Interpretation And Appreciation Of The Floral Motif Arts Essay

Interpretation And Appreciation Of The Floral Motif humanities EssaySince this is a historical based topic foc utilise on the way in which w exclusively(prenominal)paper be afterers communicate through the use of visual language, variant interpretations of the subject of botanical forms, historical basis cultivation must be provided to make a fuller understanding possible. This chapter is vital to the study of 2 dimensional surface architectural plan as it entrust research the history of cover and the reason one desires to decorate ones surround.2.2. Literature reviewAs well as the research carried out exploring the innovations of 20th nose smokedy cover origination and the exploration of different interpretations of the patterned motif, round considerable judgment of conviction was as well as dedicated to investigate the earlyish history of wallpaper. The basic intention of pioneer this research was to examine the way in which wallpaper appeals to society and to provide a more than than than in depth understanding of the sophistication of wallpaper design, which is a vital element of this study. Questions that atomic number 18 deriving the construction of the historical chapter includeWhere did the concept of wallpaper originate from?What was the function of wallpaper?When were florescences and botanical forms first utilise as a form of decoration?The above objectives were explored by the study of literature surrounding the topic of the history of wallpaper, combing knowledge from books, journals, interior design magazines, and the information from internet etymons. The final dissertation will answer these questions and draw relevant conclusions concerning the innovations of two dimensional surface design.The literature review in this branch is intended to name the sources used and does not attempt to evaluate the categorised research which underlies them.For this historical chapter a number of sources need been thoroughly res earched however some of the sources were more informative than others. Wall Papers of France 1800-1850 by Odile Nouvel (1981) betters a comprehensive narration of the history of wallpaper dating back to wallpapers before the nineteenth blow and besides refers to British wallpaper design. A similar book in terms historical background information which was too studied, Wallpaper in the States From The Seventeenth Century to World War 1 by Catherine Lynn(1980) concentrates more on the demeanors of wallpaper and refers to British and French influences on American Wallpaper design. Chapter triple Eighteenth-Century English wallpaper styles devotes 36 pages of typical wallpaper styles, motifs and patterns from this blow including an in depth section on floral patterns. Whether printed in distemper or coat colours, or whether flocked, floral motifs derived from cloth prototypes form the largest category of repeating patterns in this relatively large group of wallpapers known to h ave been used. (Catherine Lynn 1980 p52) this chapter will be more relevant to later sections of this paper due to the specific information on the interpretation of the floral motif and also the fine annotations of the provided images which clearly demonstrate the style as well as the predominant characteristics of wallpaper from the 18th century. The Floral home Introduction by Leslie Geddes-Brown (1992) is a very good informative source referring to the history of the floral motif which was a more difficult subject to track down using internet sources.More up to date sources which were looked at closely include Lesley Jacksons Twentieth Century Pattern Design and Off The Wall by Lena Lencek and Gideon Bosker which two examine pattern as a quintessential part of the 20th Century design history. Both authors provide a brief, informative history of wall coverings since the 15th century and suggest that wallpaper very more than reflects the cultural climate of the era of which it was produced. Timothy Brittain-Catlins A Papered History states that wallpaper was for, who chooses it, who pays for it, who it applies to and who appreciates it are all questions that have had different answers at different times. (A Papered History p7) The tercet books mentioned above will be very useful in terms of putting into context how wallpaper designers, historic and contemporary, are influenced by their social surroundings which in result affect the aesthetic qualities of their designs.The most valuable source however has been the wallpaper history website which lists and allows access to online articles which provide a very detailed insight to the history of wallpaper. The most relevant articles relating to this chapter have been by Alan gum benzoin (2009) and Babara Krasner Khait (2001) where both texts are designed as an aid in comprehending the m whatever facets of todays products. Benjamin in particular refers to evidence of wall coverings which dates back to supe r acids of years B.C, with the use of cave musters and although this does not resemble wallpaper as we know it today it does typify mans earliest desire