St George Cabinet by Philip Webb - Essay Example

?Introduction The different items which began to be introduced during the end of the 1800s were a combination of the older and ical styles in art, as well as an emergence into innovation that was leading into modernism. When looking at the different concepts provided for the arts and crafts, it can be seen that there was a desire to continue to move forward with the idea of the classical styles while using the themes of artistic works to continue to build specific expressions within society. The Saint George Cabinet is one of the artistic works that represents both the classical ideals of work and the newer concepts of modernism. The approach to making this specific cabinet and the exploration of the themes all point toward a different ideology of displaying the unique in a world that was quickly turning toward modernism. Background of Webb and Morris The St George Cabinet was made with two individuals who worked together, one which focused on the architecture of the cabinet, named Philip Webb, and the other which included the paintings, known as William Morris. The scenes that are incorporated are from the life of the saint and are taken directly from Medieval style architecture and art. The concept which is associated in this piece is one which consists of the Victorian values of the time, specifically which both the artists had1. The idea of the values was based on the sense of morality toward Christianity and reverence toward the older styles of art work. Morris directly influenced this because of his strong association with the Church and the restoration of older Churches that he was continuously involved in. Webb followed this particular concept with the commercial architecture that he believed was taking away from the reverence of religion and morality of the time2. The concept of religion and morality which both represented not only was based on the restoration of religion in which both believed in. There were also strong associations with depicting the saints, not as the churches had during the late 1800s, but instead in original form. During this time, there were several changes in the Church, battles between different congregations and beliefs that were beginning to change. The philosophy that is seen through this artwork and which was held by both Webb and Morris was based on going back to the original components of the church. This was based on the pagan style initiatives which were initially a part of the Church and which were approached by bringing back the original expressions of religion. The approach to several of the works, specifically by Morris, was descriptive of these scenes, the actions of the saints, and the original stories which could be exhibited in terms of religion and ritual3. Techniques and Materials of St George Cabinet The materials that are used for the Saint George Cabinet consist of painted and gilded mahagony, pine and oak and copper mounts. The overview of this can be seen in figure 1. Fig 1: Saint George Cabinet The main concept with the materials was to use the natural elements that would best represent the cabinet, combined with using durable woods to the completion of the cabinet4. The materials which were used were specifically based on finding the natural woods that would hold in durability and strength, combined with finding the materials from easy to locate resources for the finished product. This combined approach then allowed for the cabinet materials to work in the finished handicraft material5. The techniques that were used in the making of the cabinet and the design are also defined as rare for the time because of the approach which was taken with the shape and building of the cabinet. The architecture of the cabinet, while having a box like structure, also has the Medieval elements from the sides, specifically with the pointed sides to the cabinet. The horizontal look that is held on the stand is also different to the architecture and creates an appearance that was not as popular for the time. Instead, most were interested in the length – wise cabinets by this time frame. To complete this, Webb created a basic framework for the architecture and the piecing together of the main box frame and structure. He then allowed the painting to be the main component of the cabinet. To emphasize this, the copper mounts and other applications were added afterwards, specifically to create an emphasis to the structure and paintings. It can be seen that the physical structure was completed before deciding to add the paintings because of the lack of coordination between the two6. The second component of the architecture which was important to the piece was based on the influences of Orientalism, specifically with the architecture used. The copper handles, as well as the intricate patterns and shapes in both the interior and exterior of the cabinet were influential of this concept. The concept of Orientalism during this time was based on motifs, patterns and additional textiles added into the frame. These were partly added in with the copper settings on each side that were painted in. This was combined with the natural settings that were around the main figures and which consisted of natural motifs common to the oriental movement, as seen in Figure 2. This specific example shows how the Orientalism combined with the St George look to accent and compliment the story. The inner and outer structure both had these accents to show the relationship to the story with the natural elements of Orientalism. Figure 2: Oriental Motif The second technique which was used in the making of this cabinet was based on the concept of using the Pre – Raphelite paintings to create the main look and style of the piece. This was an interest specifically from William Burgess, who had taken interest in the making of the cabinet for an International Exhibition. Those who were interested in this movement were focused on realistic like figures, the presentation of the church in the pagan form and techniques which consisted of an interchange between patterns and scenery from the religious movement. The figures were each seen with the main portrait to the side and with a basic background that was divided by lines and simple objects in the background. The techniques which followed this were also a part of the Pre – Raphelite paintings and consisted of tinted varnish on a ground of silver leaf. The paintings were followed by decorative motifs that were created after the paintings to emphasize the main figures7. To work with the motifs and the designs of the 14th century, Morris focused on paintings that were realistic and which he could sketch into the main cabinet. The technique with the panels is one which is often disregarded, specifically because there are five panels of painting over three different cabinets, making the design asymmetrical and with flaws in the mechanics. However, the storyline remains consistent to the revitalization of the Church which Morris believed in. The characters that are in each panel were sketched and painted with specific portraits that he had pose