Download Free Talliss History And Description Of The Crystal Palace And The Exhibition Of The Worlds Industry In 1851 Volume 2 Book in PDF and EPUB Free Download. You can read online Talliss History And Description Of The Crystal Palace And The Exhibition Of The Worlds Industry In 1851 Volume 2 and write the review.

The Great Exhibition of 1851 was the outstanding public event of the Victorian era. Housed in Joseph Paxton’s Crystal Palace, it presented a vast array of objects, technologies and works of art from around the world. The sources in this edition provide a depth of context for study into the Exhibition.
Tallis' book, published in 1852, gives a vibrant account of the Great Exhibition, a key event of the Victorian period.
With this richly illustrated history of industrial design reform in nineteenth-century Britain, Lara Kriegel demonstrates that preoccupations with trade, labor, and manufacture lay at the heart of debates about cultural institutions during the Victorian era. Through aesthetic reform, Victorians sought to redress the inferiority of British crafts in comparison to those made on the continent and in the colonies. Declaring a crisis of design and workmanship among the British laboring classes, reformers pioneered schools of design, copyright protections, and spectacular displays of industrial and imperial wares, most notably the Great Exhibition of 1851. Their efforts culminated with the establishment of the South Kensington Museum, predecessor to the Victoria and Albert Museum, which stands today as home to the world’s foremost collection of the decorative and applied arts. Kriegel’s identification of the significant links between markets and museums, and between economics and aesthetics, amounts to a rethinking of Victorian cultural formation. Drawing on a wide range of sources, including museum guidebooks, design manuals, illustrated newspapers, pattern books, and government reports, Kriegel brings to life the many Victorians who claimed a stake in aesthetic reform during the middle years of the nineteenth century. The aspiring artists who attended the Government School of Design, the embattled provincial printers who sought a strengthened industrial copyright, the exhibition-going millions who visited the Crystal Palace, the lower-middle-class consumers who learned new principles of taste in metropolitan museums, and the working men of London who critiqued the city’s art and design collections—all are cast by Kriegel as leading cultural actors of their day. Grand Designs shows how these Victorians vied to upend aesthetic hierarchies in an imperial age and, in the process, to refashion London’s public culture.
From the Cadillac to the Apple Mac, the skyscraper to the Tiffany lampshade, the world in which we live has been profoundly influenced for over a century by the work of American designers. But the product is only the end of a story that is full of fascinating questions. What has been the social and cultural role of design in American society? To produce useful things that consumers need? Or to persuade them to buy things that they don't need? Where does the designer stand in all this? And how has the role of design in America changed over time, since the early days of the young Republic? Jeffrey Meikle explores the social and cultural history of American design spanning over two centuries, from the hand-crafted furniture and objects of the early nineteenth century, through the era of industrialization and the mass production of the machine age, to the information-based society of the present, covering everything from the Arts and Crafts movement to Art Deco, modernism to post-modernism, MOMA to the Tupperware bowl.
As a formative exemplar of early architectural modernism, Bruno Taut’s seminal exhibition pavilion the Glashaus (literally translated Glasshouse) is logically part of the important debate of rethinking the origins of modernism. However, the historical record of Bruno Taut’s Glashaus has been primarily established by one art historian and critic. As a result the historical record of the Glashaus is significantly skewed toward a singlular notion of Expressionism and surprisingly excludes Taut’s diverse motives for the design of the building. In an effort to clarify the problematic historical record of the Glashaus, this book exposes Bruno Taut’s motives and inspirations for its design. The result is that Taut’s motives can be found in yet unacknowledged precedents like the botanical inspiration of the Victoria regia lily; the commercial interests of Frederick Keppler as the Director of the Deutche Luxfer Prismen Syndikat; and imitation that derived openly from the Gothic. The outcome is a substantial contribution to the re-evaluation of the generally accepted histories of the modern movement in architecture.
This book explores the impact of the Middle East and the Orient on writing and performance in nineteenth-century British theatre.
A Contemporary Archaeology of London’s Mega Events explores the traces of London’s most significant modern ‘mega events’. Though only open for a few weeks or months, mega events permanently and disruptively reshape their host cities and societies: they demolish and rebuild whole districts, they draw in materials and participants from around the globe and their organisers self-consciously seek to leave a ‘legacy’ that will endure for decades or more. With London as his case study, Jonathan Gardner argues that these spectacles must be seen as long-lived and persistent, rather than simply a transient or short-term phenomena. Using a novel methodology drawn from the subfield of contemporary archaeology – the archaeology of the recent past and present-day – a broad range of comparative studies are used to explore the long-term history of each event. These include the contents and building materials of the Great Exhibition’s Crystal Palace and their extraordinary ‘afterlife’ at Sydenham, South London; how the Festival of Britain’s South Bank Exhibition employed displays of ancient history to construct a new post-war British identity; and how London 2012, as the latest of London’s mega events, dealt with competing visions of the past as archaeology, waste and ‘heritage’ in creating a vision of the future.