to decorate ones surroundings. The history of wallpaper chapter in his article provides a very specific and technical overview referring to the development of wallpaper and how it was used functionally as well as aesthetic purposes in the 16th century to persist out the cold and damp. Both articles are very well written, creation short yet adequate and objective historical accounts which are essential for this paper.Where did the concept of wall coverings originate from?According to archaeologists, the tradition of decorating walls dates back to several thousand years B.C in the form of cave drawings and still to this day it is uncertain as why antediluvian patriarch ancestors chose to decorate their surroundings. The two major theories concerning the reasons behind these prowess are explained as wish fulfilment and aesthetics of art. Although this does not resemble wallpaper as known today, it does signify mans earliest desire to decorate his surroundings. (Benjamin 2009) The ancient Egyptian and papist civilization are also noted in history to have painted their living environment in a exceedingly individual manner expressing two dimensional portrayals of visible and invisible worlds Earth and the domain of the Gods. (Benjamin 2009)Wallpaper actually begun in ancient China, first because the Chinese invented paper, and secondly because they glued rice paper onto their walls as early as 200 B.CWhat is the function of wallpaper?The use of wallpaper initially began as a dirt cheap substitute for tapestry and panelling. Some historians believe that the use of wallpaper dates back to the 1400s. (Krasner-Khait 2001) The first wallpapers in England were individual sheets, decorated with geometrical woodcut patterns and printed in mordant ink on pale paper by a hand operated press. These papers could hav e been used for anything from covering up an unfortunate space, concealing nettlesome plasterwork or as an innovative alternative to hanging pictures on the wall. (Brittain-Catlin p7) Homes were built of stone during this period so the main function and practicality of these hangings was used to keep out the cold and damp. Wallpaper was soon to become the poor mans tapestry, an imitation of the expensive textiles used in royal households.Elizabethan England saw a higher(prenominal) demand for wallpaper as its popularity increased. The elite of society were accustomed to hanging large tapestries on the walls of their homes, a tradition from the middle ages. (Wikipedia, the free encyclopaedia) These tapestries added colour as well as providing an insulating layer between the stone walls and the room, thus retaining heat in the room. However, tapestries were very expensive and therefore but the very rich could succumb them. For the not so rich members of the elite, they turned to wa llpaper to brighten up their rooms as they were unable to but tapestries due to price or wars preventing supranational trade.Throughout Europe, a fascination began with these papers that offered protection against dampness and improved ability to handle fireplace smoke.In the 20th century, when mass production, innovated materials, and printing techniques pass over pollinated with an unprecedented eloquentity of traditions and designs, wallpaper leapt from its privileged position as a covering for the elite to become the truly democratized and democratizing purveyor of domestic elegance refinement and in some cases, downright kitsch. (Lencek and Bosker, 2004, p9)When were kicks first used as a form of decoration?It is extraordinary how floral art crops up in every century and civilization. There is evidence of a detailed wall painting from ancient Egypt that depicts geese grazing from grasses and tiny red blushs which dates back from 2550B.C. Indeed if a tribe or nation does n ot respect and recreate the beauties of nature, it has weensy claim to be called civilized. (Geddes-Brown 1992 p8) The flower was used as a symbol and sometimes reflected religious beliefs. The masthead and Lily were both symbols of royalty and the Virgin Mary and were popular subjects of renaissance painters. It is a mistake to identify floral art and decoration only with the chintzy, the countrified and the cozy though all these styles have tremendous charm. Flowers can be architectural (the Greeks used palm and acanthus leaves for their capital), political (roses and thistles were secret Jacobite signs) and perhaps even sinister (the crinkle thirsty cultivated dahlias and zinnias). (Geddes-Brown 1991 p8)SUMMARY3Victorian wallpapersIntroductionBeing noted as all important(predicate) era in the history of wallpaper design, a considerable measuring of time was dedicated thoroughly researching Victorian wallpaper. This is an important chapter in the study of the floral motif a s this period not only put British design on the map but also redesigned wallpaper all over the world and is still, to this day, popular within the interior market.As well as the typical characteristics of Victorian wallpaper, much attention will be given to the research of British designer William Morris, who not only was a one- man