The design of Vintage cars was about far more than engineering and technological functionality. These cars celebrated form, aesthetics and culture. The styles, colours and sculptural contours reflect the preoccupations of certain 20th Century art movements, including Art Nouveau and Art Deco; they appealed directly to the senses. Thankfully, the design constraints imposed by aerodynamics and fuel efficiency had yet to play a significant role in their appearance. Headlights, indicators, running boards and wheel arches were glorious opportunities for embellishment and ornament and there was an explosion of visual creativity. Take a look at these fantastic examples from the Technical and Transportation Museum in Budapest.

Technical and Transportation Museum, Budapest

Technical and Transportation Museum, Budapest
black vintage car
Technical and Transportation Museum, Budapest
vintage-cars
Technical and Transportation Museum, Budapest

vintage car jaguar photograph

Who needs galleries when art would pass you by as you walked down the street. These vintage cars from a bygone era were essentially sculptures on wheels. I couldn’t resist photographing the wonderful collection on display at the Technical and Transportation Museum in Budapest. This is a Jaguar; just look at the sweeping curves, the headlights and the beautiful paintwork… mobile art for all.

Novecento museum, Milan, italy zebra mario merz art conceptual
Mario Merz, Zebra,  Novecento museum, Milan, Italy

A key member of the Arte Povera group, Mario Merz produced expansive mixed-media paintings, sculptures, and installations, through which he propagated an egalitarian, human-centered vision. Through art, he counteracted what he saw as the dehumanizing forces of industrialization and consumerism. Together with compatriots including Jannis Kounellis and Michelangelo Pistoletto, Merz eschewed fine art materials in favor of everyday and organic matter, like food, earth, found objects, and neon tubing. In 1968, he presented his first igloo, which became a motif in his work, representing the fundamental human need for shelter, nourishment, and connection to nature. By 1970, the Fibonacci sequence became central to his work, shaping the tables and spiraling forms for which he was known, and incorporated into his igloos and canvases. In these Merz sought limitlessness, against the confines of modern life.

http://www.artsy.net

 

This fascinating ‘gravity defying’ sculpture by Anthony Gormley is located in one of the streets at the centre of Eton College. Wonderful though it certainly is, I just wonder how many sculptures by successful international artists are placed in more prosaic, less privileged environments. If you know of any, please let me know, I really am interested. We could start a balanced collection.

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