Abstract
As if in answer to Ruskin's complaints about the ugliness of industrial culture, Art Nouveau and the International Style emerged in the last years of the 19th century and the first decades of the 20th in fairly rapid succession. While obvious aesthetic differences exist between these two dominant styles, both owe their existence to the growth of consumer-oriented businesses and mechanized industries in capitalist countries. The organic and highly crafted forms of Art Nouveau designs were rooted ideologically in the social idealism and antimachinism of the arts and crafts movement. The precise geometry of Werkbund and Bauhaus products, exemplifying equally idealistic views about the power of design to reform society, affirmed the rationalized and mechanized system epitomized by German industry from the 1890s to the 1930s.
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