for the ideals. The princess was posed as his wife, and those collaborating with the project posed as the other figures to create the story line. The different costumes worn were known to be consistent with the 14th century, Medieval times, combined with the classical arrangements of the background, such as the drapery that was added in8, as seen in figure 3. Figure 3: Sample Figures on Cabinet Exhibition The end result of the St George Cabinet was referred to as a virtuoso piece, specifically because the techniques consisted of the Medieval, Oriental and contemporary structures. The combination of these different elements added into the popularity of the piece and created a specific interest in the overall handiwork which was a part of this piece. The result was showings and exhibitions as a part of the piece. The cabinet was shown in the International Exhibition of 1858, specifically which allowed those who were interested in the combined techniques of the piece to see the international displays and revitalization of older techniques which were combined throughout the piece. The exhibition of this piece was then brought to the Victoria and Alberta Museum as a part of the British Gallery and to continue to show the innovations that were made between the designer and the maker9. Relationship Between Designer and Maker One of the most important parts of the making of this specific cabinet was the relationship between the designer and the maker. The instructions that were given were from Burgess who was interested in the Pre – Raphelite paintings. However, this was combined with the interest from both Webb and Morris in the Medieval time period, stories of the Church and the need to revitalize the religious beliefs of the time. While each of these was combined, there were also international influences from the painter and designer. The maker and designer were able to move into an understanding that adding in the different Orientalism techniques and designs would add into and accent what was being done. From the construction of the piece, it can be seen that Burgess and outside manufacturers were influencing the making of the piece, specifically with their own ideas of what should be included in the painting. The original cabinet and the painting that is given on the front then didn’t collaborate in an effective manner. However, the additional layers of style added, such as the brass and the Orientalism designs, both added into the end result that allowed the cabinet to become a rare artistic work compared to others. The designer and maker, while showing some elements of working independently then combining ideas, were also able to add in the extra structural elements and paintings at the request of those overlooking the project10. The Faulkner Firm Another dynamic that changed the way that the handicraft was made was from the Faulkner Firm, which manufactured the cabinet for display. While both the cabinet maker and painter were interested in the revitalization of the older techniques, the Faulkner manufacturers were more consistent with ideas of contemporary building and the structure of new elements which could show the contemporary style of Britain. The furniture and cabinets which the Faulkner Firm was interested in making fit with the new styles of the manufacturing process and the way in which this it into the newer ideas which could easily be made and changed for those interested in the cabinets. The material, painting and the use of the copper and intricate designs then became contradictory to the main firm and initially presented problems between the two interested in the intricate displays and the need to manufacture the contemporary styles that were now moving into high society11. While there was a focus specifically on contemporary and new ideals, the Faulkner Firm also was looking for ways to go against the other competitors who were adding in different styles of ornamentation with the works, such as Charles Locke Eastlake. The furniture which was being provided by this manufacturer was known for intricate and newer designs as well as fine woods that were added into the look. The main approach was to have more intricate styles which could be added in and developed with the piece. For the Faulkner Firm to compete there needed to be different approaches to the ornamentation and the painting styles which were being considered among high society. At the same time, the functionalism and practicality of the pieces needed to continue to provide the modernist level which Faulkner was interested in. This particular piece worked as a unique and innovative way to go against the competition while looking at new elements that were within the work. The practical applications of the cabinet as well as the intricate designs which innovatively covered different types of techniques and intricate designs allowed Faulkner to remain competitive with the international trends that were a part of the time frame12. Innovation of Craft The different techniques and styles which moved from maker to painter and to the final manufacturer were all related to the changes of the 1800s and the movement into the innovation of craft and arts. There were two forces that were taking place with the innovation of craft and theme of arts and crafts. The first was based on the movement toward industrialization. Commercial production, mass production and the ability to use machinery for the production of different items were considered as a large component of this time. Many were beginning to find simpler and more effective means of creating different ideals with the furniture while eliminating the handiwork that was a part of the arts and crafts. The innovation of craft was then leading out of the talent which was required to make different items and instead into simpler figures that were not as intricate in nature. This movement is one that caused opposition against some in society, specifically because of the lack of artistry and craftsmanship from the industrial machinery13. The movement against the industrialization that was associated with the arts and crafts movement was then one which began to construct and move back to the innovations and intricate designs that were before known. The arts and crafts created were ones which couldn’t go through mass production and which required craftsmanship and talent at a different level. Those who were interested in the arts and crafts began to demand ornamentation, intricate designs and architectural shapes that would be unique and which couldn’t go through a sense of mass production. This was able to move against the commercialization that was set for those in society. The craftsmanship was combined with using materials which couldn’t be found and by blending in different types of materials, such as the St George Cabinet does, specifically because there wasn’t a way to move this into the industrial demands and expectations of the time. The Victorian society then used these intricate handicraft pieces as a symbol of wealth and status, specifically because of the intricacy that was available and which wasn’t produced through