TY  - BOOK
AU  - Schafter,Debra
TI  - The order of ornament, the structure of style: theoretical foundations of modern art and architecture 
SN  - 0521791146
AV  - NK1442 .S33 2003
U1  - 729.094309034 21
PY  - 2003///]
CY  - New York
PB  - Cambridge University Press
KW  - Decoration and ornament
KW  - Europe, Central
KW  - Art nouveau
KW  - Themes, motives
KW  - Modernism (Art)
KW  - Art criticism
KW  - Europe
KW  - History
KW  - 19th century
KW  - Decoration and ornament, Ancient
KW  - Influence
KW  - Symbolism in art
N1  - Includes bibliographical references (pages 257-271) and index; 1; Introduction --; Cultural Context: Vienna at the Crossroads --; 2; The Order of Ornament in Nineteenth-Century Theories of Style --; John Ruskin and the Representation of Divine Order --; Owen Jones and Natural Structure --; Gottfried Semper and Evidence of Function --; Alois Riegl and the Psychological Disposition --; 3; Ornament and Language --; The Language of Architecture --; Ornament as Emblem --; The Formal Sign --; Symbolizing the Creative Process --; The Perceptual Signifier --; 4; Visual Evidence --; The Emblematic --; Structural Signs --; Functional Symbols --; Perceptual Stimuli --; Palais Stoclet as Gesamtkunstwerk --; 5; Conclusion --; Consequences --; The Subsequent Impact
N2  - "The Order of Ornament, the Structure of Style examines the emergence of modernism in Central European art, architecture, and design and its relationship to late nineteenth-century theories of style advanced by John Ruskin, Owen Jones, Gottfried Semper, and Alois Riegl. In addition to basing their investigations of artistic development on works produced in all periods and cultures, these theorists looked to natural science and linguistic studies for models with which to order their studies. They suggested to artists and architects that ornamental motifs and compositions from remote cultures and periods could furnish the means to create rational designs, express creative processes, and produce new perceptual possibilities for both the constructed facade and the painted surface. Debra Schafter's study thus positions nineteenth-century visual aesthetics within a broader intellectual context that is philosophical and scientific, while contributing to a new understanding of the origins of modernism outside of the premier centers often associated with the Modern movement."--BOOK JACKET
UR  - http://www.loc.gov/catdir/samples/cam033/2001025938.html
ER  -