pattern-making phenomenon, but was also the founding father of the arts and crafts movement.The overall aims and objectives of this chapter will draw conclusions as to why this period of design was so subverter and why Morriss designs are still used to influence todays designers. It will put into perspective how wallpaper has developed with the ever changing society and how the subject of the floral motif has morphed from a realistic representation to a more abstract and simplistic form throughout the centuries.Literature reviewThe Victorian era, was a disdainful time for wallpaper featuring over embellished designs. Floral Prints were very popular in Victorian England. Print upon print lined the interior walls of rooms, mostly in a rich and heavy colour palette. Dark red, bottle green, chocolate brown, maroon and deep glowing blue were predominant in a great rankness of pattern and ornament. The advent of mass production of wallpaper put the cabbage rose and arabesque patterns within the budget range of practicality of every home.Designers such as William Morris and his melodic interpretations of nature, hand-printed by the wood block method, came to symbolize Art Nouveau.William Morriss first wallpaper designs started to appear in the 1860s. They came as a slightly later edition to the textile designs. Morris himself was not a big fan of wallpaper for interiors. He much preferred the idea of using hung textile work, such as tapestry or heavy fabrics framed as panels, which he saw as more handed-down for interiors than the fairly recent wallpaper industry. another(prenominal) reason was the difficulty in achieving a good and faithful reproduction of initial design work. Morris was a definite perfectionist and was not prepared to take on a medium if the results were to be less than perfect.William Morris maintained that beautiful surroundings improve the lineament of life, and that all of the elements which play a part in the overall style of an interior, textiles and wall coverings are among the most important.Whatever you have in your room, think first of your walls, for they are that which makes your house a home William Morris (1834-1896).William Morris Floral wallpaper designs.Naturalistic flowers and fruit were characteristics of early Victorian wallpapers initially, they were superimposed on classical architectural backgrounds but in the 1840s they were intertwined with elaborate scrolls and cartouches.By the 1850s, however, design innovators such as Owen Jones and AWN Pugin had rejected this inbredism in favour of flat, formalised patterns. John Ruskin whose theories on design had a big effect during the second half of the nineteenth century, rejected the whole repertory of Renaissance-Classical cosmetic motifs as prefabricated.William Morris, the guiding light of the arts and crafts movement of the 1870s and 1880s generally shared the views of Pugin, Jones and Ruskin. He believed however that flowers used in textiles and wallpaper designs should be seen to be growing naturally. Motifs from nature, though flattened and stylised, were clearly outlined and recognisable in is patterns. They retained their fundamental characteristics, yet their style was so emphasised. Morris and other Arts and Crafts artists were draw to the natural world for their imagery. Morris himself dismissed the exotic hothouse plants so popular with the Victorians and instead drew his floral motifs from his garden and the English countryside. Marigolds, honeysuckle, jasmine and lilies were among the flowers depicted in his wallpaper designs.Morris believed that the structure of patterns was of cruc ial importance, as he explained if the lines of them grow strongly and grow gracefully, I think they are decidedly helped by the structure not universe elaborately concealed. His designs were rigorously constructed, on either a symmetrical diamond design framework or a branch framework that created a enclose effect. Willow boughs or scrolling acanthus leaves were used as a structural background in a number of Morris designs. Many of his designs also included complex, subsidiary patterns of pocket-size flower growing from meandering stems. His insistence on the highest standards of design is apparent in this quotations no amount of delicacy is too great in the drawing of the curves of a pattern, no amount of care in getting the leading lines right from the first. Remember that a pattern is either right or wrong. It cannot be forgiven for blundering. A failure forever recurring torments the eye. William Morris (1834-1896).