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Author: Bruno Giberti Publisher: University Press of Kentucky ISBN: 0813181488 Category : Architecture Languages : en Pages : 427
Book Description
The 1876 United States Centennial Exhibition in Philadelphia was not only the United States' first important world's fair, it signaled significant changes in the very shape of knowledge. Quarrels between participants in the exhibition represented a greater conflict as the world transitioned between two different kinds of modernity—the Enlightenment of the seventeenth and eighteenth centuries to the High Modern period of the nineteenth and twentieth centuries. At the center of this movement was a shift in the perceived relationship between seeing and knowing and in the perception of what makes an object valuable—its usefulness as a subject of study and learning versus its ability to be bought and sold on the market. Arguments over design of the Centennial reflected these opposing viewpoints. Initial plans were rigidly structured, dividing the exhibits by country and type. But as some exhibitors became more interested in the preferences of their audience, they adopted a more modern stance. Objects traditionally displayed in isolated glass boxes were placed in fictive context—the necklace draped over a mannequin, the vase set on a table in a model room. As a result, the audience could more easily perceive these items as commodities suitable for their own environments and the fair as a place to find ideas for a material lifestyle. Designing the Centennial is a vital first look at the design process and the nature of the display. Bruno Giberti uses official reports of the U.S. Centennial Commission and photographs of the Centennial Photographic Company, as well as the ephemera of the exhibition and literary accounts in books, magazines, and newspapers to illuminate how the 1876 fair revealed changes to come: in future world's fairs, museums, department stores, and in the nature of display itself.
Author: Bruno Giberti Publisher: University Press of Kentucky ISBN: 0813181488 Category : Architecture Languages : en Pages : 427
Book Description
The 1876 United States Centennial Exhibition in Philadelphia was not only the United States' first important world's fair, it signaled significant changes in the very shape of knowledge. Quarrels between participants in the exhibition represented a greater conflict as the world transitioned between two different kinds of modernity—the Enlightenment of the seventeenth and eighteenth centuries to the High Modern period of the nineteenth and twentieth centuries. At the center of this movement was a shift in the perceived relationship between seeing and knowing and in the perception of what makes an object valuable—its usefulness as a subject of study and learning versus its ability to be bought and sold on the market. Arguments over design of the Centennial reflected these opposing viewpoints. Initial plans were rigidly structured, dividing the exhibits by country and type. But as some exhibitors became more interested in the preferences of their audience, they adopted a more modern stance. Objects traditionally displayed in isolated glass boxes were placed in fictive context—the necklace draped over a mannequin, the vase set on a table in a model room. As a result, the audience could more easily perceive these items as commodities suitable for their own environments and the fair as a place to find ideas for a material lifestyle. Designing the Centennial is a vital first look at the design process and the nature of the display. Bruno Giberti uses official reports of the U.S. Centennial Commission and photographs of the Centennial Photographic Company, as well as the ephemera of the exhibition and literary accounts in books, magazines, and newspapers to illuminate how the 1876 fair revealed changes to come: in future world's fairs, museums, department stores, and in the nature of display itself.
Author: Walter Smith Publisher: ISBN: 9781592180578 Category : Languages : en Pages :
Book Description
The second volume in a three-volume set of highly sought-after books that covers the industrial art, tapestries, and furniture on display at the 1876 Centennial Exhibition in Philadelphia.Originally published in 1876 by Professor Walter Smith, the second volume in the "Masterpieces of the Centennial Exhibition" series takes a dynamic look at late 19th-century artistry, craftsmanship, and industrial design featured at the World's Fair in Philadelphia, otherwise known as "art applied to indusry." This profusely illustrated tome of jewelry, furniture, textiles, sculpture, chandeliers, pottery, and metalworking is highly detailed and filled with contemporary critique and analysis from the Exhibition. Those interested in the development of modern industrial design will find this period look at the evolution of American art and craftsmanship, applied to both industrial and commercial designs, thoroughly fascinating.An art historian digitally scanned and re-mastered each 19th-century image from a priceless pristine copy of the original print. Masterpieces of the Centennial Exhibition 1876 Volume 2: Industrial Art Illustrated Special Edition is presented in the original type font with the author's intended layout. A new, retro-inspired cover design was created exclusively for this handsome reprinting.Historians and art enthusiasts alike will find themselves immersed in contemporary writing, period imagery, and a thorough examination of the pieces on display. One can almost imagine that they're there, soaking in the sights and sounds of the most fabulous party on Earth in 1876.
Author: Nick Yablon Publisher: University of Chicago Press ISBN: 022657413X Category : History Languages : en Pages : 415
Book Description
Time capsules offer unexpected insights into how people view their own time, place, and culture, as well as their duties to future generations. Remembrance of Things Present traces the birth of this device to the Gilded Age, when growing urban volatility prompted doubts about how the period would be remembered—or if it would be remembered at all. Yablon details how diverse Americans – from presidents and mayors to advocates for the rights of women, blacks, and workers – constructed prospective memories of their present. They did so by contributing not just written testimony to time capsules but also sources that historians and archivists considered illegitimate, such as photographs, phonograph records, films, and everyday artifacts. By offering a direct line to posterity, time capsules stimulated various hopes for the future. Remembrance of Things Present delves into these treasure chests to unearth those forgotten futures.
Author: Bruno Giberti
Author: Bruno Giberti
Author: United States Centennial Commission
Author: Walter Smith
Author: United States Centennial Commission
Author: United States Centennial Commission
Author: John Maass
Author: United States Centennial Commission
Author: Massachusetts. Commission, Centennial Exhibition, 1876
Author: 
Author: Nick Yablon