This is the study of American Aesthetic Movement and the Louis Comfort Tiffany's Decorative art. At first, I supposed that Louis Comfort Tiffany (1848-1933) was the most successful American Aesthete. He insisted that he pursuit of ‘quest of beauty’ entire his art life at the speech in 1919 retrospective exhibition. The ‘quest of beauty’ is one of creeds of Aestheticism became known through the famous English aesthete Oscar Wilde lectured at the American tour lecture in 1882-1883. Interestingly Wilde also addressed English Arts & Crafts Movement and the ideas of John Ruskin at the lectures. So American public and artists could be accepted both English decorative art movements synthetically. That resulted many of artists turned their focus on decorative art media or decorative art production, as like interior design, stained glass, art pottery, etc. To American artist, interior decoration was another medium for artistic experiment or art-making to realize ideal beauty in everyday life. To beautify everyday life and environment with artistic utilitarian goods was the goal of William Morris(1834-96)' who the leader of Arts & Crafts Movement, so as to Louis Tiffany. Then, Louis Tiffany tried to show his individuality by the eclectic synthesis of the Oriental-Western styles. He synthesized Western & Oriental arts of disparate region or ages uniquely. Finally, his eclectic design method would be applied for creating interiors to artistic unity. Because of Louis Tiffany was a Colorist painter and American Aesthetic Movement artist also, he searched for beauty and wished to express the beautiful ‘color and light’ effect through his art. To accomplish this artistic goal, he used oil and watercolor paints, from opaque to transparent and also translucent at the same time. At last, he developed the ‘Favrile glass’ to describe the colored light, coloring, shades and gradations more than paintings do. Furthermore, he used a variety of decorative media like glass, enamel, jewel and textile for the natural/artistic reproduction of color and light effect in nature. What was the reason for Louis Tiffany's pursuit of naturalism in his product design? The reason was that he sympathized with the John Ruskin's design concept with ‘garden room’ interior design. He tried to depict natural landscape or garden flowers and vegetables on the stained glass windows, glass vases, lamp shades, enamel work, jewelry to construct Aesthetic-practical garden room. That was also the way to be accomplished the authentic goal of Morris' Arts & Crafts Movement.So he incorporated various art companies and then developed art industry complex. He was also an entrepreneur who produced variety of household products industrially. The reason is that he hoped to realize the ideal of William Morris. Who advocated to beautify the interior and daily life for the public. But real consumers of the Morris products were only the wealthiest high class in England and also in America. However, Louis Tiffany's decorative art work differentiated from the Morris'. Because he wanted to answer the demand for consumer democracy. Therefore, he pursued artistic & economic goals simultaneously through his art enterprises as he accepted Aestheticism and Arts & Crafts Movement together. To realize this double goal, he produced kinds of decorative arts and household goods as the colorist artist- aesthete entrepreneur.
In this paper, I examine the development of the second stage of Chicano muralism and compare it with the first stage of the Chicano Mural Movement that was born out of the Civil Rights Movement. I then discuss the different aspects of the first stage in relation to the birth of institutionalized public art and question how Chicano murals influenced public art and, conversely, how mainstream public art transformed some of the attitudes and practices of Chicano muralism. Chicano murals initially functioned as a political mouthpiece for Chicano’s human rights and as a tool to recover the Chicano people’s cultural pride and legacy. However, the murals gradually developed into public art projects supported by the city or federal governments, who regarded them as an economic way to effectively communicate with the community. In this process of institutionalization, muralists became increasingly concerned with aesthetic quality and began to work more systematically. For example, amateur artists or community participants who produced the earlier murals were transformed into mural experts. Chicano essentialism and the politically volatile themes used previously were phased out and the new murals began to incorporate diverse subjects and people, for example, native culture, Blacks, and women. This phenomenon reflected the changing emphasis on multicultural understanding. This kind of institutionalization did not always draw positive results. Inadequate funds were the primary concern over the actual subject and creation of the mural work. Artists reduced the strong political metaphors and aestheticized the mural forms. However, their work was productive as well: thorough research on wall conditions and painting techniques was conducted and new processes and designs were developed. This paper examines the murals created for the 1984 Los Angeles Olympic Games, Judy Baca’s works, and the Balmy Alley Mural Environment project in San Francisco’s Mission District. Works by Las Mujeres Muralistas in Mission District, in particular, show case colorful patterns and the Latin American indigenous culture, exploring new interpretations of old icons and design. They challenged the stereotypical depictions of females and presented alternative visual languages that revised the male-centered mural aesthetics and elaborated on the aesthetics of Rasquachismo.
The Purpose of this Study is to find the Modern Movements which had done important roles on the development of modern church architecture and sacred art in the first half of 20th century. I had investigated the background and process of the movements, and analyzed the buildings which represented the movements. And I compared the architectural fruits of 'Riturgical Movement' and 'L' art Sacré Movement. The results are summarized as follows : First, there are two important movements in Catholic church in the backgrounds of the innovative changes of modern church architecture, Those are 'Riturgical Movement' which pursuits to establish a closer relation between clergy and congregation, and to make the positive participants in the service not mere observers and 'L' art Sacré Movement' which pursuits to accept modern secular art into church. Second, both movements had been developed on the bases of the theological studies with tow monasteries - Benedictine Order and Dominican Order - as leader. And the main concept was a kind of revival movement which recovers the Christian tradition. Third, The two movements began from the different themes and in the different regions. But they exerted influences each other, and achieved successful fruits in the Catholic churches of England and Swiss in 1960'. Fourth, 'Riturigical reformation' and 'Acceptance of modern art' had been officialized and generalized through the second Vatican Council(1962-1965).