(images)Wallpaper analysisMorriss first commercial wallpaper designs, as can be seen in the first two images here, Daisy and Pomegranate, were very much a case of stamped motifs on a fairly simple and plain background. Some of the motifs were actually reproduced from Morriss medieval style tapestry work, usually from incidental backgrounds or lower foregrounds where they were used to fill in spaces around the more important human figures.Both Daisy and Pomegranate were produced in the mid-1860s and reflect very much the simplicity of much of Morriss early textile work. In fact, more of the designs initially produced for textiles did end up as wallpaper patterns, with very few changes in the design, if any.By the 1870s Morris wallpaper design work had become much more accomplished, and therefore much more complex. There is very little, if any plain background to be seen, and whereas the earlier examples were largely independently stamped on to a surface, the later examples are clearly intertwined with each other, making it difficult to see any transparent motifs.The three designs shown, Larkspar, Pimpernel and Chrysanthemum were all produced in the 1870s. They clearly show the confidence in the design work and the medium, and are therefore much more fluid and free form than the earlier, more tentative work of the 1860s.It would be tempting to see some of the fluid and meandering flower stems, rich, full flowers and languid leaves, as an indication of the roots of Art Nouveau, and enchantment there is a certain similarity in some of Morris work, it is also firmly rooted within both the British Arts Craft movement and the styles and fashions of the mid-Victorian design world.What makes Morris wallpaper design work stand out from others of the selfsame(prenominal) era is the intensity of the compositions. There is a real observational passion for the natural world that is missing from so much of Victorian floral derived work. To Morris, these designs could not just be construe as pretty, or attractive, they were muc h more. They were indeed part of his lifes work and passion. They were a record of the British traditional rural landscape, one of nature and human in a harmonic symbiosis. The intertwining of much of his floral work could be interpreted as a framework in which we are all a part, which is one of the reasons that Morris disliked geometry as a design tool, as he interpreted it as a man-made system for trying to quantify the natural world, rather than allowing the natural world to quantify itself.The Acanthus wallpaperThe Acanthus has been widely used since early times. A plant with plain-spokenly indented and scrolled leaves it was a common element in Greek and Roman architectural ornament as noted in chapter 1 and a widely used Renaissance Motif. It has appeared in textiles over and over again, from Italian velvets to Arts and Crafts prints. William Morris said of it, No form of ornament has gone so far or lasted so long as this it has been infinitely varied, used by or so all fol lowing styles in one shape or another, and performed many other office besides its original one. Large lead verdure tapestries, employing leaf in soft greens, tans and browns on a dark blue background were manufactures in France and Flanders in the Sixteenth century and greatly influenced William Morris designs for wallpaper. Many designs of the 1890s including a number of William Morris prints incorporated the large swirling patterns of Acanthus scrolls or other classical floral motifs from the sixteenth and seventeenth century.(type up literature review)British Wallpaper in the seventiesThe Revival of Art Nouveau in the 1970sOver half a century after the initial movement of Art Nouveau, it re-emerged for a second time in the 1970s. This however was not the only art movement that was rediscovered and re-energised in 1970s wallpaper design. The Art Deco movement was of particular interest which influenced two dimensional surface design, but also aesthetic qualities from a number of Victorian art styles were reincorporated including the works of William Morris and the Arts and Crafts movement.What where the reasons for the re-emergence of the Art Nouveau movement?However, the generation that came after the Modernist brain the 1950s and 1960s, started to trawl through the ephemera that had been left field behind by nearly a century of Victorianism. A innovative generation of textile and wallpaper designer, who had little if any of the prejudice against nineteenth century design that was shown by previous generations, were keen to examine the design work and if possible produce work that was inspired by the original, but with a contemporary twist.There was a wide range of work produced in this neo-Art Nouveau style. Some was close to the original idea of using florals and incorporating the sinuous line that was present in the original style. Interestingly however, although this seemed like a kick against the ideas of modernist design, many of the ideas and phi losophies of twentieth century design were incorporated into these natural Art Nouveau inspired patterns. Many of the colour schemes for example, were heightened and changed altogether to fit in with interior schemes that were based on an entirely different crash of parameters than the turn of the century originals. There was also less of an emphasis on the portrayal of floral design and much more on a vaguer, even abstract quality to the design work, which placed the emphasis firmly on pattern and shape, rather than any form of representational design.Much of the design work reproduced here (refer to images) is enkindle as, although it does represent a re-emergence of interest in past