Archives For Design

The Broadside

The history of the poster starts with black-and-white broadsides in the 1600s, which evolved in the wake of the printing press. These one-sided sheets of paper were a quick way to mass-distribute information. Shopkeepers propped product announcements in their windows; governments called people to action in the event of war; public decrees were quickly distributed. A wanted poster of the old American West would be a classic example of a broadside. The Declaration of Independence is also a famous example; printed as a broadside, news of the victorious revolution spread quickly throughout the American colonies.

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The first 150-200 copies of the Declaration of Independence were broadsides, printed by John Dunlap of Philadelphia on July 4, 1776.

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This broadside announced a meeting to take action against the Great Chicago Fire on October 9, 1871. Image via the Chicago History Museum.

A broadside from the 1800s, showing addition of a single color and illustrations to highlight the informational text.

A broadside from the 1800s, showing addition of a single color and illustrations to highlight the informational text.

A Turning Point

Broadsides were an ephemeral form—easily printed, distributed for quick impact, read for the information they contained, and then tossed away. But as time passed and technology advanced, the broadside evolved. Typefaces got a little more interesting—larger, more decorative. Images were added to grab a viewer’s attention.

And then a turning point came in the 19th century in Paris. The poster transcended its role as attention-getting carrier of practical information. It became beautiful. It became desirable. It transformed the gray urban commute into a pleasurable stroll punctuated by cheerful color. It became the passion of a group of aficionados who avidly collected these posters, preserving them from the short life cycle of ephemera. In short, the poster became art.

So how did it happen?

There are a number of factors: the rise of the middle class in Paris with more expendable income for collecting, advances in technology that allowed for larger and more complex poster designs, a multicultural milieu with artists of all types mingling and sharing ideas in Paris’s bohemian neighborhoods, a city redesign that included street furniture designed specifically for posters, and more.

But one of the central factors is the reinvention of lithography, the process by which many posters were made before they became fine art.

And Jules Chéret is the one who reinvented it. Chéret is widely known as the father of the modern poster, and it is in his footsteps that the rest of the major artists in the Driehaus Museum exhibition, L’Affichomania: The Passion for French Posters, followed.

Jules Chéret (French, 1836 - 1932)

Jules Chéret (French, 1836 – 1932)

Jules Chéret

Chéret was born in 1836, the son of a French typesetter in Paris. He briefly studied drawing, then started training at age 13 in lithography, working as an apprentice and journeyman in Paris and London for 17 years. He got his break when perfume manufacturer Eugène Rimmel hired him as a designer. Soon after he started his own lithographic printing firm in Paris, firmly believing that lithography would soon replace his father’s letterpress industry as the premier printing technique.

Card for Eugène Rimmel, designed by Jules Chéret.

Card for Eugène Rimmel, designed by Jules Chéret.

Jules Chéret's first major poster commission was this one for Jacques Offenbach for his 1858 production of "Orpheus in the Underworld."

Jules Chéret’s first major poster commission was this one for Jacques Offenbach for his 1858 production of “Orpheus in the Underworld.”

Lithography

Lithography wasn’t new. It was invented in 1798 by a Bavarian actor and playwright, Alois Senefelder, to reproduce his scripts. Senefelder’s printing process is simple to understand if you keep in mind that oil and water don’t mix. To make a lithograph, you take a greasy or waxy crayon and draw images or words onto a large, smooth limestone surface. Then you douse the surface of the stone in water and roll it with ink. The greasy drawing repels the water and soaks up the ink, while the wet areas without any drawing repel the ink. So when you press the stone—with considerable force—onto a piece of paper, it transfers the inky images and text onto that paper.

If you wanted a color lithograph, also called a chromolithograph, things got a little more complicated. You had to prepare as many stones as you want colors. It was laborious and the stones were incredibly heavy, so lithographs remained pretty much monochromatic well into the 1860s. If color was utilized at all, it was a little splash as a highlight to the heavily crammed text, and not a core part of the visual design.

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An artist drawing on a lithographic stone.

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Illustration of printing a lithograph. Image via DesignHistory.org.

 

The Artistic Poster

Given the lack of design consideration, low quality, and disposability of earlier commercial lithographs, lithography got a reputation as an unworthy artistic medium. To say that you were making lithographic art in the 19th century would be like printing a full-page advertisement in a glossy beauty magazine today and calling it your chosen artistic medium. It isn’t impossible. It would simply be difficult for many to imagine elevating this medium we associate with makeup advertisements to the realm of museum collections. It was the same with lithography. It suffered from its association with quick and commercial information. There was nothing daring, original, or beautiful about lithography.

That is, until Jules Chéret. Visionary artists often take an idea or form that already exists and transform it so completely that it appears new and original. This was the case with Chéret, who appeared unconstrained by the negative associations with lithography and decided to use it for colorful, cheerful, and vivaciously French artworks. In 1884 Chéret organized the first group poster exhibition in art history, ushering in an era of these images being accepted—and enthusiastically celebrated—as fine art, and in 1886 he published the first book on poster art. Chéret would also eventually work with printing houses that catered to collectors who wanted poster art for their own.

