Realistic Style
Realistic Style:
Systematic Search into the Human Personality and society.
The factory system = industrialization and urbanization = urban slums
The study of sociology – scientific method based on cause-and-effect
Darwin and the survival of the fittest
“The self, and, therefore the self-worth, could be understood only by facing,
unflinching, the true facts of life and talking only about the phenomenal world.”
Realism did not belong to the people, but to the avant-garde artists,
intellectuals, craftsmen and industrialists in their business procedures as
opposed to the ideals of their private life.
Chronology
The Crinoline Period
•
1850-1870
•
Queen Victoria continues to occupy the British throne
1851
•
Isaac M. Singer invents the first practical sewing machine
1852
Louis Napoleon becomes Napoleon III and the Second French Republic becomes the Second Empire
1857
•
Hoopskirt or cage crinoline is introduced
1858
•
Charles Worth opens couture established in Paris
1859
•
Charles Darwin publishes his theory of evolution in Origin of Species
1860
•
Charles Worth meets the Empress Eugenie and begins to design her clothes
1861
•
Reunification of Italy
1861-1865
•
Civil War in the United States
1862
•
Congress passes the Morill Act, establishing Land Grant Colleges
1863
•
Emancipation Proclamation ends slavery in the United States
•
Ebenezer Butterick patents the first sized, paper patterns for clothing
•
1865
•
Abraham Lincoln is assassinated
•
1867
•
The United States purchases Alaska from Russia
•
Harper’s Bazaar, fashion magazine, begins publication
•
1869
•
Transcontinental railroad completed
Chronology
The Bustle Period
1870-1900
•
Queen Victoria continues to occupy throne of England
1870-1871
•
Franco-Prussian War; Napoleon III surrenders to Prussian and abdicates
1871
•
Civil War in France
1872
•
Steam-powered machine of cutting multiple layers of cloth introduced
1874
•
Impressionist artists show their work at the Salon des Indépendants in Paris
1880s and 1890s
•
Aesthetic movement in the arts
•
English writer Oscar Wilde lectures about Aestheticism in the United States
Realistic
Architecture
Functional
Practical
Rational
The Functionalist, machine-oriented design mode is characterized by:
• the use of geometric form and angular line
• materials such as glass, steel, concrete and eventually plastics - materials
that are hard and smooth in texture
• a preference for primary colors - red, yellow and blue
The Nature-oriented design mode is characterized by:
• biomorphic (natural) forms and curved lines
• natural materials - wood, stone, rough and soft textures
• a preference for nature-related colors - russet, brown, green
Realistic Style: c. 1837-1905
The rise of the factory system of production in the early 19th century had a
powerful effect on style and design. Production was no longer under the control of a
single individual. The process was broken up, displacing handcraft techniques.
Product design was now dictated by the efficient use of the machine. Designers and
architects were challenged to develop a new aesthetic of function.
Proto-Functionalist Mode: REACTION…designers felt their social and ethical
values were under threat from a machine-dominated world turned back to styles of
the past and clung to handcrafting methods.
Picturesque Mode: REGRESSIVE… designers who continued to cling to worn-out
historical models through the 19th century, and indeed into the 20th.
• The Gothic Revival: England
• The Neo-Baroque: France
• The Neo-Gothic: America
• Railway Station Architecture
Proto-Functionalist Mode
Eiffel Tower (1887-1889) By Gustave Eiffel
The star attraction of the Paris Universal Exposition of 1889. The iconic structure was
considered by architects, artists and writers of the time to be utterly devoid of grace.
Represented the loss to society of a pre-industrial sense of beauty.
Proto-Functionalist Mode
Bibliothêque National (Paris, 1868) By Henri Labrouste
The vaulted ceilings of the main reading rooms are supported by slender iron
columns, each vault containing a circular oculus to provide light. The interior space
has an ethereal Gothic feel to it, with its reference to stone vaulting in the patterned
ceiling of the domes.
Proto-Functionalist Mode
Realistic Tradition – The Crystal Palace (English, 1851 - Burnt 1936)
By Joseph Paxton
Reinforced Concrete: encased iron post in concrete
The final building utilized 550 tons of wrought iron, 3,500 tons of cast iron, 30 miles of gutters,
202 miles of sash bars and over 600,000 feet of wooden flooring. The building, being 1851 feet
long by 456 feet at its widest point, covered approximately 19 acres and was clad in just under
900,000 feet of glass which gave rise to its name, the ‘Crystal Palace’.