styles, it does not descend into pastiche or plagiarism of the original decorative style. This is not the Laura Ashley style of design, which was more or less a slavishly faithful copy of the period it is more an interpretation of a design style as seen over the disjuncture of the twentieth centur y. Designers saw no point in reproducing faithful copies of the Art Nouveau style, as reproductions were already available. However, they also saw no point in producing new work that copied the style exactly as no one could pretend, as Laura Ashley did, that seventy years of the twentieth century had not happened.These Art Nouveau revival wallpapers give a fascinating opportunity to picture two points in the history of design, the gap between them and how that gap affected the process of design and interpretation.Wallpaper design was still popular in the 1970s, though beginning to lose out to painted walls. However, it was still a mainstay in many homes and would continue to be so for the rest of the decade. This popularity meant that the choice and range of design work available was fairly large compared to todays choices. Geometrically derived patterns, as the ones shown here, were still popular throughout the decade, as were all forms of floral, from the traditional realistically flavor flower patterns, to popular graphic interpretations.All of the patterns shown here are of wallpaper designs from around the 1970s. They all take the flower as their source of inspiration and its subsequent decorative effect. All are basically flat pattern designs, some more abstract than others, but all still using the flower as a standard motif.Wallpaper AnalysisTaking a flower down to its basic components, you are left with four petals and a circular centre. There are of course endless variations on this theme, with the petals multiplying or decreasing, though four tends to be the lower limit. The centres can also range from a fairly complex pattern with a number of different centres, to a very simple but impressive circle. Some of the flower motifs in these examples have become little more than geometric shapes with the flower becoming so abstract that it is barely recognisable as such. However, that does mean that the design is not a floral, no matter how far removed i t has become from the original inspiration, it could still justifiably be classed as a floral decoration pattern.Often, by including more than one type of flower motif, the pattern can take on a more complex appearance. In this way patterns can then sit within patterns, so while the petals and centre of the flower can produce a decorative effect within its own right, a self contained pattern, these can then be used as multiples, creating another pattern. If a different flower motif is then introduced, that flower has a decorative effect of its own and if juxtaposed with the original flower motif, they contrast with each other, thus creating yet another pattern effect. This can go on so that a number of more complex layers are added, though care should be taken not to overload the design, which can become confusing the more elements that are added. This can be a particular problem with wallpaper design whereby a pattern effect has to be able to be interpreted easily from a distance, but must also be effective when seen close up.Another interesting effect that can be used is when flower motifs overlap each other, creating an opportunity to produce yet another flower motif, and by changing the colour tone slightly, this new flower design will appear as if still connected to the overlapping decorative flower motifs, while retaining some independence from them at the same time.Colour and tone is an important element, particularly within flat pattern where it is sometimes difficult to give the design elements that make up the pattern enough differentiation for it to have any effect, particularly from a distance. By using similar colours or one colour with different tones, it becomes much easier to see separate elements of the pattern while still maintaining a balanced piece that appears to be both harmonious and effective.The art world has introduced countless ideas and methods that have been reinterpreted by both textile and wallpaper designers. Abstraction and col our and paint techniques in all their modernist facets, have been used repeatedly and constantly by designers who were keen to add to the repertoire of the industry. Large bold patterns, still with the flower as its centre of inspiration, have been part of the wallpaper industry for a long time. By interpreting and ofttimes reinterpreting for the medium concerned, effective large repeat patterns have been produced that seem to have little to do with a mass production industry, but are still mass produced nonetheless. These patterns often appear to be less constructed and less precise, often giving the illusion of spontaneity and creativity, the hallmarks or at least the common interpretation of much of the twentieth centurys fine art output.This is by no means a comprehensive interpretation of flat design. It only gives a few ideas as to the complex nature of this style of design and the number of variations that are easily achievable. In Conclusion flat design appears to be much mo re creative and inspiring than traditional floral realism for example, with endless opportunities to both simplify and complicate the same pattern motif.