XIX a. pabaigos – XX a. I pusės meninių judėjimų įtaka studijinio stiklo susiformavimui ir raidai
| Date |
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2007 |
Šiame straipsnyje nagrinėjamas XIX a. pabaigos–XX a. I pusės teorijų ir meninių krypčių poveikis XX a. meninio stiklo raidai bei naujoms meninėms apraiškoms šios srities mene. Teigiama, jog naujos kūrybinės formos bei modernistiniai judėjimai XX a. II pusėje skatino gilesnę individualios kūrybos metodų plėtotę ir stiklo meno pokyčius bei atsinaujinimą vaizduojamosios dailės linkme. Analizuojama XX a. unikalios autorinės stiklininkystės pradžia ir tolesnis šios meno srities rutuliojimasis JAV, Europos ir Lietuvos stiklo studijose (dirbtuvėse).
The article offers an analysis of the influence of modern trends on contemporary glass art development. The first part analyses the aesthetic conception of art of English theorist W. Morris (1834–1896) who had a considerable influence on the development of applied arts in the 20th century and specifically on the development of artistic glass during the art nouveau and art deco periods. His thoughts about the artistry of applied arts and individual approach to creation were important for the further development of glass industry. The excesses of Victorian glass – epitomized by the giant exhibition pieces smothered in gilding and colour and cut with thousands of shimmering facets – were already condemned by contemporary critics. Out of this antipathy toward the mechanical production of the Industrial Revolution grew a desire to return to more natural sources. The revolutionary effect on design following the opening up of Japan to the West and the publication of pattern books illustrating ornaments from around the world, aided by theorists such as W. Morris advocating the role of the craftsman, led to the evolution of a completely new style, art nouveau. The terms “art nouveau” and “Arts and Crafts” are generally used to describe a multitude of different decorative styles which emerged in Europe and the United States in the 1880s, peaking around 1910. The motifs employed – usually natural forms – were largely treated in an unrealistic manner, arranged either in asymmetrical compositions of swirling curves or in more rigid patterns of simplified, sometimes almost geometric shapes. In most cases, there is a marked tendency toward abstraction, and often the subject, whether plant, bird, animal or human figure, is more or less unrecognizable.[...].