Background of St George Cabinet - Essay Example

?Introduction The changes that occurred in Europe during the early 19th century were a reflection of culture and society. This was specific to a response of the current changes in society and was an expression of the trends occurring at the time.1 An object that represents this is Saint George’s Cabinet, designed by Phillip Webb. This particular piece is a representation of the movements and changes occurring in the mid-1800s, specifically as a reaction to the industrial revolution. The cabinet is represented with the purpose behind the production, techniques used and the reaction in society. The importance of this piece during this time frame relates to the movements which were occurring against commercialization and the associations which many artists had with the changes occurring in society. Background of St. George Cabinet Saint George’s Cabinet was made in 1861 by Phillip Webb, a renowned architect of the time, as well as his collaborator William Morris. The focus of the cabinet began with the philosophy of a group of artists and individuals which Morris and Webb both belonged to movements which were interested in keeping the fine arts as a main association in society. This movement turned back to the classical structures and paintings, specifically renowned before the 1300s2. The exhibition of displays included intricate furnishings to homes, stained glass windows, large tapestries and murals inclusive of patterns and designs as were a part of the time frame. Each of these were known as an approach to the decorative and ornamental arts because of the intricate work done, and that both Webb and Morris believed had value in developing a different association with the arts in the current time frame3. The associations with the artistic culture were furthered by the craftsmanship specifically because of other philosophies and considerations of both as well as the expectations for the cabinet. Morris was associated with the church restoration of the time and had developed a deep understanding of the pagan and Christian beliefs associated with the building of the churches during this time. Both also had a strong association with the resurrection of the church and the need to go back to the fundamental beliefs as a part of society, as opposed to the viewpoints as were a part of the church at the time. The scenes used depicted one of the famous stories of St George and is regarded as one of the most important scenes in Biblical history. The ornamentation and associations with this were used to highlight and bring to light the resurrection of this particular story while trying to move back into the original form of the story that was a part of the time frame. This was combined with the expectation given to the cabinet to show it at the World Exhibition as a part of the arts and handicraft movement of the time4. Making of the Cabinet The cabinet made was a combination of pine and oak material, as well as an overlay of mahogany added after the cabinet was completed. This was combined with copper mounts used for the main display. The cabinet has a rectangular cupboard on a stand and with three doors with a lock plate. There are five scenes located around the cabinet, all divided unevenly among the three doors. The scenes are separated by daisy heads and vertical wavy lines with the rest of the cabinet painted in black with shell patterns and spots on the side and top of the cupboard. It is known the ornamentation is a combination of Orientalism was popular at the time as well as the artistic techniques were of interest to Webb and Morris5. (see Appendix A and B). The painting used for this particular cabinet can also be noted, not only with basic designs, but also with the process used by Morris. The figures in the paintings were depicted by poses of family friends as well as Morris’ wife for the painting. The interior decoration also used the process of layering, specifically with tinted varnish on the ground of silver leaf. This was a medieval method Burges had recently discovered and used with many of his paintings, specifically because of the unique texture given and which created a sense of subtlety to the colors used. The painting was known to be completed after the cabinet was finished, seen because of the three doors are unevenly divided by the five scenes in the painting. The lack of measurements in the painting shows the process of the cabinet and the way in which it was constructed6. The approaches used with the painting and overall construction of the cabinet links directly to instructions through Eraclius and other medieval instructors. The main techniques used included drying the wood in the sun or in the fire to ensure the painting would stay. There was then instruction to paint over the wood two to three times with a white oil paint. This was smoothed with the hand when it was half dry so the texture of the wood did not contrast with the painting, known as marbling. After this was completed, there was the ability to paint over the wood without the rough textures of the wood changing the scenery or the overall looks of the painting. Oil colors, as well as ground leaf, were used specifically in the Greek time frame and related directly to the arts and crafts associated with this specific piece of work7. Reactions Against Commercialism The reason for the movements in the arts, as well as the associations with design was a direct statement against commercialism was occurring during this time. As the industrial age continued to grow, there were different areas of material goods which became representative of the culture. Consumerism and commercial