Realistic Tradition – The Crystal Palace (1851 – Moved 1852 – Burnt 1936)
By Joseph Paxton
Picturesque Mode
English Gothic Revival - Palace of Westminster (House of Parliament)
(1836-1860) By Charles Barry and A. W. N. Pugin (Big Ben)
Victorians showed their yearning for the past and exotic times
and places through their consumption patterns.
Pointed Arches - Lancet Windows - Perpendicular Style
Picturesque Mode
French Beaux Arts Style - Paris Opera House (Palais Garnier) (1861-1878)
By Charles Garnier
Neo-Baroque: exuberance and sculptural qualities
Imperialist Showmanship
Beaux Arts : A very rich, lavish and heavily ornamented classical
style taught at L'Ecole des Beaux Arts in Paris in the 19th
century. Influenced the last phase of Neoclassicism in the US.
Picturesque Mode
The Cour Carre (Paris, 1546)
by Pierre Lescot
Railroad Station Architecture - Gare Saint Lazare
(Paris, 1841-1843) By Alfred Armand
The rift between the engineer and the architect begins.
“True" architecture was concerned with the application
of the appropriate historical style to a domestic or
public building, according to its purpose.
Gare Saint Lazare (Paris, 1877)
By Claude Monet
American
Medici-Riccardi Palace (1444)
strong, uncomplicated surfaces of
rusticated stone, using the round
arch in simple repeated patterns.
The Marshall Field Warehouse (Chicago, 1885)
By Henry Hobson Richardson
Trained in the Beaux Arts style in Paris, H.H. Richardson returned to America in
1865, he broke with historicism and developed a fresh approach, incorporating
Romanesque textures into Renaissance-inspired forms.
American
Neo-Medieval - Trinity Church (Boston, 1872)
By Henry Hobson Richardson
While the exterior exhibits a historicist approach, the interior of the church is one of
the leading examples of the Arts and Crafts aesthetics in the US (coming soon).
Furniture and
Decoration
The Proto-Functionalist Mode:
• Eiffel and Labrouste introducing steel into construction,
Richardson and Sullivan embracing the multistoried
structure
• The Arts and Crafts Movement and William Morris in
interior design and furniture
• "Aesthetic dress", a move toward rationalism and reform
in women's fashion
The Picturesque Mode:
• Historicism and the Gothic and Baroque Revival in
architecture.
• Revivals of several styles in furniture and interior
decoration, most notably Gothic and Renaissance.
• The Crinoline and Bustle period in dress.
The Victorian
Period
(1837-1905)
Early Victorian (1830-55):
Borrowings from the Grecian, Gothic, Italian Renaissance, Elizabethan, Louis XIV,
and Rococo.
High Victorian (1855-70):
Historicism is subdued; cleaner, more rectilinear style. Borrowing from Medieval style.
Late Victorian (1870-1901):
Borrowing from European Renaissance styles (Italian and French)
Waring and Gillow Mfg. (English, 1884-7)
Gothic tracery, ogival curves, cusped
arches, crockets and finials.
Ackermann’s Repository
Gothic Bed (1826)
Sideboard by A.W.N. Pugin
(British c. 1830) Neo-Gothic
The Leland Stanford Residence (San Francisco, 1876)
Furniture and windows are smothered in heavy draperies. Carpets are piled one on
the other. Emphasis has been placed on collected artifacts, memorabilia, and a
mish-mash of details from a range of historical styles.
Furniture from the London Exhibition (1851)
Realistic Dress
Dress styles in the 19th century saw a widening divide between clothing that was
mass-produced through the factory system, and clothing that was designed by an
elite group of designers for the wealthy middle class and the remnants of the
European aristocracy.
These designers or couturiers established their production houses in Paris, and
created a new and powerful fashion industry, the French couture, under the
umbrella of the Chambre Syndicale de la Couture Parisienne. The organization reestablished Paris as the fashion capital of the world.
Shifting from the Romantic
The young Queen Victoria, who had come to
the throne in England in 1837 at the age of
eighteen. Following current styles.
