威廉.莫里斯The Arts and Crafts Movement英語(yǔ)課件

1、The Arts and Crafts Movement英國(guó)工藝美術(shù)運(yùn)動(dòng)“美就是價(jià)值，就是功能”“不要在你家里放一件雖然你認(rèn)為有用，但你認(rèn)為并不美的東西”-威廉莫里斯（William Morris，1834-1896）威廉莫里斯Industrial artIndustrial artThe father of modern designThe father of modern designCONTENTSCONTENTS01 About 01 About M Morrisorris關(guān)于莫里斯關(guān)于莫里斯02 life 02 life coursecourse莫里斯年代歷程莫里斯年代歷程03 03

2、 Industrial artIndustrial art莫里斯與工藝美術(shù)運(yùn)動(dòng)莫里斯與工藝美術(shù)運(yùn)動(dòng)04 04 Appreciation of worksAppreciation of works莫里斯作品賞析莫里斯作品賞析William MorrisWilliam Morris-The leader of the arts & crafts movement0101威廉威廉莫里斯莫里斯(William morris)1834-1896(William morris)1834-1896 出生于英國(guó)沃爾瑟姆斯托，是英國(guó)著名的詩(shī)人、文學(xué)家，工藝美術(shù)運(yùn)動(dòng)的領(lǐng)導(dǎo)者 被譽(yù)為現(xiàn)代設(shè)計(jì)之父 Born in W

3、alther M Stow, England, is a famous English poet, writer and l e a d e r o f A r t s a n d c r a f t s movement.Known as the father of modern designWilliam Morris (24 March 1834 3 October 1896) was an English textile designer, artist, writer, and socialist associated with the Pre-Raphaelite Brotherh

4、ood and the English arts and crafts movement . But here ,we only talk about the arts and crafts movement.威廉莫里斯（1834,年3月24日1896年10月3日）是英國(guó)紡織品設(shè)計(jì)家，藝術(shù)家，作家以及社會(huì)主義者。他與拉斐爾前派以及工藝美術(shù)運(yùn)動(dòng)有很大聯(lián)系。但是這里我們只談他跟工藝美術(shù)運(yùn)動(dòng)的關(guān)系。0202 Life course Life courseWilliam William M Morrisorris莫里斯一生主張自由平等，反對(duì)壓迫，對(duì)大自莫里斯一生主張自由平等，反對(duì)壓迫，對(duì)大自然的田園風(fēng)

5、格獨(dú)具熱愛(ài)；深深地?zé)崦詰賯鹘y(tǒng)氣然的田園風(fēng)格獨(dú)具熱愛(ài)；深深地?zé)崦詰賯鹘y(tǒng)氣息，充滿浪漫主義色彩。息，充滿浪漫主義色彩。Maurices life advocated freedom and Maurices life advocated freedom and equality, opposition to oppression, the equality, opposition to oppression, the unique nature of the pastoral style of unique nature of the pastoral style of love; deep ge

6、othermal fascination with love; deep geothermal fascination with the traditional atmosphere, full of the traditional atmosphere, full of romantic color.romantic color.”0404莫里斯跟隨者自己主觀思想上的主張，崇尚自由平等理念，創(chuàng)新了一系列產(chǎn)品，具有重大影響Maurice followers on their own subjective ideas, advocating freedom and equality concep

7、t, innovation and a series of products, have a significant impact“紅屋”The The red Housered House位于英格蘭肯特郡，是19世紀(jì)工藝美術(shù)運(yùn)動(dòng)的重要見(jiàn)證，象征著世界建筑向現(xiàn)代建筑的轉(zhuǎn)折Located in England, Kent, nineteenth Century is an important witness to the arts and crafts movement, symbolizes the transition of world architecture to modern arch

8、itecture紅屋內(nèi)部-莫里斯壁畫(huà)作品建筑內(nèi)部墻壁有很多壁畫(huà)，他以繪畫(huà)的形式詮釋了人們的生活、信仰及活動(dòng)經(jīng)歷方式，更體現(xiàn)出莫里斯向往與自由、平等反對(duì)壓迫的階級(jí)觀念。There are a lot of murals in the interior walls of the building, he interpreted the way of life, faith and activities of the people in the form of painting, but also reflects the concept of Maurices class concept of f

9、reedom and equality against oppression.Date: 1883Design: Maurice William墻紙墻紙wallpaperwallpaper莫里斯對(duì)于莖葉和花草的鐘愛(ài)是有目共睹的，尤其在他的壁紙?jiān)O(shè)計(jì)中表現(xiàn)得最為明顯，但無(wú)論是水果、莖葉花草還是小動(dòng)物，創(chuàng)造力驚人而又頗為高產(chǎn)的莫里斯在任何一次演繹中對(duì)色彩、弧度、枝葉形狀、大小的變換都有頗為出彩的運(yùn)用。Morris favorite for the stems, leaves and flowers is obvious to all, especially in his wallpaper desi

