1000 Masterpieces of Decorative Art. Victoria Charles. Читать онлайн. Hotlib. HOTLIB.NET

1000 Masterpieces of Decorative Art

Jan Martel, Artists Rights Society (ARS), New York, USA / ADAGP, Paris

Introduction

Decorative and industrial arts, like all forms of art, are an expression of life itself: they evolve with the times and with moral or material demands to which they must respond. Their agenda and means are modern, ever-changing, and aided by technological progress. It is the agenda that determines the shapes; hence technology is also part of it: sometimes they are limited by its imperfections, sometimes it develops them by way of its resources, and sometimes they form themselves. Weaving was initially invented because of the need to clothe the body. Its development has been crucial to that of textile arts. Today, market competition has created the need for advertising: the poster is a resulting development and the chromolithograph turned it into an art form. Railways could not have existed without the progress of metallurgy, which in turn paved the way for a new style of architecture.

There is a clear parallel between human needs and the technology that caters to them. Art is no different. The shapes it creates are determined by those needs and new technologies; hence, they can only be modern. The more logical they are, the more likely they are to be beautiful. If art wants to assume eccentric shapes for no reason, it will be nothing more than a fad because there is no meaning behind it. Sources of inspiration alone do not constitute modernism. However numerous they are, there is not an inexhaustive supply of them: it is not the first time that artists have dared to use geometry, nor is it the first time that they have drawn inspiration from the vegetable kingdom. Roman goldsmiths, sculptors from the reign of Louis XIV, and Japanese embroiderers all perhaps reproduced the flower motif more accurately than in 1900. Some ‘modern’ pottery works are similar to the primitive works of the Chinese or the Greeks. Perhaps it is not paradoxical to claim that the new forms of decoration are only ancient forms long gone from our collective memory. An overactive imagination, an over-use of complicated curves, and excessive use of the vegetable motif – these have been, over the centuries, the criticisms ascribed to the fantasies of their predecessors by restorers of straight lines, lines that Eugène Delacroix qualified as monstrous to his romantic vision. What’s more, in the same way that there has always been a right wing and a left wing in every political spectrum, ancient and modern artists (in age and artistic tendencies) have always existed side-by-side. Their squabbles seem so much more futile, as with a little hindsight, we can see the similarities in the themes of their creations, which define their styles.

The style of an era is marked on all works that are attributed to it, and an artist’s individualism does not exempt his works from it. It would be excessive to say that art must be limited to current visions in order to be modern. It is, however, also true that the representation of contemporary customs and fashion was, at all times, one of the elements of modernism. The style of a Corinthian crater comes from its shape, a thin-walled pottery vessel inspired by the custom of mixing water and wine before serving them. But its style also results from its decoration:

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