Décolletage [dey-kol-tahzh]; A low neckline
Bertha Collar: a cape-like collar that covers
most of the shoulder area and made of white
linen and lace predominately.
Victoria's hair, dressed in looped braids, also
conformed to the current styles.
Queen Victoria by Franz Xavier
Winterhalter (1842)
Crinoline Women
~1850-1859, The female silhouette of the
Early Crinoline period is marked by skirts
of increasing size. By the end of the 1850s
they are "dome" shaped. Initially, these
skirts were supported by multiple layers of
petticoats (up to six in number).
Crinoline: a stiff fabric with horsehair in
the warp and cotton or linen or wool in the
weft.
Pagoda Sleeves: funnel shaped sleeves
influenced by the Medieval Period
Crinoline Women
Lingerie Sleeves : detachable white cotton
1/2 sleeves that extend to the wrist below
the pagoda sleeve.
Jacket Bodices: were constructed to mimic
the idea of a man's suit jacket with all of the
details and fussiness that marked feminine
clothing.
Other trends of the Crinoline period include:
• an emphasis on a tiny waist.
• small white collars made of cotton or linen
(often detachable for easy washing).
• a brooch (often a cameo) worn at the throat
• dresses constructed from crisp fabrics.
• patterned fabrics were also popular…
including stripes, plaids, and florals.
• bonnets remain popular, though they
decrease in size. More and more hair is
revealed.
Crinoline Women
~1860-1869, After 1860, the shape of the
fashionable skirt silhouette begins to slowly
change. The front flattens, pushing the
fullness towards the sides and back. The
overall line becomes much more angular, or
pyramidal. This shape foreshadows the
Bustle silhouette of the 1870s.
> Snood: a decorative hairnet
< Zouave jackets: short, collarless jacket trimmed with
braid
< Garibaldi blouses are very popular during the 1860s.
Inspired by the uniforms of Guisepi Garibaldi's Zouave
soldiers, this is one of the first contemporary looks
featuring a skirt & blouse.
Bustle Women
~1870-1889, Once we enter the 1870s, skirt
fullness is concentrated in the back of the
dress. The cage crinoline of the 1860s
becomes the bustle or false rump of the
1870s & 80s.
Bustle: a pad, cushion, or framework worn
under the back of a woman's skirt to expand,
support, and display the full cut and drape of
a dress.
Bustle Women
~1870-1889, Between 1870 and 1885, the
bustle made two appearances, with a lull in
between when skirts narrowed to a tubular
shape. The torso was carefully molded into a
princess line, with a continuous seam from
shoulder to hip.
Cuirass Bodice: long tight-fitting bodice
ending in point at front and fitting smoothly
over hips and bust.
Dust ruffle: a ruffle attached to the
underside of the skirt hem…. is a common
addition to protect trailing fabric from getting
soiled.
Basque: the peplum-style extension of the
bodice below the waist
Bustle Women
~1870-1889, At the very end of the period…
A new type of casual robe de chambre
(dressing gown), akin to the négligee at the
beginning of the 18th century, appeared at
the end of the decade.
The Aesthetic Movement:
Loose Gown
The Day Dream
by Dante Gabriel Rossetti
(English, 1880)
The Men
~1850-1890, Throughout the 1830s and
40s, the male silhouette echoed the
waisted, hourglass shape of female
costume, but did not substantially vary in
form; the proportions of the fitted coat,
waistcoat and trouser established at the
beginning of the century changed little.
The coat was limited in cut to two versions:
Cut-away or tailcoat (left)
Frock Coat… Full-Skirted version (center)
Shirt Studs are used in the place of
buttons Center Front.
Cravats shrink in size and are often tied to
resemble bow ties.
Sideburns and moustaches.
The Men
Sack Jacket: a loose, fairly unfitted, boxy suit coat that was cut straight from the
shoulder. (derived from sporting and hunting jackets worn earlier)
The Men
Bowler Hat: rounded crown, small brim (far right)
Wide Awake: a low crown straw hat with a moderate to wide brim (center)
Knickerbockers: trousers cut loosely through the legs and gathered or pleated into a
band just below the knee
Discuss this image in regard to the ELEMENTS OF DESIGN
The Stone Breakers by Gustave Courbet (1849-50)
Discuss this image in regard to the ELEMENTS OF DESIGN
The Cock Fight by Jean-Leon Gerome (1846)