(Images of 1970s wallpaper)MethodologyIntroductionWhen embarking on a topic of research, all of the possible methodological factors must be taken into account as sources of information are of great importance. Decisions ave o be made into which method of selective information collection to use to achieve the greatest information specific to the question at hand. In gild to try and find out as much information about the topic and area being disgussed, a variety of acedemic sources were needed, such as books, journals and the internet. These academic sources wer all accesed in a selection of different places. Despite a wide variety of ways to find all of this information, the information did not come without its problems.Finding the informationThere are many ways of findng the information that is needed. Most of the information in re lation to this study was found in the university library in the textiles department. This was done by searching for and looking through relevant literature in the books that were available in the library. Finding books for relevant information was one of the first things that had to be done in order in order to find background inforation on the topic, such as what work had already been done in the area. Books were also then found in order to find informaton in relation to the question being asked through the use of search engines, which produces a list of books/journals with relevance to keys words, authors etc.The internet was also used as a method of secondary resourcing. This was used to find websites such as the Wallpaper History website which provides links of online aricles referring to the history of wallpaper and the innovations of wallpaper design. The internet also allowed journals to be found online, this allowed access to more up to date literature which was not provided by the available books in the library. Journals are also quick and easy to find, simply using the search engine tool online, a large number of journals become available to read. These journals were used in the same way as books, to find background knowledge and to help find information towards the question.The books and journals especially, helped to find vital information on the topics of the innovations of wallpaper design and how designers have put their own stamp on the very popular floral motif which has developed with te ever changing society. This is all acedemic wock which was needed in order to answer the question as thoroughly as possible.InterviewsInterviews give a ricj insight to peoples biographies, experience, opinions, values, aspirations, attitudes and feelings. Interviews were taken place in The Temple Newsome Museum which is celebrated for its marvellous collections of fine and decorative arts, especially paintings, furniture, silver, ceramics, textiles and most importantly wallpapers. James Lomax the exhibition curator who specialises in the 17th 18th and 9th century was interviewd. This was to obtain an insight of a professionals view on the matter.Using interviews as methods of colecting data proved to be a reliable source of researc. This is because of the specific questions are asked with a reliable response relating to the subject matter. Data can be obtained easily and resourcefully using certain questions.Interviews can be delivered in a structured or unstructures form. regard was given to the type of interview that was carried out to gain the best results. There are both advantages to consider when chossing the most appropirate one. Structured interviews are seen as having set questions. These questions are asked and recorded on a standardised schedule. The question cannot be modified during or after the interview. In contrast an unstrctured interview is less formal, where the interviewer has a greater flexibility and freedom. It was thougt that an interview towards the less structured theory would be more effective as the researcher did not want to domain the interview. supply was essential for the process.LimitationsLimitations include trying to find books that were relevant and that were also up to date. As a way of traking this because the university library only had a limited amount of books available on the floral motif, inter library loans were used, this is when books can be loaned form other university libraries. This however can be very time overpowering because people may already have the books out and even if they havent it can take a few days before the ooks arrive to be collected. Another disadvantage of using the library which proved to be a problem in the stages of research was the opportunity for others to put a reserve on books which were already loaned out. This not only adds pressure to the researcher but limts the time available to read through the books and to thoroughly digest and u nderstand the information provided.