With extensive reference to and exposition on Wilde's theoretical writings and letters, Frankel shows that, far from being marginal elements of the literary text, these decorative devices were central to Wilde's understanding of his own writings as well as to his "aesthetic" theory of language. Extensive illustrations support Frankel's arguments.".
From the publishers of House Beautiful comes a book packed with ideas about decorating you home elegantly with all those books you've got lying around or sitting in boxes.
How They Decorated illustrates some of the great rooms of the twentieth century, whose stylish residents influence our tastes today. Gloria Vanderbilt cleverly noted, “Decorating is autobiography.” Reflecting that truism, the interiors in this book capture the individual approaches of these icons of style: Bunny Mellon’s spare all-American elegance; Hélène Rochas’s refined sophistication; Vanessa Bell’s colorful bohemianism; Mona von Bismarck’s breezy opulence; and Georgia O’Keeffe’s earthy chic. Author P. Gaye Tapp analyzes each of her subjects’ refined way of living, how she embellished her residences (or left them elegantly stark), and the long-lasting effects on today’s generation of designers and connoisseurs of beauty. The book is presented in four sections that describe the aesthetic approaches that the ladies took in decorating their abodes: “The Fashionably Chic”, “The Unconventional Eye”, “In the Grand Manner”, and “Legacy Style”. Each interior illustrates the crucial aspect of the lady’s definitive taste. Some worked closely with decorating legends such as John Fowler, Albert Hadley, Billy Baldwin, Syrie Maugham, and Jean-Michel Frank. Others took to the task of decorating single-handedly—like Pauline Trigère, Sybil Connolly, Vita Sackville-West, and Fleur Cowles. The interiors of these trendsetting ladies defied their time and inspire and delight to this day. In How They Decorated, one can learn from the most notable style muses of the last century.
The plastics industry is a major player for consumer items, notably for the automotive, consumer electronics and packaging industries, and is necessarily very active in innovation. As a result, moulded thermoplastics are achieving new heights in decorative appearance and quality. Many striking aesthetic effects are possible by employing new polymer blends coupled with a diverse range of decoration and surface treatment technologies. These can produce three-dimensional and tactile finishes, high definition images, flawless high gloss and metallic surfaces, as well as effects ranging from imitation materials, interferential colours, colour gradients, colour change and travel, gloss and matte combinations, and even acoustic or olfactory effects. Manufacturing processes to achieve these include several types of in-mould film, coating or decorating technique, relatively recent technologies to improve surface quality, as well as traditional separate decorating or coating processes such as dry offset; flexographic; inkjet; pad and screen printing; foil transfer; labelling; laser marking; plating; spray coating; and vacuum deposition. This unique book analyses and compares recent trends in each of over 20 types of mainstream manufacturing process and 10 classes of sensory effect they can produce. Supported by over 100 tables, a 3-year sampling of over 1,000 mentioned patent documents and hundreds of commercial developments helps to identify the main trends and their innovators, key innovative clusters and the most sought-after effects, as well as provide indications for the future.
This important book puts forward a new interpretation of Roman decorative art, focusing on the function of decoration in the social context. It examines the three principal areas of social display and conspicuous consumption in the Roman world: social space, entertainment, and dress, and discusses the significance of the decoration of objects and interiors within these contexts, drawing examples from both Rome and its environs, and the Western provinces, from the early Imperial period to Late Antiquity. Focusing on specific examples, including mosaics and other interior décor, silver plate, glass and pottery vessels, and jewellery and other dress accessories, Swift demonstrates the importance of decoration in creating and maintaining social networks and identities and fostering appropriate social behaviour, and its role in perpetuating social convention and social norms. It is argued that our understanding of stylistic change and the relationship between this and the wider social context in the art of the Roman period is greatly enhanced by an initial focus on the particular social relationships fostered by decorated objects and spaces. The book demonstrates that an examination of so-called 'minor art' is fundamental in any understanding of the relationship between art and its social context, and aims to reinvigorate debate on the value of decoration and ornament in the Roman period and beyond.
Decoration Day is a late spring or summer tradition that involves cleaning a community cemetery, decorating it with flowers, holding a religious service in the cemetery, and having dinner on the ground. These commemorations seem to predate the post-Civil War celebrations that ultimately gave us our national Memorial Day. Little has been written about this tradition, but it is still observed widely throughout the Upland South, from North Carolina to the Ozarks. Written by internationally recognized folklorist Alan Jabbour and illustrated with more than a hundred photographs taken by Karen Singer Jabbour, Decoration Day in the Mountains is an in-depth exploration of this little-known cultural tradition. The Jabbours illuminate the meanings behind the rituals and reveal how the tradition fostered a grassroots movement to hold the federal government to its promises about cemeteries left behind when families were removed to make way for Fontana Dam and Great Smoky Mountains National Park. Richly illustrated and vividly written, Decoration Day in the Mountains presents a compelling account of a widespread and long-standing Southern cultural practice.
Embodying an intricate blend of pattern and color, texture and composition, the Japanese kimono is a stunning garment with origins dating back to the Nara period (645?794). Its history is rich in tradition, culture, and art. Drawing her inspiration from the 18th- and 19th-century Japanese woodblock prints by such masters as Utamaro and Hiroshige, designer and fashion historian Ming-ju Sun has created this exotic collection of 26 exquisite costumes with two charming Japanese dolls to model them. The kimonos display a broad range of lovely fabrics ? from simple, practical cottons to luxurious silks and satins ? and a variety of traditional decorative elements ? geometrics, florals, stripes, checks, plaids, animals, landscapes, Japanese characters, and circular crests. All are sensitively illustrated with clean line and lush color in the style of Japanese woodcuts. This entertaining and educational paper doll collection will be a favorite with children and collectors. As a full-color survey of the Japanese kimono as an art form, the volume will be valued by costume designers, students of the history of fashion, and the many people fascinated by Japanese art and culture.