Chéret made advances to lithography in the mid-19th century that others would soon imitate. He designed his own lettering, taking advantage of the fact that the lithograph, as opposed to the printing press, allows for the artist to draw freehand on the stone’s surface. The text therefore became a part of the poster’s overall design. Chéret also reduced the amount of text, leaning heavily on the image to communicate about a product or event. He also simplified the chromolithographic process by using three primary colors: three stones inked with red, yellow, and blue. By making these colors semi-transparent, he could layer them and create different shades. Finally, Chéret approached the limestone in a painterly way, using animated brush lines, crosshatch, stipple, soft watercolor-like washes, and areas of flat color. A fellow chromolithographer, André Mellerio, heralded this fine art of the street, calling the new color poster “the distinctive art of our time.”

Chéret’s creative advances transformed the world of advertising. His posters featured cheerful, lightly clad, often eight-feet tall beauties who became known as Chérettes. Chéret’s women were inspired by the well-heeled, garden-party women of Rococo paintings, a glorious age in France immortalized by artists like Jean-Honoré Fragonard and Jean-Antoine Watteau. These alluring women showcased the pleasures of Paris to tantalizing effect, including music halls, theatres, performers, beverages, medicines, and lamp oil.

Folies-Bergère: La Loïe Fuller, 1893.

Folies-Bergère: La Loïe Fuller, 1893.

Yvette Guilbert: Au Concert Parisien, 1891.

Yvette Guilbert: Au Concert Parisien, 1891.

Théâtrophone, 1890.

Théâtrophone, 1890.

Chéret was recognized in his own time as ‘the king of the poster’. One art critic remarked that “there was a thousand times more talent in the smallest of Chéret’s posters than in the majority of the pictures on the walls of the Paris Salon.” He was often imitated, and an entire generation of artists would follow and build on his work. One of them was Henri de Toulouse-Lautrec. To acknowledge his debt to the older artist, Lautrec sent Chéret a copy of every poster he produced.

After creating more than a thousand posters in Paris, Chéret retired to Nice in the south of France, where a museum was established in his honor in 1928, four years before the artist died at the age of 96. The Musée des Beaux-Arts Des Nice, as it’s called today, still stands as a testament to the artist’s transformation of the world of fine art.

 

 

 

Resources
Eskilson, Stephen. Graphic Design: A New History
Encyclopaedia Britannica, “Jules Cheret.” Updated July 21, 2009. https://www.britannica.com/biography/Jules-Cheret
Graphic Design History’s “History of Posters” series, designhistory.org
Hamilton, Sarah Elizabeth. From Publicity to Intimacy: The Poster in Fin-de-siecle Paris
Ives, Colta. “Lithography in the Nineteenth Century,” Heilbrunn Timeline of Art History, The Metropolitan The L’Affichomania: The Passion for French Posters, essay by Jeannine Falino. The Richard H. Driehaus Museum. The Monacelli Press, New York, 2017.
Museum of Modern Art, gallery labels on works by Jules Chéret (moma.org/collection)
Museum of Art. October 2004. http://www.metmuseum.org/toah/hd/lith/hd_lith.htm
“A Brief History of Broadsides,” Tavistock Books, blog.tavisbooks.com/?p=12

Frederick Walton, Gilded Age Inventor

Standing on the shoulders of the Industrial Revolution, the Gilded Age spawned an astounding number of inventions that profoundly changed life inside the American household. Those last few decades of the 19th  century will always be known as a great era of invention. Thomas Edison invented the electric light bulb and built the first power station; he also gave us the phonograph for listening to music and the kinetoscope for watching motion pictures. Alexander Graham Bell created the telephone. Eastman Kodak produced the first camera for amateurs. Dr. John Pemberton sold the first bottles of Coca-Cola in Atlanta. John Kellogg accidentally discovered flaked cereal and changed American breakfast forever.

Frederick Walton isn’t as famous as Edison or Kellogg, but his defining invention is just as ubiquitous as Frosted Flakes. Walton, an inventor from England, gave the world linoleum.

Walton started his career working with his father and brother in a small family workshop where they manufactured India rubber (natural rubber made from the sap of the rubber tree, and a favored waterproof industrial material).

In 1855, Walton happened to notice the way a used can of oil-based paint would develop a thick, leathery ring around the lid. The flaxseed oil in the paint seemed to slowly oxidize and harden over time. “It occurred to me that…I could use it as a…waterproofing material, similar to [natural] india rubber,” Walton wrote. After figuring out how to fast-track the natural oxidization process by boiling the oil, he began to experiment with the material’s durability, attempting to dissolve the plastic-like oxidized oil in a solvent, or seeing how it took to water, oil, or heat. It was—as you know, if you’ve ever had a linoleum floor—impervious. It was also cheaper than India rubber.

In 1863, Walton took out a patent for the “Improvement of the Manufacture of a Wax Cloth for Floors”. He used straightforward Latin for the name of his new material—flax, also known as linseed (Latin: linum), and oil (Latin: oleum). The ingredients and process he outlined in this and subsequent patents—oxidized linseed oil mixed with coal dust, cork or sawdust and resin, and pressed into sheets with electric rollers—are almost identical to that of 21st-century linoleum. In 1864, Walton launched the Linoleum Manufacturing Company in Staines-Upon-Thames.

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Statue of linoleum workers on the high street of Staines-Upon-Thames, England, commemorating the workers of Walton's factory.

Statue of linoleum workers on the high street of Staines-Upon-Thames, England, commemorating the workers of Walton’s factory.

Factory workers inlaying linoleum flooring.

Factory workers inlaying linoleum flooring.

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Linoleum became increasingly recognized as an inexpensive and easy-to-clean decorative material for dining rooms, passages, and kitchens. This illustration from the 1920s advertises an attractively painted linoleum rug.

