Thomas Hope's influence on interiors and furnishings in the early 19th-century - Term Paper Example

?Thomas Hope’s influence on interiors and furnishings in the early 19th-century Introduction The freedom and capability to discover and pursue one’s interest is of great factor to any aspiring artists, like Thomas Hope, a young man who was blessed with a family banking fortune at his disposal that aided in his travels around the early civilisations of the world. At a tender age of 18, Hope, through a letter in 1804 addressed to Frances Annesly, already expressed his interest on the arts. “Egyptian architecture I went to investigate on the banks of the Nile, Grecian on the shores of Ionia, Sicily and the Peloponnesus. Four different times I visited Italy to render familiar to me all the shades of the infinitely varied styles of building peculiar to that interesting country…” (Nolan, 2011, P 2) Thomas wrote, which showed his immense interest on the field of his personal choice. This paper will discuss Thomas Hope’s influence on interiors and furnishings on the early nineteenth century with the emphasis that he helped revive interest in Egyptian-style design on furniture. Discussion Despite the fortune brought about by the banking industry on the Hope family that originated from Scotland and settlers of Holland, Thomas did not show interest in his inherited trade but instead focused on his “favourite hobby” (Nolan, 2011, P 2) travelling as a student of cultures. Prior to establishing himself in Portland Place, London, Hope stayed in Istanbul to explore the Istanbul/Constantinople lifestyle embodied on their arts and cultures, and produced about 350 drawings of observations of the rich and powerful in that area (Nolan, 2011). In the purchase of the Adam House in Portland, he established himself in London as a scholarly art collector, interior designer, and patron of artists and craftsmen, of which he had been called “the Furniture” man although some of those who used the term meant to ridicule him. Despite the criticism, he continued to sketch designs for furniture with accompanied texts to advance historically-based knowledge of design as embodied in his several books: Household Furniture and Interior Decoration (1807); Costumes of the Ancients (1809); Designs of Modern Costumes (1812); and the posthumous An Historical Essay on Architecture (1835) (Nolan, 2011). He also wrote a fictitious romance Anastacius. His travels were also coupled with careful scrutiny of the images in those localities he set foot on, as well as studying of the arts and culture of his host place. Prior to Napoleon’s expedition in 1798, Hope already went as far as Near and Middle East, and Europe. His knowledge of the collections in the Vatican and the Capitoline Museums also contributed to his vivid designs. He also studied architecture and design whilst collecting antiquities that were housed in Duchess. He also sketched many detailed artefacts seen in his travels including landscapes, mosques, palaces, interiors, friezes, reliefs, and other details that stole his fancy (Kelly, nd). His interest in Egyptian art and architecture cannot be undermined. Egyptian forms and decoration was seen as contributed in part by the neo-classicism of his period as well as early European interest in the region (Kelly, nd). It has been suggested that in Hope’s interest of the arts, he came across the work of Dominique Vivant Denon, book Voyag dans la Basee et la Haute Egypte (1802) that detailed his experiences in Egypt as an aide of Napoleon Bonaparte. This book has been seen of great influence to Thomas Hope’s design of furniture (Honour, ___ ) of which it was suggested that “Hope seized on Denon’s Voyage, which very conveniently appeared during the Peace of Amiens, and scanned its plates for illustrations of Egyptian furniture. He sought to reproduce the chairs, couches and beds to be descried in the hieroglyphic paintings and carvings,” (Honour, 1817, p 19). It was observed, however, by Kelly (n.d.) that Hope actually acknowledged Denon as one of his four inspirations in the decorative motifs in his furniture design as mentioned in Household Furniture and Interior Decoration. The book acknowledged some thirty five books and collections as instrumental in his efforts to “animate the different pieces of furniture here described, and to give each a pleasing countenance and character, a pleasing outline, and an appropriate meaning,” (Hope, 1807). In the book, several detailed illustrations of candelabrums, columns, and had been described as copied from actual Egyptian idols and bas-reliefs, as well as existing pieces from Capitol and Vatican (Kelly, n.d.). Hope also acknowledged the immersion of several influences from various capitals of architectural grandeur at that time. Hope’s Egyptian Rome furniture had detailed carvings of described as strong and monumental (Kelly, n.d.) and he viewed Egyptian monuments as immense and indestructible. In addition, Hope’s furniture were also seen as comparable to the designs of Percier and Fontaine (Barboult, 1790) but similarities had been described by Morley to “arise not from plagiarisation but from the common