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| The late phase of Baroque architecture and decoration developed in mid 18th C. France, Italy, and Germany characterized by profuse, often abstract ornamentation, relaxed forms, and lightness of surface relief and color. |
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| The illusionistic architectural painting technique in the Rococo style using aerial perspective to extend real architecture into imaginary space. Usually applied to ceilings. |
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| The decorative style characterized by motifs and figures borrowed from Chinese and Japanese sources. |
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| The wide, boned and hooped underskirt structure worn by women at the height of the Rococo style. Derived from theatrical costume and covered with highly decorated fine fabric. |
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| The wide, loosely draped women’s overgarment open at the front and gathered at the back of the shoulders and flaring to the ground and characteristic of the Rococo style. Derived from theatrical costume, of rich material and worn over panniers. |
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| A men’s neckwear of narrow white fabric wrapped and knotted at the neck. Worn over an upturned collar. |
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| A décor and clothing design style characteristic of the Napoleonic Empire based on motifs derived from Roman Imperial design elements, 1799-1815. |
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| A NeoClassical American furniture style named after the American cabinetmaker characterized by legs with graceful outward curves on chairs, tables, and sofas. Seating pieces often have lyre backs, rolled top rails and arms. |
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The rear leg of an Empire chair that curves out and back
from the seat. |
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| Men’s fashion arbiter during the Regency of George IV in England who popularized men’s suit and shirt with tie (cravat). |
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| Long, loose trousers worn by men in imitation of and in sympathy with French peasants engaged in revolution. |
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| The high gathering of fabric below the bosom seen in a Directoire or Empire dress. |
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| The conscious use of historical motifs in the arts and décor |
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| The broad category of mid-19th Century architecture, interior, and furniture design styles characterized by historical revival styles and the incorporation of machine made components into architecture and decoration. |
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| An American architectural and interior design style of the 1840’s-1860’s utilizing the simple lines, Doric Order, pediment, and columns of Greek Architecture. Seen by Americans as a reference to the purity of Ancient Greek |
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| An architectural and interior design and décor style popular in the mid 1800’s England and America influenced by medieval and Gothic forms and ornamentation. |
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| A 19th C. American and French architectural style characterized by a nearly flat topped roof with curved, vertical sides, often of slate based on the work of the French architect Mansart. |
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| A type of flat ornament derived from Arabic forms with intricate, overall patterns forming sweeping, curved paisley compositions. Popular in fabric design and in garden layout. |
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| Women’s skirt-like undergarments. |
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| At first a stiff horse-hair petticoat, later a wood and wire frame to enlarge and support a skirt. |
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| Ladies undertrousers, invented by Mrs. Bloomer in the 1850’s. |
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| Basic men’s vest made with fine fabric on the front and lining fabric on the back. Later developed into an outer coat worn open at the front. |
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| The broad category of late 19th C. English and American architecture, interior, and furniture design styles characterized by asymmetrical composition, prominent and overscale detail, an abundance of decorative features, and an eclectic use of decorative styles. |
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| Any decorating style delighting in combining furniture and accessories of various styles and periods. |
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| A NeoRenaissance style of architecture in America and Europe at the turn of the 20th C. emphasizing Renaissance and Baroque axial planning, forms and decoration on a massive scale. Most often exemplified by public buildings in the City Beautiful movement. |
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| A Decorating and furniture style popular in America and Europe in the late 19th and early 20th centuries embodying a reaction against mass produced Victorian furniture and accessories by replacing them with simple, genuine design, craftsmanship, and materials. Emphasized the authority of the individual craftsman. Known as Aesthetic Movement in England, and Vienna Secessionist Movement in Germany. |
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| Heavily padded upholstery pierced by a regular, geometric pattern of buttons characteristic of Victorian furniture. |
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| The women’s fashion for extremely small waistlines achieved by the use of very tight corsets. Popular in the 1880’s and 1890’s. |
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| A whale bone half cage worn under the back of the skirt creating a ‘pouf’ and train of fabric. Worn with Mutton chop Sleeves, 1870’s. |
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| Decorated layers or tiers of a skirt. |
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| The image of the free, confident young woman created by the illustrator, Charles Dana Gibson, that became emblematic of the Edwardian style. Also of the upswept, loose women’s hairstyle made popular by those illustrations. |
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| The German design school begun in the 1920’s that espoused the principles of modernism, functionalism, and utility in architecture and industrial design. The name applied to these design principles and their implementation. |
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| The commercial style of architecture of the mid 20th C. developed from Bauhaus and Modernist principles. |
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| The style of theatrical production developed by Bertold Brecht in the 1920’s that rejected conventional theatrical artifice in favor of an aggressive realism |
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| The French and Italian style of film making of the late 1940’s and 1950’s characterized by ultra-realism, independent productions, low budgets, and a concentration on the stories of the downtrodden. |
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| The fashion style introduced by Christian Dior in 1947 featuring longer, A-line skirts, tight jackets, and upswept, tightly coiffed hair. |
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| The fashion style developed in England during the Counterculture years characterized by a colorful, childlike look and a thrift shop aesthetic emphasizing individual style. Produced the miniskirt and bell-bottom trousers. |
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Originally the process of confronting a work of art by treating it as a text to be re-interpreted and revised while devaluing or ignoring the original intent of the artist. In architecture and design, the literal exposing or “pulling apart” of the structure of a building or
composition and reordering its parts in a confrontational way. |
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