This illustration from the 1920s advertises an attractively painted linoleum rug.

Linoleum became increasingly recognized as an inexpensive and easy-to-clean decorative material for dining rooms, passages, and kitchens. So what was initially meant for commercial and industrial use—protecting factory floors, for example—migrated into European and American households. Subsequent linoleum companies hired artists to paint decorative designs on the flooring surface, eventually integrating pigments in the manufacturing process. Molds and stencils created texture and inlaid patterns for hallways or carpet surrounds, until the material hit the height of popularity as 20th-century kitchen flooring.

 

From Linoleum to Lincrusta

Linoleum may have been a practical material, but Lincrusta-Walton would be a beautiful one. Walton patented this material, thinner than linoleum and beautifully sculpted with artistic patterns, in 1877. Again, the term is Latin, lin for linseed oil and crusta for a hardened material like plaster or stucco.

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Walton outlined a manufacturing process similar to that of linoleum—oxidized linseed oil  blended with wood fiber, gum, resin, and paraffin wax and spread onto a canvas or paper backing. But once embossed by rollers and skillfully painted after installation, this new material could pose as hand-tooled leather, repoussé metal, carved wood, or ornate plasterwork—all coveted top-end home finishes during the Gilded Age. (Business-minded Walton was well aware from the beginning of Lincrusta’s copy-cat abilities; the first patterns he designed were imitations of Cordovan leather, a Renaissance mark of prestige.) Lincrusta was far less expensive than what it imitated, and as a new middle class of Americans with disposable income began to design and build grand homes in New York, Boston, and Chicago, provided an expanded palette for interiors striving for extravagance. By 1885, Beck & Co.—a Connecticut firm licensed by Walton’s firm—offered 150 different patterns of Lincrusta inspired by Egyptian, Greek, Persian, Moorish, Japanese, Medieval, Renaissance, Louis XIV, and Eastlake motifs.

Lincrusta would be purchased unpainted in an embossed pattern.

Lincrusta would be (and is still today) purchased unpainted in an embossed pattern, such as this one featuring  acanthus leaves.

 

Lincrusta wainscoting painted to resemble wood in an 1890 Boston home.

Lincrusta wainscoting painted to resemble wood in an 1890 Boston home.

Lincrusta lost none of the practical applications it shared with linoleum, however, and advertisements called it the “indestructible wallcovering.” Indeed, it proved waterproof, easy to clean, insect-resistant, and less prone to warping or cracking over time. Decorators and tastemakers enthusiastically recommended Lincrusta be applied to walls as dados, fills, and friezes.

 

Lincrusta at the Driehaus Museum

The Dining Room of the Nickerson Mansion (Fisher Period, ca. 1900).

The Dining Room of the Nickerson Mansion (Fisher Period, ca. 1900).

Lincrusta took the American nouveaux riche by storm, appearing in six luxury cabins aboard the fated ship RMS Titanic, in the White House, and John D. Rockefeller’s New York home.

For their new mansion in 1883, the Nickersons blended the latest in building technologies, such as fireproofing and indoor plumbing, with the latest in fashionable interior design.  Lincrusta featured prominently in the Dining Room and Smoking Room of the residence. In the Dining Room, the wall fill above the elaborately carved oak wainscoting emulates Spanish leather. Its design—embossed and scrolling leaves, painted burgundy and highlighted with gold by master artisans on-site—is inspired by the Renaissance. In the Smoking Room, the Lincrusta frieze featured a Japanesque pattern of red, black, and gold chrysanthemums.

When restoration of the Nickerson Mansion commenced in 2004, the Lincrusta in the Dining Room showed damage from objects hung on the walls, including framed paintings and stuffed animal heads.

When restoration of the Nickerson Mansion commenced in 2004, the Lincrusta in the Dining Room showed damage from objects hung on the walls, including framed paintings and stuffed animal heads.

 

Detail of the Japanesque chrysanthemum pattern on the Lincrusta upper frieze in the Nickerson Mansion Smoking Room.

Detail of the Japanesque chrysanthemum pattern on the Lincrusta upper frieze in the Nickerson Mansion Smoking Room.

During the 2004-08 restoration of the Samuel M. Nickerson Mansion, conservators found the Lincrusta had survived. But a hundred years’ worth of grime, salt, and nicotine stained its surface, and decorations (the Nickersons hung paintings, and the mansion’s second owners, the Fishers, displayed stuffed animal heads on the walls) had damaged it further. Late 19th-century advertisers had perhaps exaggerated Lincrusta’s strength; the material is actually more brittle and delicate than the hard materials it emulated. Care needed to be taken with cleaning so as not to damage it further. Parma Conservation, a Chicago firm, designed a unique solution to meticulously lift the grime without damaging the painted surface. Fill for missing areas was cast from molds taken from the intact Lincrusta, then painted to match. Today, the Lincrusta is luminous, complementing the sheen of the beautifully restored wood paneling in both rooms, as it did in 1883.

 

The Dining Room of the Nickerson Mansion after restoration.

The Dining Room of the Nickerson Mansion after restoration.

