decorative Art in Architecture." In 2016 International Conference on Engineering and Advanced Technology (ICEAT 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iceat-16.2017.67.

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"On the Decorative Beauty of Lacquer Painting Art." In 2020 Conference on Social Science and Modern Science. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000719.

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Yan, Zhangmin. "Application of Rock Color in Modern Public Decorative Art." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.072.

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Bukatova, V. V., and T. S. Samoilova. "ROLE OF ORNAMENTAL ART IN THE DEVELOPMENT OF CONTEMPORARY DECORATIVE AND APPLIED ART." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2021. http://dx.doi.org/10.22250/iss.2021.17.

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Ullrich, Anna. "The decorative arts of the mariner." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259157.

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Zhang, Lingling. "Decorative Blown Glass in Interior Furnishing." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.145.

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"The Application of Traditional Architectural Decorative Art in Modern Architecture." In 2019 International Conference on Arts, Management, Education and Innovation. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/icamei.2019.060.

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Liu, Qiyao. "ARCHITECTURAL AND DECORATIVE ART OF THE BUKUI MOSQUE IN QITQIHAR." In Дальневосточный фронтир. Исторический форум. Благовещенск: Амурский государственный университет, 2022. http://dx.doi.org/10.22250/9785934933990_210.

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Vang, E., I. I. ,. Orlov, and M. L. Polovinkina. "A Brief Overview of Historiography of Traditional Chinese Art." In Scientific achievements of the third millennium. НИЦ "LJournal", 2023. http://dx.doi.org/10.18411/satm-08-2023-03.

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This article examines the historiography of the problem of exploring the features of traditional art in China, which has been most clearly formed since about the 19th century. Later, already in the 20th century, the art and culture of the Chinese habitat is already clearly manifested in the variety of types and subjects of fine and decorative arts. The article gives a brief historiography of the problem from the beginning of the 19th century to the beginning of the 21st century, when hundreds of articles were published on the visual and decorative applied traditional art of China. They present both scientific and informational materials on the general history of the emergence of traditional art, as well as on individual objects of Chinese traditional art.
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Malcoci, Vitalie. "Scenographic art from Moldova - beginnings and evolutions." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.03.

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Th e end of the XIX century intensifi es the theatrical life in Bessarabia, a fact that leads to the improvement of staging methods and plastic and decorative solutions of the stage space. Th is gains even greater revival towards the middle of the XX century, being oft en mentioned by critics in the press of the time, who describe the decorations and the costumes in the staged performances. A new phase in the decorative-theatrical art of Bessarabia begins with the appearance of the great personalities who contributed to the creation and development of the Bessarabian Romanian scenography. Th is phase coincides with the activity of some outstanding personalities of the scene-painting in Bessarabia from the beginning of the XX century, such as Auguste Baillayre, Th eodor Chiriakoff , George Löwendal, Boris Nesvedov, Natalia Bragalia, Elisabeth Ivanovsky, Maria Starcevschi, Natalia Danilcenco, Elena Barlo and others. Th e decorations made by these plastic artists starts to be known to the local public. Th is familiarization takes place mainly through the tours in Bessarabian cities and towns, as well as in cultural centers.
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Reports on the topic "Decorative art"

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Hernández Benítez, Andrea, and Belén Ruiz Garrido. Creación feminista y experiencias de trabajo en el ámbito de las altas capacidades. Hacia un modelo de superación de categorías. Fundación Avanza, May 2024. http://dx.doi.org/10.60096/fundacionavanza/3432024.

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El artículo explora la creación femenina en las artes decorativas, centrada la obra de Mrinalini Mukherjee en la Bienal de 2022. Trata cómo las artistas desafían estándares tradicionales, invitando a reflexionar sobre su impacto en la cultura y arte
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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3

Norwegian Alternatives: Decorative and Applied Arts. Inter-American Development Bank, December 1999. http://dx.doi.org/10.18235/0006420.

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Fifty-two contemporary craft, decorative and applied art objects by thirty-one members of the Norwegian Association for Arts and Handicrafts, made in wood, fiber, clay, glass and as jewelry, from the collections of the Kunstindustrimuseet in Oslo, the Vestlandske Kunsindustrimuseum in Bergen, the Nordenfjeldske Kunstindustrimuseum in Trondheim, the Hadeland Glassverk in Jevnaker, and from independent artists who loaned their pieces for the exhibition.
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4

Design in 20th Century Barcelona: From Gaudí to the Olympic Games. Inter-American Development Bank, February 1997. http://dx.doi.org/10.18235/0006404.

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Fifty objects, from original bronzes and maquettes by Antoni Gaudí, to modern furniture and appliances, and Cobi, Javier Mariscal's design adopted for the mascot of the Olympic Games in 1992. The exhibit was developed with Barcelona architects Juli Capella and Quim Larrea, and presented in honor of the 38th Annual Meeting of the IDB Board of Governors held in March, 1997 in Barcelona. Most of the important 20th century Catalonian designers were represented, including Monegal, Sert, Bonet, Ricard, Tusquets, Lluscà, and Tresserra. Works were loaned from the Gaudí Museum at the Temple of the Holy Family, the Museum of Decorative Arts; the Museum of Arts, Industries and Popular Traditions; the National Museum of Catalonian Art, the Catalonian College of Architects, and the private collection of Juli Capella.
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5

What a Time It Was: Life and Culture in Buenos Aires. Inter-American Development Bank, February 1996. http://dx.doi.org/10.18235/0006437.

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Eighty-four works from the collections of the City Museum of Buenos Aires, the Isaac Fernández Blanco Museum, the Eduardo Sívori Museum, the National Museum of Decorative Arts, and the National Museum of Fine Arts in Buenos Aires, Argentina. The exhibition honored the 37th Annual Meeting of the IDB Board of Governors in Buenos Aires.
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