10、gn performance was the most obvious, but whether it is fruit, flowers, leaves and stems or small animals, creativity, amazing and rather high yield of Morris in any interpretation of the transformation of color, radian, leaves the shape and size of have quite the color of the application.快樂(lè)花園Happy g

11、arden畫(huà)布canvas畫(huà)像portrait印花棉布威廉.莫里斯設(shè)計(jì)蛇頭貝母，又稱格子水仙，英國(guó)的一種野花日期：1876年復(fù)古的花紋圖案，莫里斯將他對(duì)中世紀(jì)一如既往的鐘情表現(xiàn)得淋漓盡致Retro pattern, Maurice will be his love for the middle ages, as always, the performance of the most vividly.雛菊威廉.莫里斯設(shè)計(jì)雛菊，一種野生菊花，含苞待放之后的生命，堅(jiān)強(qiáng)而美好日期：1876年淡雅的菊，我們能看到，從莫里斯開(kāi)始，日本風(fēng)的影響就已經(jīng)開(kāi)始顯現(xiàn)了。Elegant chrysanthemum,

12、we can see, from the beginning of Maurice, Japan had begun to show the wind.菊花墻紙 Daisy wallpaper 銀蓮花圖案Anemone pattern形態(tài)舒展的闊葉，線條細(xì)膩、層次豐富，色彩透露著成熟、大氣The shape of the broad - leaved, delicate lines, rich layers, the color of the mature, the atmosphere.墻紙?jiān)O(shè)計(jì)原則墻紙?jiān)O(shè)計(jì)原則 Wallpaper Wallpaper design principlesdes

13、ign principles崇尚中古哥特式風(fēng)格Advocate in ancient Goths style堅(jiān)持師法自然Adhere to the nature注重設(shè)計(jì)的統(tǒng)一性、完整性Pay attention to the unity and integrity of designWilliam Morris and the Crystal Palace The Crystal Palace was a cast-iron and glass building originally，erected in Hyde Park, London, England to house the Grea

14、t Exhibition of 1851. More than 14,000 exhibitors from around the world gathered in the Palaces990,000 square feet (92,000 m2) of exhibition space to display examples of the latest technology developed in the Industrial Revolution.水晶宮最初是由鑄鐵以及玻璃制作成的坐落于英國(guó)倫敦的海德公園，用來(lái)承辦1851年的世界博覽會(huì)，來(lái)自全世界超過(guò)14000件產(chǎn)品齊聚在這9900

15、00平方英尺的展示廳來(lái)展示工業(yè)革命的發(fā)展。Morris visited the place in 1851 when he was 17. but when he saw the ugly industrial products ,he felt very angry ,it is said that he cried at the front of produces. So he wanted to change the design. Thanks to the place， he set the fist design studio in the world.莫里斯在1851年參觀訪問(wèn)了

16、水晶宮，其時(shí)他僅僅17歲。但是當(dāng)他看到丑陋的展覽品時(shí)，他極其的憤怒，據(jù)說(shuō)他在那些產(chǎn)品之前失聲痛哭。所以他想改變?cè)O(shè)計(jì)界。多虧了水晶宮，他開(kāi)設(shè)了世界上第一個(gè)設(shè)計(jì)事務(wù)所。William Morris and the red houseMorris and Jane Burden engaged in 1858 (they married in 1859) .Now , Morris need a house and some furniture .but he cant found He liked in the market .so he had to make them by himself.莫

17、里斯和簡(jiǎn)妮布萊登 在1858年訂婚（在1859年結(jié)婚）。莫里斯需要一座房子以及家具，但是他在市場(chǎng)里不能找到令他滿意的產(chǎn)品，所以他不得不自己動(dòng)手做。The building was build by red brick. And the brick was not only the building materials, but also the decoration materials.那棟建筑由紅磚建成，磚塊不僅是建筑材料，也是裝飾材料。Morris designed the wallpaper ,carpetLighting and so on by himself. All of thi

18、s have The same style .so people called it “the red house”.and it Laid the foundation for a new Style ,that is “the arts and crafts movement”無(wú)論是墻紙還是地毯、照明燈具，都是有他親自設(shè)計(jì)，這些都有相同的風(fēng)格，因此人們稱其為“紅屋”它奠定了一個(gè)新的風(fēng)格的基礎(chǔ)，即工藝美術(shù)運(yùn)動(dòng)以上的圖片為莫里斯的紅屋的家居飾品，其風(fēng)格統(tǒng)一，裝飾性強(qiáng)，即使在今天依然不失其高貴的氣息。All of these home decor were designed by Morris.