 

 

“Take one step inside the Nickerson Mansion and its splendor is obvious. Yet behind every architectural detail there are hidden stories. They are the stories of the craftsmen and artisans who created the carved mantles, tiled mosaics, scrolled marble capitals, and elaborately painted decorative schemes on the walls and ceilings within the house. It would be almost impossible today to find artisans capable of producing such exquisite details—the necessary skills are all but extinct.”  (Peter Schoenmann, Head Conservator of Paintings and Murals, Parma Conservation)

 

Resources
“Lincrusta-Walton: Can the Democratic Wallcovering be Revived?” Bruce Bradbury. The Old-House Journal, Vol. X No. 10, October 1892.
“Linoleum,” Bonnie Wehle Parks Snyder. Twentieth-Century Building Materials: History and Conservation. Edited by Thomas C. Jester (Getty Publications, 2004).
“Linoleum: A Chiswick Invention,” Ralph Parsons. Brentford & Chiswick Local History Journal No. 5 (1996).
“Added Dimensions,” Lynn Elliott. Old House Interiors, Summer 2004.
“Conservation of Lincrusta-Walton Wall Coverings at the Nickerson House,” The Richard H. Driehaus Museum. http://www.driehausmuseum.org/pdf_documents/Driehaus_Museum_Lincrusta.pdf

Mr. Vanderbilt’s House and Collection (1884), a beautifully bound two-volume set that brings to life William H. Vanderbilt’s monumental “Brownstone Twins” and their contents on New York’s Fifth Avenue, is now on view in the Sculpture Gallery at the Driehaus Museum.

The Museum’s new acquisition forges a special and important link between two prosperous late 19th-century businessmen and their devotion to collecting art. Samuel M. Nickerson may have lived in Chicago, while the name of William Henry Vanderbilt was synonymous with New York. But they were both enthusiastic parts of the same wave of artistic interest across America at the turn of the century, which resulted in real cultural phenomena: rooms like our Sculpture Gallery, private collections open to the public as a precursor to museums, and publications like Mr. Vanderbilt’s House and Collection.

William Henry Vanderbilt I (1821-1885). Illustration originally published in Harper's weekly, v. 29, no. 1513 (1885 December 19), p. 845. Library of Congress, Prints and Photographs Division.

William Henry Vanderbilt I (1821-1885). Illustration originally published in Harper’s weekly, v. 29, no. 1513 (1885 December 19), p. 845. Library of Congress, Prints and Photographs Division.

William H. Vanderbilt was the eldest son of railroad mogul Commodore Cornelius Vanderbilt, and inherited the largest slice of his father’s massive fortune. He did a fine job in railroads himself, and nearly doubled his inheritance by the time of his death. In 1879 he embarked on a $3 million building project that would permanently etch the Vanderbilt name in New York brownstone and American architectural history. “Nothing so magnificent had before been attempted in New York in the way of a private residence,” The New York Times remarked afterwards.

Exterior. Corner of Fifth Avenue and Fifty First Street, 1883. B/W negative, 4x5in. The Brooklyn Museum.

Exterior. Corner of Fifth Avenue and Fifty First Street, 1883. B/W negative, 4x5in. The Brooklyn Museum.

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Fifth Avenue at Fifty-First Street, 1900.

Fifth Avenue at Fifty-First Street, 1900.

The Vanderbilt residence at Fifth Avenue and Fifty-first Street was technically two mansions connected by an atrium; his daughters lived in the second with their husbands. It was a feast for the eyes. The architect-decorators were Christian and Gustave Herter, German-born cabinetmakers favored by New York’s elite, and they worked with experienced architects Charles Atwood and John Snook to anchor their profuse decorative elements to a standing structure. No two rooms were alike, and all were exactly to the taste of the moment. Just like the original interior designers of the Nickerson Mansion, the Herter Brothers favored a creative pastiche of historical and cultural styles all arranged together in interesting ways. You had vast groupings of artistic objects heaped on fireplace mantels, walls divided into three or more sections before reaching the ceiling, elaborate carvings in exotic wood, and jewel-tone colors. One’s eye never quite knew where to land.

Mr. Vanderbilt’s House and Collection is really a book of description. And just as we trawl through Curbed or Pinterest to see how tastemakers arrange their interiors or tune in on television for sneak peeks of celebrity’s homes, this description was hungered for by America’s new middle class and nouveaux-riche.

Mr. Vanderbilt’s House and Collection, The Holland Edition, Volume I and II, by Edward Strahan, published by George Barrie, 1884. The Collection of the Richard H. Driehaus Museum.

Mr. Vanderbilt’s House and Collection, The Holland Edition, Volume I and II, by Edward Strahan, published by George Barrie, 1884. The Collection of the Richard H. Driehaus Museum.

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Published in limited number—1,000 editions, of which the Driehaus Museum’s acquisition is #712—of beautiful materials, included richly grained and gilt-edged brown leather and deep blue silk inner linings, Mr. Vanderbilt’s House and Collection offered entrance to the private world of the wealthiest man in America. The reader is treated to a vivid tour of the home, from the Boudoir’s ivory-inlaid ebony walls to the grand three-story Picture Gallery, as well as Vanderbilt’s private art collection, which included around 200 paintings.

 

BOUDOIR. Second Floor—North-East Corner. In the foreground, Turner’s Fountain of Indolence, “by far the largest and most important Turner in America. It was first exhibited at the Royal Academy in 1834, and was obtained in 1882 from the dealers Agnew & Sons.”

BOUDOIR. Second Floor—North-East Corner. In the foreground, Turner’s Fountain of Indolence, “by far the largest and most important Turner in America. It was first exhibited at the Royal Academy in 1834, and was obtained in 1882 from the dealers Agnew & Sons.”