goods were one of the reactions began to occur during this time. Individuals began to consume more goods while the ease of getting different items became established8. Factories were able to move into mass production of various items. However, many rebelled against this because of the loss of unique attributes and the consumerist behavior established. The traditional cultures then began to establish the movement as a reaction against the modern culture of consumption was beginning to rise during this time9. The rise against consumerism was not only based on the basic rejection of mass production and the ease of creating different pieces of furnishings lost the handicraft work and uniqueness. There was also a belief among individuals in society this would lead directly to complexities with the archeological aspects were a part of society. If mass production and consumerism became the main component, then there wouldn’t be a representation of the cultural and societal uniqueness of the time10. The inability to express aesthetics through different pieces of work and the problems arose with the lack of craftsmanship and ownership were the main associations against consumerism. It was believed mass consumerism would take away the ownership of individual pieces of work, both by the artisan and those who had the furnishings and work in their home. At the same time, the production would create a lack of understanding the culture, time frame and relationships to the art work of the time. The St George Cabinet was able to show how the handicraft work was unique, could not be reproduced and was a reflection of both past techniques and the modern ideas of furniture11. The different techniques used with the St. George Cabinet were known to be related directly to the time frame and the movements taking place during this time. The main ideal with this movement was to create different types of furnishings and crafts could not be produced in industrial areas or with machines. The idea of the handicraft was based on creating artifacts which could not be reproduced while showing a sense of intricacy to each design established12. The idea was to make unique looks and components which would not be altered in society and could change the modern culture into one which as able to regard the artistry and aesthetics of handicrafts and the association which this had with the 1800s13. The concept of aesthetics with the cabinet was furthered by the techniques made a statement about the idea of aesthetics. The cabinet took the concepts from the reaction against commercialism and displayed them through this work. The first welcomed ideal was of ornamentation. The intricacy of a painting or craft displayed it could not be mass produced and therefore had more aesthetic value because of the craftsmanship displayed. The ornamentation is seen in the Orientalism of the cabinet and the details with the interior laying, such as the copper handles. The second ideal furthered with this was form, constructed so it was unique enough to not go through mass production. At this time, the production was based on easier designs and forms which could quickly be produced. The movement rejected this ideal by showing the concepts of form could not be produced with the aesthetically pleasing concepts. The ideal was to show the difference between handicrafts and to show the idea of careful work required more time was better than other types of arts and handicrafts14. The cabinet shows this with the unique shape of the cabinet, use of high – end materials can not be reproduced and with the artistic work presented. Another philosophy which related directly to the movement against consumerism and this cabinet was based on the works were known to establish different relationships through time. The first part of this was based on going back into the past for different concepts. Using natural materials and elements, drawing into the older and sacred concepts for the craft and using expressions which could no longer be created were some of the objectives were a part of this movement. Copper and wood were two of the best – known materials to show the ancient concept of the idea of craftsmanship, both seen with the St. George Cabinet. This was combined with paintings and developments not reproduced in the modern times, such as the church rendition which Morris used with the painting. The ability to use the older techniques and to bring back the classical elements were able to show how the crafts made could not be reproduced and worked as a way of redefining the unique aspects of work for those who were working by hand15. The use of materials, techniques used for the painting, quality of the work and the unique shapes and looks all added into the attributes needed for the movement of the time16. The use of ornaments, intricate patterns and designs, resurrection of the older concepts and natural materials all created this specific display of the cabinet. The concept of intertwining several different techniques and elements in the making of the cabinet were also used, such as the Orientalism with the St George scene. This allowed the handicraft to stand out as never having been reproduced before and added onto the uniqueness. It was the architecture of the object as well as the several techniques combined together allowed the piece to become modernist and to stand out from others, all while holding onto the main perceptions considered aesthetically value during this time frame17. The idea of modernism and the movements against consumerism was a part of the St George Cabinet was furthered with the concept of aesthetic reform. There were many re-examining the arts and