antique prototypes used,” (Bullock, 1817, p2). Hope’s contribution, however, was beyond publication of plates of his detailed illustrations but also for actually producing these pieces as showcased in his London residence and opened to the public by 1804 (Kelly, n.d.) of which Hope described the process as: “I have the most laborious search, only been able to find two men, to whose industry and talent I could in some measure confide the execution of the more complicated and more enriched portion of my designs; namely, Decaix and Bogaert: the first a bronzist, and a native of France; the other a carver and born in the Low Countries […] and I need not add how slow and tedious this scarcity of workmen has rendered the completion of my little collection,” (Hope, 1807, 22). The actualities of Hope’s designs were featured in their houses at London and Deepdene (Baugarten, 1958) where Thomas and his wife Louisa hosted fabulous parties with the rich and famous of their time. Hope’s interest, however, was not limited to Egyptian, as his successive books devoted a variety of designs from various periods and origins. He was interested in all available sources of his time and that Kelly (nd) suggested that his contribution to furniture design was inspired by numerous sources that were vastly influenced by his travels. The Egyptian interest as mentioned earlier, was widespread among Europeans and that this revival started in the mid-eighteenth century that evolved throughout the early nineteenth century. Egyptian Furniture The Egyptians practised of burying furniture with their dead in sealed tombs believing these will be used in afterlife. The hot and dry weather preserved some of these pieces and others were recreated based on remnant accessories such as gold sheaths. The ancient Egypt had platform furniture including benches, chairs, tables, beds, couches and stools. Containers include chests and cupboards with decorative effects based on shape, line, proportion, and texture. “Thrones and chairs featured carved lion-paw feet, beds were decorated with animal skins and colorful mats, giving us a clue to the importance that the ancient Egyptians placed on decoration, as well as comfort,” (International Styles, 2011, P 3). However, the presence of other types of furniture such as chests, stools, footrests, small cabinets, small tables, and vase indicate the organized manner of their lifestyle. Already, their stools had animal shaped legs with sturdy square seats, and other pieces of furniture were made of concave wood, woven, or braided rushes (International Styles, 2011). In the Old Kingdom, chairs with arms and backs appeared although large tables remained rare. Metal has also been used and inlay, carving, and gilding started to become popular. The Middle Kingdom had motifs of sacred animals like cow’s head, lions, and hippopotamuses. The New Kingdom indicated the opulence and power of the Egyptians as woodwork became more intricate and luxurious. Decorations include inlaid and overlaid precious metals, open relief carvings, three-dimensional carving adorned with ivory headrests, small chests, and others (International Style, 2011). Chairs had gold sheaths, ivory inlays, intricate marquetry, inset jewels and fine stones used in carved animals. Feet of chairs usually had carved lion’s paw, gazelle, or crocodile. The stools are heavily carved and decorated and were status symbols, used mainly by army commanders in the field featuring woven rush seats (International Style, 2011). Conclusion: The intense interest of one collector, patron, as well as designer cannot be immediately dismissed for one like Thomas Hope. His illustrations done during his travels, as well as publication of his illustrations and scholarly texts are an immense contribution to the continuing development as well as presentation of variety in the design process throughout the world. Thomas Hope’s influence as well as actual design and furniture as showcased in his homes, as traded and published are more than evidence of his contribution to interior design, the arts and culture. Many of those who were fortunate enough in his time may have opted to squander their wealth and enjoy life instead, but at a time when he could have been focused on other matters, Hope devoted his time for culture and the arts, and forwarded his support by the production of detailed designs of his furniture. His intense passion in illustrating and re-creating Egyptian furniture as well as in producing them cannot be paralleled by simple illustrative measures. Actual creation still indicates a passion beyond historical recording and this is how Thomas have shown his contribution. Words: 1544 Reference: Barboult, John. 1790. Receuil de divers monumens. Bullock. 1817. The Crimson Drawing Room. International Style. 2011. Egyptian Furniture. Accessed April from http://www.furniturestyles.net/ancient/egyptian/ Nolan, Jerry. 2011. Thomas Hope: the triumph, tragedy, obverse worlds. Accessed April from http://www.thomashope.org.uk/triumph-tragedy.htm Sandor Baugarten, Le Crepuscule Neo-Classique: Thomas Hope (Paris: Didier, 1958) Appendix: Hopes Illustrations of Egyptian influence: Read More