V-Interior

The author, Edward Strahan (Earl Shinn), was an influential self-made American art critic who studied at the École des Beaux-Arts in Paris and returned with a mission—not to make art, but to write about it. He wanted to dazzle American eyes and minds with the wonders of great art, examples of which so few of them had seen. Even the publisher, George Barrie, seemed to emphasize the artistic quality with his beautifully bound books filled with lavish artwork. A year before coming out with Mr. Vanderbilt’s House and Collection, Barrie put the visions of the 1893 Chicago’s worlds fair into people’s homes with an illustrated two-volume set, World Columbian Exposition MDCCCXCIII, Art and Architecture. He also collaborated with Shinn on a series called Art Treasures of America.

They were proponents of a vast sort of gentrification campaign for young America taking place at the end of the 19th century, which needed men like William Henry Vanderbilt. You might call this a kind of Mediciean mindset. Many Gilded Age barons like Vanderbilt saw themselves as bringers of an American Renaissance in which the powerful and wealthy contribute to the public good and encourage the flourishing of the arts. So when Vanderbilt spent over $1 million to amass works by Alma-Tadema, Bougeureau, Corot, Daubigny, Delacroix, Dupré, Fortuny, Millet, Millais, Rousseau, Troyon, and Turner, he had more than his personal financial portfolio in mind. Upon the grand opening of his mansion in 1882, Vanderbilt hosted two receptions, “to one of which he invited other multi-millionaires of the town to inspect his treasures, and to the other poor artists who had never been able to see the great galleries of Europe.” Afterwards, visitors were admitted by card on Thursdays. This was, according to one publication, “an important element in cultivating the artistic taste of the metropolis.”

Gallery of Paintings

 

"Figures from 'Down to the River' by L. Alma-Tadema."

“Figures from ‘Down to the River’ by L. Alma-Tadema.”

 

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Incroyables, by F. H. Kaemmerer.

 

Like Vanderbilt, Samuel M. Nickerson opened the Sculpture Gallery to art students and other interested Chicagoans, not only his personal guests. Art collections were viewed as public treasures, obtained by privilege but not to be hoarded. Rather, they were to be shared for the enjoyment and betterment of society at large. There was a deep belief during the aesthetic movement that exposure to exceptional beauty somehow elevated us, changed us, improved us as humans. Writing about that subject today, Alain de Botton puts it like this:

“What we seek, at the deepest level, is inwardly to resemble, rather than physically to possess the objects and places that touch us through their beauty.”

 

 

 

 

 

Resources
Alain de Botton, The Architecture of Happiness
Bibliopolis, “Publisher: George Barrie”
Dictionary of Art Historians, “Shinn, Earl / Edward Strahan, pseudonym”
The Metropolitan Museum of Art, In Pursuit of Beauty: Americans and the Aesthetic Movement
The Metropolitan Museum of Art, Library Table, Herter Brothers (1864-1906)
The New York Times, “Frick Remodeling Vanderbilt Mansion, Will Make Over One of Famous Brownstone Twins. Alterations to Be Costly: William H. Vanderbilt Built the Two Houses in 1880 at the Cost of $3,000,000—George Vanderbilt’s Tenure.” April 16, 1905.
The New York Times, “C. Vanderbilt Gets Mansion and Art, Property Worth $6,000,000 Reverts to Him by Grandfather’s Will on Death of George W. House Let to H. C. Frick. Stands at Fifth Avenue and Fifty-first Street and Cost $1,600,000—Art Valued Above $1,000,000.” March 10, 1914.
Nathan Silver, Lost New York, p. 121-122

Art, according to John Ruskin, the influential writer of the British Arts and Crafts movement, is most beautiful when its forms are derived from nature.

Now, when we call Nature beautiful, it’s often her finer moments we’re thinking of. A rose, with its velvety bundled petals, is beautiful. So too are the colors of sunset, the splendor of a tree in summer, the simple asymmetry of a starfish, or the spread of a peacock’s tail.

But many art jewelry makers of the early 20th century embraced all kinds of flora and fauna—even the ones that today might be perceived as…well, the opposite of beautiful. Spiders, bats, snakes, frogs, naked branches, and rotting blossoms have all been immortalized in gold, silver, and stone. What some might consider nature’s ‘dark side’ today was actually a source of intrigue and inspiration—the muse of artists all over the world.

That resulted in some striking motifs in these makers’ works, as you’ll see in a number of pieces on view in our current exhibition, Maker & Muse: Women and Early Twentieth Century Art Jewelry. Let’s take a look at a few of them, and stretch the definition of beautiful in the natural world a little further.

 

René Lalique (French, 1860–1945), Chrysanthemum Pendant/Brooch, c. 1900. Collection of Richard H. Driehaus. © 2014 Artist Rights Society (ARS), New York / ADAGP, Paris. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

René Lalique (French, 1860–1945), Chrysanthemum Pendant/Brooch, c. 1900. Collection of Richard H. Driehaus. © 2014 Artist Rights Society (ARS), New York / ADAGP, Paris. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

Take this pendant featuring a trio of chrysanthemums. In the audio tour of the exhibition, Driehaus Museum founder and collector Richard H. Driehaus explains, “This is one of my favorite pieces in the collection, and by the great René Lalique, whose jewelry has always commanded worldwide attention. You can see how each of the chrysanthemums is in a different stage of its blooming.” A picture-perfect chrysanthemum blossom—with its tight puffball shape composed of tiny petals—doesn’t look exactly like these three flowers Lalique has masterfully carved in glass. Instead, the jeweler chose blossoms that were past their prime. The lower petals are beginning to droop and lose their shape, not quite wilting, but almost. Below the flowers Lalique features a misshapen drop pearl, or “baroque pearl”, which further emphasizes the statement this piece makes that beauty can also be found in imperfection.

