In the mid-19th century, the English art critic and theorist
John Ruskin
planted the seeds that would later flower into the Aesthetic Movement. He
led a group of artists, architects and poets in a crusade to elevate the decorative
arts to the status of the fine arts. As the movement grew, it spread beyond
artistic circles to elite aristocrats and then on to the middle class. The
movement would also cross the ocean to be fully embraced in North America. |
|||||||||||||
By the 1870s the Aesthetic Movement was gaining broader appeal
and much attention was given to artistic home decoration. Studied spontaneity
and casual juxtapositions replaced the stiff and formal room arrangements
of earlier decades. Soothing tertiary colors came into vogue with carpets,
draperies and wall-coverings all carefully selected to harmonize. Decorated
ceilings became popular, and dividing the wall into the horizontal bands of
frieze, fill and dado became almost obligatory. Artists and architects turned
their attention to designing wallpaper; producing a flood of patterns which
decorators combined with abandon to create exquisite effects. For the first
time, the average homeowner was treated to decorations that had previously
been the exclusive domain of the super-rich. |
|||||||||||||
In an odd collaboration between critics and champions of
the movement, Oscar Wilde toured the United States in 1882 at the invitation
of theatrical impresario Richard D'Oyly Carte to prepare the crowds for the
North American production of Gilbert and Sullivan's Patience. Wilde's lectures
promoted the art movement even as Patience parodied the pretense and mannerisms
of its followers. This contradiction reflected the public's fluctuating relationship
with the movement. Indeed many simply responded to the sublime decorations
put before them without adopting the underlying philosophy. |
|||||||||||||
:: Return to Aesthetic Movement :: |
|||||||||||||
Mason and Wolf Wallpaper :: PO Box 6224 :: Freehold,
NJ 07728 |
|||||||||||||