Abstract
The paper discusses modernist architect Marcel Breuer's background and his style of work. The paper relates that Breuer is well known for his emphasis on the technical and structural aspects of his buildings. The paper adds that his architecture is recognized for its attention to light and shading, particularly in the use of tinted or shaded windows and overhanging elements. The paper notes his many accomplishments.

From the Paper
"Born in Pecs Hungary in 1902, Marcel Breuer attended university at the newly formed Weimar Bauhaus, attracted to the promises of new architectural and artistic approaches (Marcel Breuer: architect biography, par. 1). He attended the Bauhaus in the early twenties and taught there after finishing his studies. Though the Bauhaus did not yet offer architecture when he began there, Breuer, aided by Georg Muche, began to study housing anyway. He had a particular interest in high-rise structures and soon after developed a seven-story apartment block that would be mass-produced in the years to come (Marcel Breuer: architect biography, par. 1)."

Tags:light, shading, tinting, overhanging

Abstract
This paper examines the furniture designs of one of the Bauhaus' most famous designers, Marcel Breuer (in the context of the Bauhaus and the modern movement). The paper argues that Breuer's furniture designs reflect the overall Bauhaus interest in the application of industrial mass production to the creation of domestic spaces defined by quality design. The writer explains that although the Bauhaus was to only exist for a few short years before its closing by Germany's Nazi government in 1933, its ethos can be seen to be reflected in much of Breuer's innovations in furniture design. The writer also notes that Marcel Breuer's furniture design would prove so enduring and popular that it came to be characteristic of the modern movement. The writer concludes that in situating Breuer within the context of the Bauhaus, we can see how his modernist vision evolved from an emphasis upon aesthetic principles to a focus upon the primacy of industrial design that may be inexpensively reproduced through mass production techniques. An annotated bibliography is appended.

Outline:
Introduction
The Bauhaus Vision
Marcel Breuer and Modern Furniture Design
Conclusion

From the Paper
"The Bauhaus School that came into being in Germany in the wake of the First World War represented arguably the single most influential school in the history of modern design. Headed by figures such as Walter Gropius and Mies van der Rohe, and defined by a socially egalitarian ethos that envisioned industrial production as the key to presenting quality designed products for the general public, the Bauhaus was to play a critical role in the shaping of how the twentieth century perceived modern design."

Tags:industrial, design, modern, interior, design, modernism

Abstract
William Morris and Marcel Breuer were architects that took two different physical approaches in removing worthwhile design out of palaces and putting it into the homes of ordinary people. Both brought to their design philosophy a substantial political agenda and, in fact, a substantially similar political agenda. The paper shows that Morris' politics had the gentle color of his native England in the second half of the 19th century and of one of its great philosophers, John Ruskin. In comparison, the paper shows that Breuer's political inspiration came, not from his native Hungary, but a post-WWI Germany and its socialist leanings and, later, from American abundance and willingness to experiment. The paper shows that where Morris' ideas reflected the natural life of a still somewhat pastoral England that surrounded him (especially as he had the means to choose his locale), Breuer's ideas reflected a more muscular, sinewy, hardened landscape of assembly lines and relentlessly turning crankshafts and gears. Where Morris was organic and 'green,' Breuer was skeletal and 'steely gray.'

From the Paper
"Despite the intent of both men to bring good design down to earth, the results could not have been more different. Morris, because of the time in which he worked, was limited to traditional furniture materials, mainly wood and metal used only in joinery and sometimes in decoration. In fact, it was in decoration that Morris excelled. His use of curvilinear carving in his wallpapers and furniture, especially his dining chairs, makes clear his connection to the pastoral settings so familiar to educated Englishmen. In addition, because his belief demanded that the overburdened workingman have a respite from the world of shoddy utilitarian objects, (or ugly goods, as he might put it), embellishment suitable to the object and its use was essential."