 

René Lalique (French, 1860–1945), Aquamarine Pendant, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014.

René Lalique (French, 1860–1945), Aquamarine Pendant, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014.

Here’s another example by the masterful Lalique, also on view in the French Art Nouveau gallery of Maker & Muse. In the pendant above, he set an aquamarine stone into and below two pairs of spiked, thorny stems of icy-blue enameled gold. Especially when set against the skin of the wearer, the sharp contours of this piece are striking.

 

Wilhelm Lucas von Cranach (German, 1861 – 1918), Octopus Waist Clasp, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

Wilhelm Lucas von Cranach (German, 1861 – 1918), Octopus Waist Clasp, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

Also in about 1900, goldsmith Wilhelm Lucas von Cranach created this fascinating waist clasp in the Art Nouveau style; you can see it on the second floor, in the gallery dedicated to a wide variety of German and Austrian art jewelry. The two grotesque large-mouthed fish grasp the body of the octopus—here, a luminous opal—while simultaneously seeming to be entrapped by the creature’s silver tentacles. In addition to the sinuous symmetry of the fish tails and octopus arms, the German goldsmith has given careful attention to texture. Note the fish scales, elongated fish nostrils, and raised suction cups on the octopus’s curvilinear arms.

The Artificers’ Guild (English, 1901–1942), Pendant, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

The Artificers’ Guild (English, 1901–1942), Pendant, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

Spiders were other favorite themes. This spiderweb pendant was produced in turn-of-the-century London by the Artificers’ Guild, and is on view in the British Arts and Crafts gallery of Maker & Muse. The spiderweb form functions as a seven-pointed locus for a variety of colorful precious and semiprecious stones; the piece includes opal, sapphire, zircon, tourmaline, amethyst, almandine, garnet, moonstone, and pearl.

 

Frederick James Partridge (English, 1877 – 1942) for Liberty & Co. (English, est. 1875), Tiara with Corn Design, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

 

In addition to the creepy-crawly side of nature, art jewelers also made the plain and ordinary into something awe-inspiring. This rare tiara by Fred Partridge, an important early British Arts and Crafts jeweler, is one of the highlights of the exhibition. Sheaves of grain are as humble a part of the natural world as there is to be found, and yet these five cornstalks, of semi-translucent horn topped with moonstones, are transformed into a supremely elegant work of art.

 

These are just a few of the stunning pieces of art jewelry featured in Maker & Muse: Women and Early Twentieth Century Art Jewelry. There are many more—over 250!—and the exhibition is open through January 3, 2016. Self-guided visits are included in the price of general admission. For more information, visit the Maker & Muse exhibition site.

 

explore how art jewelry—a term invented later to describe a wide variety of bold, genre-breaking jewelry being made all over the world around the turn of the 20th century—also has a story to tell about transformations taking place in women’s fashion during this period.

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By: Tasia Hoffman

On February 14, 2015, The Driehaus Museum will open an exhibit entitled Maker & Muse: Women and Early Twentieth Century Art JewelryThis exhibition will focus on women as the creators of and inspiration for Arts and Crafts-style and Art Nouveau-style jewelry.

…Arts and Crafts?  Art Nouveau?!

Whether these art historical terms are old friends or uncharted territory, let this month’s blog post serve as a mini-prep course for February’s bejeweled extravaganza.

First up: the Arts and Crafts Movement.William Morris, Green Dining Room, 1867.

The Arts and Crafts Movement began in England and was shaped by the ideas of writer/critic John Ruskin and designer/activist William Morris.  These men chose not to embrace “modern life” as brought about by industrialization, instead advocating an art and a lifestyle dictated by an intrinsic set of values including work ethic, community, spirituality, and equality.  Ruskin and Morris denounced industrial capitalism, which alienated workers from their own humanity, and opposed machine-made goods, which numbed the freedom and creativity of the brain.

(c) Glasgow Museums; Supplied by The Public Catalogue Foundation

Charles Rennie Mackintosh, The Wassail, 1900-1912.

Art, they felt, should be crafted “…by the people for the people as a joy for the maker and the user” and designed in a manner that integrates functionality with supreme aesthetic quality.

Arts and Crafts objects and structures are known for their use of natural (streamlined or simplified) forms, fondness of floral and geometric repetitive patterns, and dedication to high-quality artisanship.  A wide range of influences, from medieval to Japanese, were drawn upon to produce a harmonious, but decidedly non-Victorian, aesthetic.

Frank Lloyd Wright, Detail of Thaxter Shaw House Living Area, 1906.

Tiffany & Co., Bowl, 1900.

Tiffany & Co., Bowl, 1900

In America, the British Arts and Crafts tradition was modified by a material shift to regional resources and an aesthetic shift to include local environmental forms.  Native American and Asian design influences were readily employed, paralleling a growing interest in “handmade” appearance and simplified geometric forms.  Architect/interior designer Frank Lloyd Wright and furniture manufacturer/publisher Gustav Stickley advocated the use of machinery alongside skilled craftsworkers to expedite the furniture-making process, allow craftsworkers to operate in a more “exclusively creative” capacity, and, ultimately, draw the cost of furniture down to a middle-class price bracket.

Craftsman Workshops of Gustav Stickley, Armchair, 1907.