the industrial culture. This was then able to show that the art and craft culture led to a higher level of sophistication because of the complexity of the pieces14. The concept of meeting the demands of social classes and allowing the arts and crafts o revitalize led to several schools of thought that consisted of a diverse arts and crafts movement during the time. From one perspective, the designs and the artistic works began to move into a sense of innovation that was able to provide those in high society with a sophisticated look which couldn’t be produced at a mass level. From another perspective, designers tried to construct the artistic works that were of historical value and which seemed to be lost to the modernist times. Moving back to the old works and using techniques that were a part of an older time frame added into the value, specifically because it was one which was not commonly used among those in society. Using these two main techniques of innovation and revitalization then allowed for more custom and unique looks of the furniture and arts and crafts to be made available. The work that was created also led to a higher concept and status for those interested in the art works15. Social Value and Morality The innovation that moved against commercialism and led back to specific movements in the arts and crafts movement was important not only because of the movements in society. The sense of social value and morality led to works such as the St. George Cabinet to gain wide recognition among those in society. The first reason was because of the values that were created in terms of culture. The concept of nationalism was stretching among those that were in different regions, specifically with the patriotic ideology that there needed to be something which represented the various cultures and which couldn’t move through mass production. The particular movement of nationalism led into values that expanded with the new developments in America to the revitalization of European art works. The artists were able to use this to represent the culture, religion and other values that many believed needed to be brought back into society and to represent the national outlooks of the time16. The St George Cabinet represents this from the revitalization of the churches that are seen through the paintings as well as the resurrection of the main ideals that are a part of the ideas of the English from historical times. This is combined with the making of the cabinet with specific woods from England and the style which is influential of the international recognition of style from the cabinet. Another component which was a part of the social values and morality for the arts and craft and which led into the demands for intricate patterns was based on the idea of work ethic and personal morality. There were several that believed the industrial revolution and the use of commercialization would lead to a loss in the main values in society. More important, true workmanship, the ability to craft single ideas and the concept of working in an ethical manner became a debate many which believed would be lost to machinery and factories. The support for arts and crafts then began to gain recognition, specifically because there was a desire to move back to the historical work ethics, instead of the industrial ideologies. The making of cabinets, display of true craftsmanship and the morality that was based around this in society then was able to display that one valued the individual who worked, as opposed to the machinery in the different pieces17. These different ideals of morality and the need to use innovation outside of manufacturers were consistent with the overall demands in society. The St George Cabinet becomes a representation of the need to revolutionize the idea of arts and crafts through the intricate designs that can’t be recreated because of the materials and techniques used. However, this also leads to those in society creating the demand for this type of cabinet, specifically because of the decorative arts showing that there is a sense of value, morality and social status with having the fine art works in the furnishings that are in the home. This provided a strong demand for the arts and crafts and led to different techniques which could make a statement with those against commercialization and which were interested in revitalizing the arts that were a part of the history of a nation18. Conclusion The concept of the arts and crafts during the mid to late 1800s was one which began to experience revitalization among those in society. The piece of St George Cabinet is a representation of what was occurring during this time. The revitalization of the church theme, addition of the Orientalism techniques and patterns and the use of the fine woods to add in an intricate look were all a part of the piece made during this time, specifically which gained international recognition. These different techniques were important not only in defining an innovative component that revitalized the arts and crafts movement, while holding onto tradition. Those who worked with the handicraft were able to move against the commercialization of new furnishings while showing the intricate values that could be associated with arts and crafts. To those that were in society, this became a representation of status, the building of handicrafts as ethical values and support that could be given to those who were able to use the fine arts to represent furnishings as an intricate part of the value of a home. References Banham, Joanna. William Morris and the Middle Ages: A Collection of Essays. Manchester University Press: New York, 1984. Betjemann, Peter. “Craft and the Limits of Skill: Handicrafts Revivalism and the Problem of Technique.” Journal of Design History 21 (2), 2008 Blaszczyk, Regina. Imagining Consumers: Design and Innovation from Wedgwood to Corning. John Hopkins University Press: Maryland, 2000. Etterna, MJ. ‘History, Nostalgia, and American Furniture.” Winterthur Portfolio 5 (17) 1982. Fabian, Ann. “Culture and Comfort: People, Parlors, and Upholstery.” Winterthur Portfolio 24 (4), 1989. Gann, David. Building Innovation: Complex Constructs in a Changing World. Thomas Telford: New York, 2000. Harvey, Charles. “William Morris – Art and Idealism.” History Today (46), 1996. Madigan, Mary Jean Smith. “The Influence of Charles Locke Eastlake on American Furniture Manufacture, 1870-90.” Winterthur Portfolio 10, 1975 Martin, John. “Two Scenes from Burne – Jones’s St George Series Rediscovered.” The Burlington Magazine 139 (1130), 1997. Morris, W. “William Faulkner: The Making of the Modernist.” American Literature 4 (2), 2001 Peddle, Walter. The Dynamics of Outport Furniture Design. Canadian Museum of Civilization: Canada, 2002. Rogers, Phillis. Victoria and Alberta Museum: English Cabinets. HM Stationary: New York, 1964 Rodgers, Daniel. The Work Ethic in Industrial America: 1850-1920. University of Chicago Press: Chicago, 1978 Wilk, Christopher. Western Furniture: 1350 to the Present Day in the Victoria and Alberta Museum. Cross River Press: New York, 1996 Read More