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Another book I have looked at during my Austen research is Gordon Lang’s 1,000 Tiles. This was an inexpensive bargain book I purchased at Borders and it by no means is an in depth look at tiles or tile making or use of tiles during any period. However, it was a cheap overview of tiles from all periods with some rather nice images. Here are a few of my more scattered notes (appearing in the most original form that I can get them to) on the subject:
De Roos pottery in Delft influenced by Rachel Ruysch, Gysbert de Graaf >English Delftware, Chinese porcelain influence “CHINOISERIE,” tiles made in Bristol, Liverpool, + London
Based on the proceeding passage you may begin to understand why I opted to retype my notes rather than using my original idea of scanning them. I also picked up my copy of Gardner’s Art Through the Ages by Mamiya to once again bring in some of the artistic influence of the period. Once again here are some of my notes appearing in their most original format:
18th Century-the great age of the aristocracy, salon culture: dominated by taste + social initiative of women, “artifice reigned supreme,” “femmes savantes” (learned women), LU* Memoirs of Marmontel, -> this is in France + the Rococo
rocaille = pebble, shell?, focus on interior + small items versus large scale buildings or monuments, a universal style, organic, refinement of illusion, Antoine WATTEAU (1684 – 1721), fête galante – outdoor entertainment of the upper society, wistful, melancholy, the short passage of youth + happiness
Watteau’s successors lost some of this feeling + became more frivolous, FRANÇOIS BOUCHER, Baroque gone sensual, FRAGONARD, (“The Swing” 1766),
The Enlightenment: “using reason to reflect on the results of physical experiments + involved the critical analysis of texts (?handwriting style?), gathering knowledge, manifest destiny,” Voltaire! Hogarth! -> combats the idea of needing to import art, Tom Jones, Tristram Shandy
virtues of honor, valor, + love of country
Neoclassicism: classical antiquity, the Enlightenment fueled the geometric harmony of the period, interior resembles an elegant “Pompeian” style, symmetry + rectilinearity, sparsely arranged
I admit this post was made to skirt actually structuring a more direct post but I suppose I can try to learn something from my own construction of notes. I have a growing heaping of Austen criticism that I only have shreds of hope of getting through but am still very much looking forward to. I am nearly finished with Pool and nearly finished with my handwritten notes.
*LU is a reminder note for myself to look up the following item.