Art and Design 15 Lecture 2_Early British Art and Design

Three, Britain and France's early art design

(a) Britain's early art design

1. Britain established the Association of Art, Design and Industry in 1915. Its members were art designers, industrialists and businessmen. Its work includes organizing exhibitions, fighting for orders, the development of art and design work evaluation standards and so on. It edited and published influential newspapers - which examined British art and design practice in detail - and organized book reviews discussing works on art and design and architecture.

The British Society of Art, Design and Industry set out its program in 1935: "The Society of Art, Design and Industry aims to improve the making of all the objects in the life around us. These objects are now manufactured industrially for large quantities of the same type of consumption. The ugliness of form is not a direct result of machine production. One should move away from the craft traditions of the past to understand the significance of this beauty, which expresses the requirements of the utilitarian nature of the object, the correct choice of materials, the precision and economy of production. The main principle and the main concern of the Association of Arts, Designs and Industries is the motto "Conformity to Function"." The most important image of the object was determined by the artist, who had an important place in the industrial management system in Britain. This gave rise to the second purpose of industrial design in Britain: to define the rights of the artist in industry and to promote the artist's creativity.

2. The Association of British Industrial Artists was founded in 1930. Initially, it was a group led by a number of art managers and an elected committee. Its role is to coordinate contacts with clients and other creative groups, including: the Royal Society of Arts, the Society of Advertising Artists, the International Association of Artists, the British Institute of Architects. It does not have its own magazine and publishes articles setting out its position in a variety of specialized and general art journals. It competes, often explicitly or implicitly, with the Society of Art, Design and Industry.

In the late twenties and early thirties, when Britain was hit by the world economic crisis, the business world demanded art and design to improve the competitiveness of its products, to stop production slipping and to seek a link with the market. An important principle in the mutual exchange of different cultures: the absorption of foreign culture must have the right conditions and soil.

3, Britain's most important art and design theorist in the first half of the 20th century, Reid, whose masterpiece, "Art and Industry", summarized the relationship between art and industry, which was the greatest concern of the British art and design community at the time. Previously, the British Ministry of Trade set up the Committee on Art and Industry to promote the innovation of art and design from top to bottom.

The book is divided into four sections: "Historical and Theoretical Aspects", "Form", "Color and Pattern", and "Art Education in the Industrial Age". The book is divided into four sections: "Historical and Theoretical Aspects", "Form", "Color and Pattern" and "Art Education in the Industrial Age". The main points of the book are:

(1) For nearly a century, attempts have been made to give industrial products an aesthetic appearance. This usually increased the cost of the product and had a negative impact on labor productivity. Decoration becomes a luxury. Instead of adapting industrial products to the aesthetic standards of craftsmanship of the past, new aesthetic standards should be developed that are compatible with modern production methods.

(2) Art is complete in its historical development, but its concrete forms are constantly changing. In order to eliminate the contradiction between art and industry, it is necessary not only to take into account the requirements of modern production, but also to understand the nature of artistic creation. Art gives materials such a form that it attracts attention emotionally or intellectually and stirs up feelings. This shows the universality of the role of art forms.

(3) The use of new materials, the revolution in architecture, the renewal of transportation and communication, all this raises many questions about the transformation of the living environment, which should have a uniform style, and some may think that the question of beauty and artistic perfection will take too much energy and time.

(4) Can industrial products be viewed on the scale of artistic creation? To answer this question, Reid argues for a division of art into two kinds: human art and abstract art. In human art, human meaning predominates and the art form is a purveyor of ideals and feelings. In abstract art, attention is not focused on ideals, but on forms, which appeal directly to human aesthetic experience.

4, the first half of the 20th century, British art and design practice is mainly manifested in three aspects:

(1) daily necessities design, such as razors, radios, gas stoves, electric irons, etc., this kind of design pay attention to the unity of the functionality and shape of the line style;

(2)? Machine design, such as locomotives, automobiles, engines, sewing machines, printing presses, this type of design pay attention to the product image and complementary functions, the interaction of motorized functions;

(3) the use of new materials, new pattern cycle and color variation of industrial decorative arts, these new materials and new techniques later used in porcelain,

textile and furniture production. British Association of Art, Design and Industry, the Society of Industrial Artists, the Department of Trade, Arts and Industry Committee in order to promote art and design, often at home and abroad to hold exhibitions, academic conferences, radio lectures.