crafts as well as what aesthetics meant. This time noted a split in many of the ideals of arts and crafts, specifically related to reforms of the old to transform out of a corrupt society and inventing the new because of the lead into a modernist society18. The split in philosophies combined to transform the way which art was perceived and approached in society. The modernist approaches either accepted or rejected the industrial concepts were associated with the arts. Beyond this, was a question of where this would lead the arts in society. The avant-garde as well as the ideal of Art Nouveau are some of the groups associated with the question of building a modern art. Others held onto ideas such as the romantic ideal and the classical techniques of art. The Movement became a reflection of the split movements in art, as well as what the questions of aesthetics in society were at the time. The movement then became a question of the philosophies of artisans during the time and was reflected in the pieces presented in society19. The association created with the cabinet and the approach was taken with the techniques related to the rejection of modernity. This rejected the idea of machines and other pieces of technology taking over the work of those were in society. The movement against modernity was one which Morris and others believed would destroy everything known in the environment and which could create a lack of value with the aesthetics and craftsmanship was a part of the time frame. It was also believed if mass production and modernism continued to be a part of society it would lead to fragmentation of the arts and not allow for room of either expression or the unique aspects of the arts and crafts20. To rebel against this, many artists worked toward showing how the sense of the past, as well as the unique approaches to aesthetics were the proponents would be lost with technology. The main aspects were leading into a sense of cultural phenomena divided those with a specific social status into the modern and mass produced concepts were associated with society and rejected with the belief this also led to a de-skilling of work was able to show true art21. The concept of defining art work and defining the ease of the ideal of mass production was one not only concerned with the aesthetics of consumerism. There were also displays which led to the belief the concept of mass production was changing the capabilities of workers by de-skilling them in the factory. The movement was furthered by the belief without these skills, there would be a loss in true work and generations in the future wouldn’t have the ability to see or produce the finer works of art. The Arts and Craft movement found ways to support those who were looking at the finer arts, specifically by looking at the social applications to workers and believing the commercialization taking place was a threat against work from before the era. The result was the desire to express and show how the arts were an important part of history and was as pertinent in the modern history not only in terms of expression, but also in tribute against the ten hour work day did not allow individuals to carry skills toward aesthetic value22. The Cabinet reflected this with the time it took to make the piece as well as with the aesthetics was displayed and could not be reproduced. The several reactions to commercialism then led into the ideal of ethical considerations and how this was related to the long working hours, lack of craftsmanship and changes in production during the time. There were many who rejected commercialism and the mass production, specifically because of the direct relationship to the loss of culture, tradition and the capabilities of individuals to build into a craft. The threat of consumerism was one increasing daily and which many saw as a loss of attributes and ethics, as well as a loss in culture. The reaction was to create and support different alternatives would allow a reaction against this and to show the true arts and crafts were more worthwhile than the industrial production occurring in the country. It was expected this would begin to change the demand for production while altering the approach toward furnishings, arts and other crafts23. St. George’s Cabinet as Representation The movement against commercialism allowed the St George cabinet to be the main representation of this particular time frame and the way it worked within society. The different techniques used as well as the association with the World Exposition were used specifically to show the association with the arts and crafts while making a social and political statement of the time24. The movement back into the older art forms, combined with the new looks presented a modern approach to the cabinet, allowed the cabinet to show the need to keep the same ideas with the arts and crafts while seeing the significance in the craftsmanship was a part of society. By communicating this concept through the cabinet at the time, there was the ability to represent a different part of society opposed to the commercialism of the time25. The approach which the cabinet took against commercialism applied to the cabinet not only through the statements of the artist and the craftsmanship used. The firm which funded the specific cabinet also created a relationship to make the social and political statement against the industrial revolution of the time. This was used specifically with the approach was taken with the religious elements by Morris. The firm related to this was also interested in the church and the re-establishment of religion. However, related to this was the understanding the older