Merely Players - Bragdon, Claude Fayette
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And now comes a modern sculptor who takes this Medusa mask and makes it the vehicle of expression of ideas and emotions to which antiquity was a stranger, for they are the bitter fruitage of that sky-hiding tree we name "modern civilization." -on artist Oskar J. W. Hansen Claude Bragdon was an architect and stage designer who dabbled in theosophy and the occult... and wrote about all his expansive experiences with spirit, passion, and a penetrating insight. This 1929 collection of compulsively readable essays is a fascinating journey through life in the theater, the meaning of modern art,…mehr

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Produktbeschreibung
And now comes a modern sculptor who takes this Medusa mask and makes it the vehicle of expression of ideas and emotions to which antiquity was a stranger, for they are the bitter fruitage of that sky-hiding tree we name "modern civilization." -on artist Oskar J. W. Hansen Claude Bragdon was an architect and stage designer who dabbled in theosophy and the occult... and wrote about all his expansive experiences with spirit, passion, and a penetrating insight. This 1929 collection of compulsively readable essays is a fascinating journey through life in the theater, the meaning of modern art, diverse traditions of spirituality coming together in contemporary culture, and the fascination with the paranormal that gripped Bragdon and his times. The impressive range of Bragdon's erudition serves as a fascinating overview of the popular intellectualism of the early 20th century. Other works by Bragdon available from Cosimo Classics: Oracle, The Eternal Poles, Yoga for You, Four-Dimensional Vistas, Projective Ornament, The Beautiful Necessity, Architecture and Democracy, Episodes from An Unwritten History, and A Primer of Higher Space (The Fourth Dimension). American architect, stage designer, and writer CLAUDE FAYETTE BRAGDON (1866-1946) helped found the Rochester Architectural Club, in the city where he made his greatest mark as a building designer with structures including Rochester Central Station, Rochester Institute of Technology, and the First Universalist Church; he also designed Peterborough Bridge in Ontario. In later life, Bragdon worked on Broadway as scenic designer for 1930s productions of Cyrano de Bergerac and Hamlet, among others.
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Autorenporträt
Claude Fayette Bragdon (August 1, 1866 - 1946) was an American architect, writer, and stage designer based in Rochester, New York, up to World War I, then in New York City. The designer of Rochester's New York Central Railroad terminal (1909-13) and Chamber of Commerce (1915-17), as well as many other public buildings and private residences, Bragdon enjoyed a national reputation as an architect working in the progressive tradition associated with Louis Sullivan and Frank Lloyd Wright. Along with members of the Prairie School and other regional movements, these architects developed new approaches to the planning, design, and ornamentation of buildings that embraced industrial techniques and building types while reaffirming democratic traditions threatened by the rise of urban mass society. In numerous essays and books, Bragdon argued that only an "organic architecture" based on nature could foster democratic community in industrial capitalist society. Bragdon was born in Oberlin, Ohio. He was raised in Watertown, Oswego, Dansville and Rochester, New York, where his father worked as a newspaper editor. After working for architects in Rochester, New York City, and Buffalo, Bragdon went into practice in Rochester. His major buildings include the city's New York Central Railroad Station, the Rochester First Universalist Church, Bevier Memorial Building, Shingleside, and the Rochester Italian Presbyterian Church, among many others. At Oswego he designed the Oswego Yacht Club. He designed an addition to the Romanta T. Miller House in 1914.[1]:8 While Bragdon's early work reflected the revival of Renaissance architecture associated with the City Beautiful, he soon became a leading participant in the arts and crafts movement, working with Harvey Ellis, Gustav Stickley, and other arts and crafts artists. Around 1900, Bragdon embraced the ideas of Louis Sullivan and began to reorient his work toward the midwestern ideal of a progressive architecture based on nature. His version of organic architecture, however, reflected different social and cultural values than did those of either Sullivan or Bragdon's contemporary Frank Lloyd Wright. Whereas for Sullivan and Wright a building was most organic when it expressed the individual character of its creator, Bragdon saw individualism as a hindrance to the formation of a consensual democratic culture. Accordingly, he promoted regular geometry and musical proportion as ways for architects to harmonize buildings with one another and with their urban context. From 1900 until he closed his architectural practice during World War I, Bragdon applied these principles to his buildings, and he continued to use them through the 1920s in both graphic designs and the theatrical sets he created during a second career as a New York stage designer.