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A comprehensive view of the life, work, and ideas of one of the creative giants of modern American design Arriving in the United States in 1914, Viennese-born Paul T. Frankl (1886-1958) brought with him an outsider's fresh perspective and an enthusiasm for forging a uniquely American design aesthetic. In the years between the two world wars he, more than any other designer, helped shape the distinctive look of American modernism. This authoritative book draws on an extensive collection of unpublished documents and family papers and photographs to provide the first full account of Frankl's life and ideas. The book also explores the history of modern American design and the extent of Frankl's influence on its trajectory. In the early 1920s, Frankl opened a New York City shop that became an epicenter of American modernism. Over the next decades, his work encompassed everything from individual pieces of furniture and decorative accessories to entire interiors, and his style continuously evolved, from early "Skyscraper" furniture to relaxed and casual designs favored by the Hollywood elite in the 1930s to manufactured pieces for the mass market in the 1950s. The book charts the impact of Frankl's ideas on merchants and consumers, on his fellow designers, and on the changing look of American homes and workplaces. With close to 170 illustrations, Paul T. Frankl and Modern American Design is an essential reference on 20th-century design.
This study uncovers the plethora of new, innovative drawing strategies that shaped French visual arts at the height of France’s imperial power. Horace Lecoq de Boisbaudran, Eugene Guillaume, and Félix Ravaisson, among others, designed new drawing procedures that responded to leading concerns of modern art and the exigencies of modern life: landscape painting and picturesque tourism, industrial design, and the use of drawing as vehicles of knowledge production and in social control. From graphic regimes that were “purement mathématique” and demanded the practice of orthographic projection, to those that privileged the articulation of proportions and the cultivation of an internal measuring system, fin de siècle educators in the fine and applied arts radically transformed drawing strategies and its history. The shifting parameters of drawing pedagogy and practice unfold onto a wider set of theoretical concerns central to humanistic inquiry and art-making today: the philosophy and cultural history of habit-based learning, the relation between industrialization and drawing, and the relation between art and mathematics. The book will be of interest to scholars working in art history, French studies, history of art education, history of philosophy, and history of science.
This book explores the issue of cultural mobility within the interwar network of the European avant-garde, focusing on selected writers, artists, architects, magazines and groups from Poland, Belgium and Netherlands. Regardless of their apparent linguistic, cultural and geographical remoteness, their mutual exchange and relationships were both deep and broad, and of great importance for the wider development of interwar avant-garde literature, art and architecture. This analysis is based on a vast research corpus encompassing original, often previously overlooked periodicals, publications and correspondence gathered from archives around the world.