Craftsman Workshops of Gustav Stickley, Armchair, 1907

 Stickley began publishing The Craftsman, a magazine that circulated the idea of Arts and Crafts interiors and products as a bridge to a more desirable, simpler life, one supportive of and connected to the ideals of an honest, hard-working America.  That being said, many of the Arts and Crafts products created still catered to an upper class audience, and, while the objects embodied romantic notions of unity, they did not make those ideas a tangible reality.

Citations:
-Miller, Angela L., et al. American Encounters: Art, History, and Cultural Identity. Upper Saddle River, NJ: Pearson Prentice Hall, 2008.
-Kleiner, Fred S., and Christin J. Mamiya. Gardner’s Art Through The Ages. 12th ed. Belmont, CA: Thomson Wadsworth, 2005.
-Photo: “Charles and Henry Greene, Mary E. Cole House, 1906-1907.” www.thecraftsmanbungalow.com
-Photo: “William Morris, Green Dining Room, 1867.” www.studyblue.com
-Photo: “Charles Rennie Mackintosh, The Wassail, 1900-1912.” www.bbc.co.uk
-Photo: “Frank Lloyd Wright, Detail of Thaxter Shaw House Living Area, 1906.” www.artsandartists.org
-Photo: “Tiffany & Co., Bowl, 1900.” www.high.org
-Photo: “Craftsman Workshops of Gustav Stickley, Armchair, 1907.” www.moma.org

Visitors to the Driehaus Museum often cite the gallery as a favorite room with its marvelous stained glass dome and massive wood-burning fireplace. Lined with lacquered cherry bookcases and featuring an iridescent mosaic tile Art Nouveau surround, it is the one room in the mansion that was completely redecorated in 1901 thanks to the second owner, Lucius George Fisher Jr.Gallery, The Richard H. Driehaus Museum_Photo by Alexander Vertikoff, 2011

Perhaps Fisher wanted to put his own stamp on the Nickerson’s distinctive décor? Or did he just want a grand showcase for his collection of rare books and hunting memorabilia? Whatever his reasons, he hired one of the great Prairie School architects of the day, George Washington Maher.

George W. Maher

George W. Maher

Maher was born in Mill Creek, West Virginia in 1864. But by the age of thirteen he was living in Chicago and apprenticed to the architectural firm of Bauer and Hill. Thanks to the Fire of 1871, Chicago had become a center for innovative building design. After a stint with Joseph Silsbee where he worked as a draughtsman alongside Frank Lloyd Wright, Maher opened his own firm in 1888. Influenced by the styles of H. H. Richardson and Louis Sullivan, Maher’s houses reflect the “form follows function” dictum associated with Sullivan’s work. But while fellow architect Wright would follow the elaborate ornamentation of Sullivan’s cursive elements, Maher would eventually lean towards the Arts and Crafts movement in the houses he designed.

ely house

Ely House, Kenilworth, Illinois

hart house

Hart House, Kenilworth, Illinois

roe house

 

Beginning in 1893 with his own home in the northern suburb of Kenilworth, Maher went on to design forty distinctive houses there as well as several homes in Chicago’s historic Hutchinson Street District in Uptown. At the same time, he became allied with the developer of the Edgewater community on Chicago’s lakefront, producing a series of homes that still stand today on Sheridan Road.

pleasant home oak park

Pleasant Home, Oak Park, Illinois

But the most influential commission Maher would receive was from John Farson. The house now known as Pleasant Home in Oak Park, Illinois would establish the tenets of Prairie School design for posterity. Its success was copied time and again by other architects of the period.

At the same time, Maher was developing a unified design concept known as the Motif-Rhythm Theory. By incorporating an element in both the exterior and interior of the building—say a local plant, a geometric shape—he created some kind of decorative element throughout that ties the whole project together.

Maher Coffee Set

Maher silver coffee set.

Not only did Maher create plans for innovative and beautiful homes, he designed furniture, lamps, silverware and stained glass.

Many of his houses have distinctive windows that either he drew or commissioned from other firms such as Giannini and Hilgart, Healy and Millet, and Tiffany Studios.

Tiffany Window Winona National Bank

Maher designed Tiffany Window Winona National Bank

So the next time you visit the gallery, take a look at the detailed thistle frieze below the glass dome and the unifying design of the room with its carved lion heads by disciple and architect Robert Seyfarth. Take a moment to savor the genius of a unique artist, someone very much ahead of his time.

Resource: http://www.georgemaher.com/

Pier Carlo Bontempi’s mission to restore and elevate traditional architecture and urban planning is evident in this proposed project.

Pier Carlo Bontempi’s mission to restore and elevate traditional architecture and urban planning is evident in this proposed project.

“Reader, if you would seek his monument, look around you.” - Epitaph of classic English architect, Sir Christopher Wren

The Richard H. Driehaus Museum congratulates 2014 laureates Pier Carlo Bontempi and Yisan Ruan. The two honorees were awarded prizes for their contributions to the built environment during a public ceremony which took place at the John B. Murphy Memorial Auditorium on March 29.

The recipient of this year’s $200,000 Richard H. Driehaus Prize for Architecture at Notre Dame was presented to Italian architect Bontempi.

“I am most pleased with the selection of Pier Carlo Bontempi as the 2014 Richard H. Driehaus Prize laureate,” said Richard H. Driehaus, founder, chairman and chief investment officer of Chicago-based Driehaus Capital Management LLC. “His work has consistently responded to the unique qualities of historic environments as well as to the needs of modern society.”