Tags:Art, Nouveau, Arts, and, Crafts, Movement, Bauhaus, modernism

From the Paper
"The sequence from "Swann's Way" by Proust associates the name of a person and the name of a place with Marcel in a direct way. The person's name is Gilberte, and the place is the Champs-Elysees and areas around Paris. Gilberte is Swann's daughter. Her name floats by as Marcel, and hearing that name will lead Marcel into a love relationship. He is in the Champs-Elysees when he overhears a little girl calling out, "Good-bye, Gilberte, I'm going home now; don't forget we're coming to you this evening, after dinner" .The name itself has a power, and hearing it now creates links for Marcel with an earlier time in Combray when he heard the name, and he then knew that the little red-headed girl was Swann's daughter. In the Champs-Elysees, Marcel is affected by hearing the name, by the mystery surrounding this girl, and by the idea of the girl herself, the idea ... "

Tags:LITERATURE, GENERAL

From the Paper
"This paper will discuss the influence that Marcel Duchamp had on the Dadaist movement in art. Dada originated in Paris and Zurich during the First World War. The despair of that war caused many Europeans to perceive a breakdown in the society of their time. This in turn led to the creation of Dada, a style of art which was paradoxically opposed to art. By seeking the destruction of art as they knew it, the European Dadaists made a statement about their world, which was apparently crumbling down around them. At approximately the same time in history, the concept of Dada was also being introduced in the United States by way of New York City. Although they were not directly involved in the war, the New York Dadaists still rejected the traditional values of the art world. This rejection was accompanied by a sense of humor, and their art often utilized elements of nonsense ... "

Abstract
Discusses the artwork and its impact. The historical and cultural context of the time it was exhibited. How it was received by critics and the public. How the piece affected and transformed art. The aesthetic significance of the sculpture. Aesthetic example of modern art. Overview of Duchamp's life and avant-garde art.

From the Paper
"This research examines Marcel Duchamp's artwork Fountain. The research will set forth the historical and cultural context in which the work first presented and then discuss how it was received, its impact on the history of art, and how it affected and transformed art, including the relevance of art criticism of the work to its aesthetic significance.
No discussion of Duchamp's art would be complete without reference to the sundry trends and styles of modernism and postmodernism. And no account of Duchamp's Fountain can be considered complete that does not include reference to the manner in which his output as a whole both proceeds and departs from various trends. Indeed, the cultural context for the creation of Fountain as a work of modern art is as important to an understanding of it as is the fact of context as an aesthetic ..."

From the Paper
"Marcel Duchamp (1887-1968) was one of four siblings who became artists in the period of intellectual and artistic ferment that saw out the last decades of the old century and extended beyond World War I. Duchamp's early interest was in painting and Cubism and much of his most influential work was related to Dada practice. But Duchamp was ultimately the most independent of artists--eventually becoming independent of art itself. Much of his influence derived from gestures or positions related to the nature of art, and a great deal of his fame rests on works consisting of ordinary objects altered or 'readymade.' But Duchamp's masterpiece is usually held to be the glass, metal, and paint construction entitled The Bride Stripped Bare by Her Bachelors, Even (1915-23), frequently known simply as Large Glass."

Abstract
Describes the artist's performance of Rrose Selavy. The Rrose persona. Its network of meanings. Relationship of Rrose to DuChamp's readymades. Commodity aspect of readymades. Postmodernism. Visual portrayal of women. Boundaries of sexual differences. History and ideas of assisted and semi-readymades. Notion of artistic function. Cites specific examples.

From the Paper
"Marcel Duchamp's project is as complex, ambiguous, and rich as anything undertaken by any artist of the twentieth century. One of the most elaborate networks of meaning started by Duchamp derives from his 'performance' of Rrose Selavy, the female personification first used as a signature, mocked up in a series of posed drag photographs by Man Ray, and then persisting as an alter ego for Duchamp in many subsequent projects. The spectacle of a male artist who adopts a female persona and employs 'her' in the titles of various works, as the 'author' of other pieces, and simply as a sort of working fiction in his life raises questions of many kinds. Certainly the eroticization of the communication between artist and spectator, the performative nature of gender, the nature of the patriarchal art system and art history, and the meaning of authorship of works of art are all implicated in ..."