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1、AHistoryofModernDesignWhenJamesMcNeilWhistleraudaciouslytransformedtheLondondiningroomofshippingmagnateFrederickLeylandintoagildedswirlofjaponismeknownasthePeacockRoom,itproducedabattlebetweenartistandpatronthatbecame,atleastinWhistler'sview,atestofartisticfreedom.Relations
2、werefurtherstrainedwhenLeylandrefusedtopaythefeedemandedbyWhistlerandfamouslydecidedtogivetheartistonlyhalftherequestedsum.Lessremarked,though,wasthedenominationofLeyland'spayment:hewrotethefinalcheckinpounds,usuallyonlypresentedtotradesmen,ratherthanguineas,theformofpaymen
3、tfavoredbyartistsandprofessionals.Leyland'sresponsehasbeeninterpretedvariously.Nodoubt,themillionaireshipownerwasinfuriatedbytheartist,withwhomhealreadyhadcomplexandtroubledpersonalandbusinessconnections.Althoughthepaymentinpoundsrepresentedasmallbutsignificantfinancialloss
4、forWhistler,asthedenominationcarriedalowermonetaryvaluethanguineas,thequestionofstatusloomedlargetoo.G.W.Smalley,anAmericanjournalistfromtheNewYorkDailyTribune,tookupWhistler'sinvitationtoseethePeacockRoomontwodifferentoccasions.Afterhissecondvisit,andhearingofLeyland'scurs
5、orypayment,SmalleydefendedWhistlerbyrefutingitsimplicationsinprint.Smalleynotedthegreat"differencebetweenupholsters'tricksandthesincerityofanartistofgenius."Nobody,noteven"themostuntrainedeye,"couldmistakethetalentdemonstratedherefortheworkofa"merecraftsman."1ForWhistler,Sm
6、alley,andmanycontemporaries,theimplicationthatfineartmightbeconfusedwithcraftordesignwasdeeplyoffensive. Overthepasttwocenturies,design'srelationtothefineartshasremainedambiguous.Moderndesigncanencompassnotonlythedecorativeartsbutalsomass-producedconsumergoods,fi
7、lm,television,andtheburgeoningfieldofdigitalmedia.AsWhistler'sexperiencewiththePeacockRoomsuggests,thefieldwasespeciallymuddiedduringthenineteenthcentury,aseminalperiodfordesignstudies.Whiletheparametersofnineteenth-centuryfinearthavelongbeenestablished,therearefewtouchston
8、esfordesignstudiesduringthisperiod.Becauseemergingstrategiesofindustrialproduction