representations shouldn’t be directly exhibited in the same way, as this would become a manufactured statement through the art work. The firm gave instructions to hold to the traditions but not to model the new works after the old. This particular piece was one of three which made the statement effectively enough it gained publicity and established the mission of the firm, specifically which was based on the aesthetics of art as well as the inability to manufacture true art work26. The firm production established further made the necessary statement against commercialism through the presentation of the work and the final outlook. The popularity of this piece is one which can be questioned in terms of the craft is a part of the cabinet, specifically divided with five scenes and three cabinets, as well as the mixture of techniques used. However, it was able to become an icon against the commercialization of the time because of these techniques and the unique looks provided from the cabinet. The ideal was to show the ability for craftsmen to work with a specific ideal is one which could not be created and overcame the limits of the mass production, industrialization and the ideas of capitalism. By creating the unique framework of the cabinet, there was the ability to make a statement against the movements of the time and their association and support with capitalism and industrialization27. The representation created outside of industrialization also worked with this specific cabinet because of the balance between modernism and revitalizing the past initiatives of art. There was still a sense of appreciation for the arts of the past, specifically because of the revitalization of the churches occurring at the time. The past arts were used during this time as a way of representing and showing the power of arts for aesthetics and how they could help to change the unique aspects of a given area28. At the same time, most in society were questioning the idea of modernism as well as the avant-garde art slowly beginning to emerge in society. This specific cabinet worked as a way to balance out the unique and the modern while using older techniques to ensure there wasn’t a rejection of the cabinet. The idea then allowed the cabinet to remain aesthetically pleasing while allowing those in society to change the aesthetics and style were growing from artists. This cabinet then not only represented the changes from commercialization but became a recognized theory and practice bridged between the old styles of art and the concept of modernism. Showing how modernism didn’t have to lead to industrialization, but instead could lead to new and accepted aesthetics within art then worked as a way of revitalizing the concept o the arts and crafts movement.29 The aesthetics and make of the cabinet are one of the ways in which this specific piece of furniture was able to show a difference in the time frame and the movements occurring during the time. More important, this particular piece worked as a representation of the arts and crafts movement and created an understanding of the movement against commercialism. The different styles used in the cabinet piece were able to remain aesthetically pleasing while creating a different approach to the focus on design. The focus of both Morris and Webb were then able to work as a representation toward the philosophies of individuals in society, artists and others who were interested in the arts and opposed to the industrial capitalism slowly emerging in society30. Conclusion The concepts associated with the cabinet are a direct rebellion against capitalism, the industrial revolution and mass production. To initiate the movement against these growing concepts in society in the mid – 1800s, displays such as the Saint George’s Cabinet by Webb and Morris were used as displays. This particular furnishing combines old techniques with concepts such as Orientalism and natural ideals of the arts and crafts. This handicraft is one which displays the several elements of piecing together an aesthetic display which can not be reproduced and carries the unique works of the past and present. This particular cabinet is then able to work as a symbol against commercialism, specifically by communicating to society mass production won’t allow for the traditions of art or the contemporary ideals to provide a strong association with the arts. The artwork of the Saint George Cabinet; however, displays the several elements allow the aesthetics and proponents of art to remain as an example of the idea of contemporary and older art as superior to of mass production and commercialism. References Blakesley, RP. (2006). The Arts and Crafts Movement. New York: Phaidon Publishers. Boris, Eileen. (1986). Art and Labor. Philadelphia: Temple University Press. Brace, C (1999). “Looking Back: The Cotswalds and English National Identity.” Journal of Historical Geography. 5 (2). Buchili, Victor, Gavin Lucas, Margaret Cox. (2001). Archaeologies of the Contemporary Past. New York: Routledge. Greenhalgh, Paul. (2002). The Persistence of Craft: The Applied Arts Today. London: A&C Black. Harvey, D. (1989). The Condition of Postmodernity. New York: MTU. Hewitt, MA. (2001). Craftsman Farms; The Quest for an Arts and Crafts Utopia. New York: Routledge. Livingstone, K, L Parry. (2005). International Arts and Crafts. New York: Routledge. 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Retrieved from: http://collections.vam.ac.uk/item/O8144/cabinet-st-george-cabinet/ Yates, Lechelle. (2006). “History Pasted on the Wall.” The Historic Dimension Series (April). Appendix A : St. George Cabinet Appendix B: Ornamentation of Cabinet Read More