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Utilitarian artworks Art works serves a variety of purposes. An artworks function may depend on many factors, including framework, style, theme, and goals. Indeed, Art has a major role in developing the perception of the society. Artists use their artifacts to demonstrate or instill certain ideologies to their audience (Silverstein 213). The 19th century is considered the peak of utilitarianism. Magnolia and Irises, Supercalifragilisticexpialidocious are indeed utilitarian works of art. Thus artifacts produced during this era depicted utirlitarian ideologies. For example Louis Tiffany’s work Magnolia and Irises, is typically utilitarian (Tiffany Studios web). The artifacts depict the river of life as its prevalent theme. Through this representation, the artist intended to show the world the significance of environmental conservation. Moreover, the artwork shows that no matter how minute our contribution to the planet might be we are capable of transforming the universe. The painting is also utilitarian since it shows the spirit of restoration. On the other hand, the Supercalifragilisticexpialidocious by Alexander McQueen illustrate utilitarian themes (Alexander web). The artwork creates or utilizes space, which was a major theme in the 20th century. Through the creation, the artist demonstrates our ability to use minimal space through thoughtful designs. Due to economic and social demands, women were expected to undertake roles or duties that were performed by men. The black coat initially designed for women, also shows social changes that accompanied the 19th century revolutions. It was a utilitarian belief that economic and social prosperities could only be achieved if women changed their thinking. The coat makes its wearer to appear huge. Indeed, the coat inspires its wearer, making them have a sense of pride and a conquering spirit.
Works Cited
Alexander, McQueen. Magnolia and Irises, ca. 1908. March 14, 2013 Silverstein, Harry. A defence of cornman’s utilitarian kantian principle. Philosophical Studies 23 (1972): 212–215.
Tiffany Studios. Ensemble, Supercalifragilisticexpialidocious, autumn/winter 2002–3. March 14, 2013 < http://blog. metmuseum. org/alexandermcqueen/ensemble-supercali/>