Established in 2003 by the Notre Dame School of Architecture, the Richard H. Driehaus Prize is awarded to a living architect “whose work embodies the highest ideals of traditional and classical architecture in contemporary society, and creates a positive cultural, environmental and artistic impact.”

PLACE DE TOSCANE  "The project is situated in the Marne-la-Vallée district of Val d'Europe, between a large commercial centre and the Town Hall square. The scheme consists of a rectangular block whose centre contains an elliptical piazza similar in dimension to the Roman Amphitheatre in Lucca. "

PLACE DE TOSCANE
“The project is situated in the Marne-la-Vallée district of Val d’Europe, between a large commercial centre and the Town Hall square. The scheme consists of a rectangular block whose centre contains an elliptical piazza similar in dimension to the Roman Amphitheatre in Lucca. “

The Driehaus Prize at the University of Notre Dame is accompanied by another important honor: the Henry Hope Reed Award. This award focuses on a non-architect whose work contributes to realm of classicism and tradition in architecture and urban planning. This year the $50,000 Henry Hope Reed Award was presented to Yisan Ruan, professor of architecture at Tongji University and a world-renowned preservationist.

“Through large-scale local interventions, Professor Ruan’s work has become a model for preservation that addresses context in the broadest sense of the term,” said Driehaus.

Both Bontempi and Ruan were on hand to receive their awards from Mr. Driehaus and the jury committee as part of a weekend long celebration that included a gala dinner the night before.

Learn more about Pier Carlo Bontempi here.

Learn more about the preservation efforts of Professor Yisan Ruan here.

vreeland_bookclub_groupThe Tiffany Girls faced their toughest critic since the old master himself during a recent twilight tour at the Driehaus Museum. Susan Vreeland, author of the acclaimed bestselling novel, Clara and Mr. Tiffany, was the featured speaker at the Driehaus Winter Book Club this March. She also gave two lectures at the museum on the Women’s Department at Tiffany Studios. Vreeland provided some valuable insights as she accompanied “Clara Driscoll” and “Agnes Northrop” on a historic reenactment through their temporary studio and showroom in the Nickerson Mansion.

vreeland_finger

Set in 1899, Clara and Agnes are preparing to enter their designs in the 1900 Exposition Universalle in Paris. Guests on the tour are invited to take roles as potential customers. Ms. Vreeland was handed the part of an English aristocrat and played it rather convincingly. She demanded answers about the techniques used to create the myriad effects associated with the fabrication of Tiffany lamps. Vreeland’s visit to Chicago was timed to coincide with Women’s History Month as well as to tour the exhibition: Louis Comfort Tiffany, Treasures from the Driehaus Collection. In her novel, Vreeland recreates the fin de siecle with its tempestuous labor struggles and the nascent women’s rights movement. Her book describes the strivings of young women artists who found gainful employment in Louis Comfort Tiffany’s New York studios alongside their grudging male counterparts.

“Remember to emphasize that this was a very diverse group of women,” Vreeland advised. “Some of the workers had formal art training while others who showed a certain predilection for the tasks had to be instructed in the selection and cutting of the glass by Clara herself.” “There were many languages spoken and the women represented a range of the immigrant population.”

Susan Vreeland with the "Tiffany Girls"

Susan Vreeland with the “Tiffany Girls”

She found the two actresses who portrayed Clara and Agnes to be both charming and very knowledgeable about their respective roles.

Ms. Vreeland read a portion of her novel in Roland Nickerson’s bedroom, pausing at Driscoll’s Wisteria Lamp to deliver a message on beauty and design. Later in an impromptu question and answer session, she fielded queries about her research, writing methods and the plot of her newest novel, Lisette’s List to the group.

“I write on a lap top,” she said. “Multiple drafts.”

Book signing following the group discussion

Book signing following the group discussion

Many questions centered on the betrothal and subsequent disappearance of Clara Driscoll’s second fiancé, social reformer, Edwin Waldo. In the book, the couple travels to Lake Geneva to mark their engagement. Although seemingly happy, Edwin suddenly and mysteriously disappears. He would resurface many years later without explanation. Vreeland speculated that he might have had some form of mental illness. Apparently he would vanish again after relocating to California. But she emphasized his sincere desire to help elevate the status of workers. Clara Driscoll was deeply influenced by his passion for reform. Vreeland suggests that Driscoll adopted some of Waldo’s methods when she marched her female employees arm in arm to storm a picket set up by the Glass Cutter’s Union.

When asked about the details of Edwin and Clara’s relationship, Vreeland replied that this is where researchers hit a wall. She was forced to speculate on the events their honeymoon trip blending what little information there was available with the fiction writer’s art.

vreeland_peonyLamp

What was her favorite piece in the Driehaus exhibit? She loves the Peony Lamp which is on display in Samuel Nickerson’s bedroom.

tiffanygirls_deskExperience the Tiffany Girls Tour

  • Saturdays and Sundays in March. at 4 p.m.
  • First and Third Tuesdays in April, May, and June at 6:30 p.m.
  • Wednesdays, Fridays and Saturdays beginning June 25th at 5:30 p.m.

Adults $18; Youth (10-17 years) $8

Ticket includes Museum general admission.

 

Photo credit: Marcin Cymmer

 

This week is the 133rd anniversary of the patent for Thomas Edison’s lightbulb, a replica of which the Driehaus Museum uses throughout its halls and galleries today.

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