Vyse

Hobsbawm defends the pessimistic view of England’s industrial revolution using the following arguments and evidence. He states that social indicators are more representative of individuals’ standard of living than wages (25-26). Thus, mortality rates strongly suggest a rise from 1811 to 1841, and although variances may be apparent among the available rates, these should not undermine their usefulness to measure the negative impacts that the industrial revolution may have had in England (26). Unemployment for artisans was widespread throughout various cities in 1842 (27). While wages might have been improving for artisans employment was not because of the growing nature of industrialization and the substantial number of workers unemployed during slower expansions and slumps, which, he states, emphasizes the importance to observe quantitative figures, not only qualitative ones (28). In regard to “foodstuffs”, the consumption per capita of tea, sugar, and tobacco remained quite consistent, except during and after evident slumps in which they fell and rose again (30). Furthermore, beef (shown by Smithfield figures, as well as excise on hides and leather) consumption did not rise in correspondence with the population increase, and wheat and milk consumption fell (31-32). He stresses that these assertions are merely to provide suspicion toward the view that the industrial revolution was a positive occurrence, but not to discredit the advances that it provided England, and eventually the Continent and the world, with overall

Ford, Coca Cola, Colgate, we all know these brands, selling goods to millions of customers and present all around the world. Surprisingly, modern companies were originally small and owned by individual entrepreneurs according to Gordon Boyce and Simon Ville. The first industrial revolution which began in England in the mid 18th century was a period of economic growth that deeply changed the structure and the processes of the old business entities. Josiah Wedgwood and his pottery business are a symbol of this first revolution. Through this essay we will observe and analyze the main challenges that Wedgwood and his partners took up.

From around 1750 to 1900 Britain went through major changes or transformation in industry, agriculture and transportation that affected everybody’s lives. For some it generally improved their lives, however not all were so lucky. The industrial revolution brought with it many changes good for some and bad for others.

This sculpture falls in the modern art category and the style is abstract expressionism. This sculpture is very large it is actually 110cm. The artist that created this sculpture was one of the many fine French Sculptors, he was one of the younger generation who started out as a Symbolist painter as well as a tapestry designer but he got an eye disease around the age of 40 and he had to give these things up but then found love for sculpting . This artist had a love for Greek sculpture but he rejected some of what it stood for. This piece of

However, the result of the Vyses concentration expended on the production of the stoneware vessels and attendant ash-glazes culminated in the re-working of the figure group Morning Ride. Even so, it is difficult to understand the reasoning why Vyse found it expedient to remodel this figure rather than devising an additional composition, and Marsh, in his Walker’s article, does not mention it. Indeed, this present model is occasionally mistaken for the 1925 original (Fig. 62). Furthermore, the 1929 model should not be viewed as a previous model bearing a similar title. In sculptural terms, this edition is a pointed up version of the original. Doubtless, Vyse expended much the same industry in the as he had done when modelling the smaller 1925 version. The present version, thought by collectors to be the suitable of the two, and possibly justification for the time

Britain adapted to a lot of changes during this shift from agricultural life to industrial life, where machinery was dominant over human labour. The industrial revolution was a time of great opportunity. Potter (1987: 230-231)

With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.

Mr. Charles Vyse’s pottery and porcelain figure work is too well-known and eagerly sought after to need any introduction. These have already found their way into the collections of many discriminating and discerning buyers both at home and abroad and especially collectors in the United States of America have been keen to acquire these very interesting and beautiful specimens of modern sculptured pottery work. The subjects have been taken usually from life studies of simple, familiar and interesting types, most of the Chelsea streets and its immediate neighbourhood– the “Balloon Girl, ” the “Tulip Woman” the “Chrysanthemum Girl” and the “Madonna of the World’s End” for instance, these, and occasionally others further afield, such as the “Piccadilly Rose Woman,” have attracted the

Controversial and shameful was the words that first described the Mademoiselle Pogany II. Apparently, this piece of art was an innovation for its generation. Where it is housed today, the story of its beginnings, and the specifics of it, comprises the history and entity of the Mademoiselle Pogany II.

Daily life was hard for peasants in the 1500’s. Farmers woke up at three o’clock in the morning to harness the oxen and maids retrieved the fresh morning's milk. The porridge and bread was ready at four o’clock and children were out the door ready for school at six o’clock. City folks slept in late and then prepared for the day's trade and work. Shopkeepers opened their shops for the day’s trade and beggars stationed themselves at the highway (Ashby 61-62). Queen Elizabeth and the citizens of England worked very hard to maintain the country. Industry produced many goods for England. Farmers provided food, guilds provided salesmen and workers and trade provided clothes and necessities to the people of England. Industry reformed the way that humans worked and lived in the old world as people’s lives evolved with the new changes. Industry was the concrete foundation in the Elizabethan

During the 1800’s Great Britain’s empire stretched around the world, and with raw materials easily available to them this way, they inevitably began refining and manufacturing all stages of many new machines and other goods, distributing locally and globally. However, despite being the central ‘workshop of the world,’ Britain was not producing the highest quality of merchandise. When comparing factory-made products made in England to surrounding countries, most notably France, those products could not compare as far as craftsmanship and sometimes, simply innovation. It was suggested by Prince Albert that England host a sort of free-for-all technological exposition to bring in outside crafts into the country and also

During 1925, Parr secured unimportant sculptural employment, offered to him by the architect Charles Wheeler.23 Wheeler engaged him to construct a number of minor sculptures for the uncompleted Bank of England’s building. Consequently, Parr had little time for making figures. As noted previously, Charles and Nell Vyse were engrossed completing figure commissions at Cheyne Row, and producing high-fired stoneware, and continuing their research into Chinese type glazes. The Vyses were beginning to be known in this sphere of studio pottery, Nell in particular was becoming recognised for her expertise in glaze technology. Therefore, it is remarkable that Vyse found the time to model original figures that year. Although not exhibiting

In order for these trades to occur settlement groups in Britain must have been producing a surplus of food to trade. This could imply that society at the time was prosperous, particularly in the South East of England where highly fertile low lands would have produced a good quantity crop (Harding 2000). This ability to trade may have been in order to acquire expensive continental metalwork that could then be deposited to demonstrate the hierarchies between different settlement groups. Those with the best crop yield could trade at higher levels and attain higher status than other settlements with less fertile lands (Harding

While exploring the vast categories of craft the Victorian’s participated in, I became interested in the strange world of Victorian taxidermy. As I continued to look into this subject further, it became apparent that some Victorian crafts tended to lean into the era’s more morbid fascinations. I wondered why Victorians became so enraptured in a seemingly macabre past-time of mounting stuffed animals into the sometimes whimsical, charming dioramas to display within their homes. As I started my research, I began to wonder if the attraction to this craft was in any way related to the incredibly prominent colonial holding of Victorian Great Britain. I became curious to figure out who these people involved in amateur taxidermy were, in addition to why the world of taxidermy was so alluring to such a large group of people in this specific time frame. Unfortunately, I found a lacking of available information concerning

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.