19、 They have a unified Style,and very beautiful. Even now ,nobody would think they are out.Just look at these beautiful wallpaper, they were designed by Morris . Birds singing in the trees .Colourful flowers and leaf make us comfortable 這些漂亮的墻紙，都是由莫里斯所設(shè)計(jì)的，鳥(niǎo)兒在枝頭歌唱，色彩斑斕的花和葉子使我們感到舒適the arts & crafts move

20、ment 工藝美術(shù)運(yùn)動(dòng)是起源于19世紀(jì)下半葉英國(guó)的一場(chǎng)設(shè)計(jì)改良運(yùn)動(dòng)，其產(chǎn)生受藝術(shù)評(píng)論家約翰拉斯金、建筑師A.W.Pugin等人的影響，參考了中世紀(jì)的行會(huì)制度。運(yùn)動(dòng)的時(shí)間大約從1859年至1910年。得名于1888年成立的藝術(shù)與手工藝展覽協(xié)會(huì)。其起因是針對(duì)裝飾藝術(shù)、家具、室內(nèi)產(chǎn)品、建筑等，因?yàn)楣I(yè)革命的批量生產(chǎn)所帶來(lái)設(shè)計(jì)水平下降而開(kāi)始的設(shè)計(jì)改良運(yùn)動(dòng)。The art and crafts movement is originated in the 19th century ，a design reform movement, and affected by the art critic John

21、ruskin ，architecture A.W.P ugin etc. The time of the movement is from about 1859 to 1910 .The name came from the art and crafts exhibition. The cause is for adornment art ,furniture ,interior building, products, because the mass production of the industrial revolution and brought by the design level

22、 fell and began to design reform movement.這時(shí)的產(chǎn)品出現(xiàn)了兩種傾向：一是工業(yè)產(chǎn)品外型粗糙簡(jiǎn)陋，沒(méi)有美的設(shè)計(jì)；二 “洋薊”圖案的糊墻紙， 博物館館藏是手工藝人仍然以手工生產(chǎn)為少數(shù)權(quán)貴使用的用品。于是社會(huì)上的產(chǎn)品明顯地兩極分化：上層人士使用精美的手工藝品，平民百姓使用粗劣的工業(yè)品。At that time the products appeared two tendency:One ,is the industrial product with rude exterior, not beautiful design;Two ,artichoke desig

23、n of the wallpaper and museum collection is still the craftsmen craft production for a few powerful use of the products.So the products on society obviously polarization: upper society people use good arts and crafts, and ordinary people use gross industrial products.當(dāng)時(shí)，擺在設(shè)計(jì)家面前有兩個(gè)重要的問(wèn)題：一是過(guò)分裝飾、矯揉做作的維

24、多利亞風(fēng)格的蔓延；二是令不少知識(shí)分子感到震驚、甚至恐懼的工業(yè)化的來(lái)臨。At that time, the two problems the designers faced is that: one is too much adornment, rhythmical affair of the spread of Victoria style.Two is that what mad many intellectuals shocked, the coming of the industrialization.莫里斯的設(shè)計(jì)不僅包括平面設(shè)計(jì)，也有室內(nèi)設(shè)計(jì)、紡織品設(shè)計(jì)等等。他認(rèn)為要復(fù)興中世紀(jì)歌德式的

25、風(fēng)格，只有上述風(fēng)格的設(shè)計(jì)才是“真摯”的。The design of morris not only include graphic design, interior design, also textile design and so on. He believes that he will restore the medieval Goethe type style, only the style of the design is sincere.特點(diǎn)：1.強(qiáng)調(diào)手工藝，反對(duì)機(jī)械化批量生產(chǎn)。2.反維多利亞及其他古典、傳統(tǒng)的復(fù)興風(fēng)格。3.提倡哥特風(fēng)格。4.講究樸實(shí)誠(chéng)懇。5.裝飾上推崇自然主義，東

26、方裝飾和東方藝術(shù)特點(diǎn)（特別是日本的設(shè)計(jì)風(fēng)格）。 The characters of the arts & crafts movementcharacter:1. Emphasize crafts, against the mechanization of production. 2. Against the style of Victoria and other classic, traditional Renaissance style. 3. Advocate Gothic style. 4. Pay attention to simple sincerity. 5. Highly decorated naturalism, eastern decoration and the Oriental art characteristics (especially Japanese design style). “工藝美術(shù)”運(yùn)動(dòng)的缺點(diǎn)或者說(shuō)先天不足是顯而易見(jiàn)的，它對(duì)于工業(yè)化的反對(duì)，對(duì)干機(jī)械的否定，對(duì)大批量生產(chǎn)的否定，都沒(méi)有可能成為領(lǐng)導(dǎo)潮流的主流風(fēng)格。過(guò)干強(qiáng)調(diào)裝飾，增加了產(chǎn)品的費(fèi)用，也就沒(méi)有可能為低收入的平民百姓所享有，因此，它依然是象牙塔的產(chǎn)品