By Patricia Bayer
An exploration of paintings deco architectural layout, embracing many various occasions and areas in its precis of the routine origins, improvement and impact. a variety of varieties of structure, the writer explains, have been termed artwork deco, and their antecedents have been combined and infrequently stunning: arts and crafts, fin-de-siecle Vienna, Cubism, Expressionism and the Bauhaus. Patricia Bayer indicates that paintings deco masterpieces could be obvious and in demand world wide: from the skyscrapers of latest York urban to imperial dwellings in Tokyo from Sydney Harbour Bridge and the Battersea strength Station to motion picture theatres and diners throughout the United States. Post-modernism now makes use of its motifs and idioms, and plenty of of the unique structures nonetheless continue to exist, totally restored to their former glory.
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Extra resources for Art Deco Architecture Design, Decoration and Detail from the Twenties and Thirties
43) (citing Lord Hailsham in Swish Products (at 629) (see above), and Astbury J in Austin v. Columbia Gramaphone Co [1917–23] MCC 398 at 408 and again in Vane v. Famous Players Film Co Ltd [1923–28] MCC 374 at 398). The dichotomy is discussed in more detail in Chap. 3. B. (Plastics) Ltd v. Swish Products Ltd  RPC 551 at 633 (HL). For a discussion of how the UK and USA have developed and applied this principle with emphasis on software copyright see S. Lai, The Copyright Protection of Computer Software in the United Kingdom (Hart Publishing, Oxford, 2000) (“Lai”).
Abacus Mouldings  FSR 332, George Ward (Moxley) Ltd v. Richard Sankey Ltd and Another  FSR 66, Bradbury, Agnew & Co v. 16 below). In any event, as Lord Hoffmann recently observed in Designers Guild v. 336/213) to which the UK is a party (in Art. 2). It is therefore submitted that this distinction is a useful and necessary Introduction 5 does not protect ideas, only the form in which they are expressed. 16 So, for example, no one could copyright pointillism as an artistic style, but Seurat’s paintings (if in copyright) would themselves be protected from copying as original artistic works.
30 Certainly in English law there was early judicial acknowledgement that it was just to grant copyright to authors of literary works, and also that authors had what we now call “moral rights”, as Lord Mansfield made clear in Millar v. Taylor: “it is just, that an author should reap the pecuniary profits of his own ingenuity and labour. It is just, that he should judge when to publish. It is fit he should not only choose the time, but the manner of publication . 32 Another theory underpinning copyright centres on artists’ works as being nothing less than an extension of the artists’ personality—the socalled “personality” theory.
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