inevitable

inevitable. looking back across the 20th century, it seems that every movement in art history peels smoothly off the one before, uncurling itself as though new. but it's not; it's an inevitable step on the road, given that, expect this.

modern abstract art is inevitable, given the stripped-down shape-for-shape-sake of the bauhaus years. art had been making the dive into abstraction for decades, to the point where meaning and reference become moot: sheer existence. ("just dance! don't think!"1)

art deco into bauhaus is obviously inevitable: abstraction of shape into outline lent itself to form over fantasy. clearing out, clearing away to make way for the modern age in which everyone was too busy to think a wasted thought, or waste a single movement. the line was important then, which was inevitable.

and yes, i am simplifying, but i wouldn't want to fall behind the times! also bold were the times leading into the art deco moment. art nouveau was about that line, that curve, that color, that biological reference...

and art nouveau... that was not inevitable. yes, one could say it was preceded by impressionism, well, it was preceded by impressionism, but impressionism was more about an entire field whereas art nouveau and all of its inevitable followers were about one thing: the line.

to my eyes nothing whatsoever in anything that preceded the arrival of the east predicted what was to follow. the beginning of the line which was not to end. nothing in the tiny and drab patterns of western textiles hinted of the explosion that was to come. (nor predicted was the inspiration by a zionist art nouveau designer from galicia of a british-turned-american designer named louis rhead!)

it wasn't always a linear progression; some of the textiles of the deco stylists more resembled the japanese textiles than did their earlier counterparts. but was this exuberant jump to boldness predictable? i think not!

was the festoonization of clothing with flora and fauna an expected result of incoming culture? why should it be? not a chance! or was it to be expected that practically overnight color broke the color barrier? i pale just thinking of it.

that upper-crust drawing rooms might be thrilled to adorn their walls with spiders might have raised some eyebrows, but other than little miss muffet, everyone would have it no other way. for it was nature and color bursting from their wraps in the holds of the black ships arriving from japan.

and while japan likely viewed their latest fashions as being inevitable, given the season before, not a soul, i would bet, would have ever guessed that in the west they would inspire a series of inevitable progressions for decades and decades to come.

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green

bamboozled?

as a quiet, ubiquitous symbol, the bamboo has featured in japonisme wherever it occurred. whether it's pictured, or used, or imitated (silver bamboo handles, for example), it has become an instant communication of the east.

it's interesting, however, to look into its usage in japan itself. where it's found, or wherever i was able to find it anyway, wasn't necessarily where i had expected.

yes, it can be found on kimono textiles, and on crafts, like the inro.

in the west there were few instances of crafts where it wasn't used. it's irresistible because it's so graceful, so simple, so emblematic of all that we had accepted the east to be.

in japanese prints, however, there seem to be unexplained limits to it's usage: we will see it, again, as a pattern on kimono.

and, as we've seen before, one might find bamboo in a book of style suggestions.

we will also see it as part of a kabuki backdrop, and it's always used to geographically
place tigers.

but, it seems, and as far as i could find, picturing bamboo groves or forests almost never existed until late in the 19th century. this one hokusai image is the only one i could find. compare their frequency to that of pines.

the yoshida's, father and son, loved them, as did many other artists on into the twentieth century. i can not only find no reason for this, but not even any mention of it.

now this is not to suggest that the bamboo is not beloved in japan. in fact, The sound of the wind in this bamboo forest has been voted as one of 'one hundred must-be-preserved sounds of Japan' by the Japanese government. 1

but although hiroshige did use bamboo's wonderful verticality to accompany the flight of a bird (a sparrow), as did others, the forests and groves were rarely seen.

as 'meaningless,' and quite lovely decoration, though, it could be found in droves throughout europe and the americas.

may we be reassured that these appearances reflected our passion for the illusions we'd formed of japan?

and if so, were these illusions perpetrated by the japanese themselves, or by us?

and, at last, does it matter at all? fashion is as fluid as the wind; listen, you can hear it now. it's a sound which must be protected.

instead, gratitude is a fine option. thank you to tiffany. thank you to rookwood. gratitude to habert-dys. thank you to heintz.

translation is an odd art. what appears to be literal can really only be approx- imate, romanticized, inspirational.

which is quite acceptable.

true beauty

when chester a arthur moved into the white house, he called in some of the most important designers of the moment to decorate. it was 1882; he called tiffany.

louis comfort tiffany and artist associates of his, including candace wheeler, designed windows, screens, fabrics and more, none of which lasted long enough for a color photo (teddy roosevelt wanted something more colonial revival).

fortunately (for several reasons), some of his interior design collaborations have lasted, and in fact some are now finally being restored.

when new york city's 7th armory was constructed on park between 66th and 67th. "It was constructed from 1877 to 1881 for the prestigious Seventh Regiment. The Seventh Regiment had a glorious history. It was the first militia to respond to President Lincoln’s call for volunteers in 1861, and the name National Guard originated with this regiment.

"After completing the Drill Hall and the three-floor Administration Building along Park Avenue, the Regiment hired the most prominent design firms in New York to create the luxurious interiors. One of the most well-known firms, Associated Artists, included Louis Comfort Tiffany, Stanford White and Candace Wheeler.

"The Aesthetic Movement, popularized in the US by the Centennial Exposition in Philadelphia in 1876, emphasized the ‘aesthetic” or artistic in the applied arts and reached its culmination in the design of interior decoration. The design is characterized by visual complexity and profusion of surface ornament, embracing many different historical styles, including Japanese, Moorish and other exotic motifs. The regimental rooms, most notably the Veterans Room and the Library, are among the most stunning spaces anywhere in New York City." 1

and it was fortunate for us, in a manner no one could have predicted:

"Ten years ago I stumbled on my first reference to the work of Louis Comfort Tiffany. I was studying American architecture at Yale University and preparing a paper on armory buildings in New York City. Tiffany, I found, had decorated the Veterans' Room and Library for one of these.

"The following semester, I presented a seminar report on Tiffany as the leading American exponent of Art Nouveau and, just for fun, I purchased a Favrile glass bowl make by Tiffany as a demon- stration of his work. It cost four dollars and I thought it was expensive. Today it is worth a great deal more. [1,000 times more] When I brought it home my wife asked, 'How long do we have to keep it?'"

Robert Koch, 1964 •
Louis C. Tiffany: Rebel in Glass.

in 1957, mr koch went on to complete his dissertation on tiffany, and then in 1958, to curate, with thomas s tibbs, the tiffany exhibition at the museum of contemporary crafts.

tiffany said, “Styles are merely the copying of what others have done, perhaps done better than we. God has given us our talents, not to copy the talents of others, but rather to use our brains and our imaginations in order to obtain the revelation of True Beauty.”

t's true: his work was stylistic enough that we can easily see when he left his "aesthetic phase" and entered his "art nouveau phase." but every artist believes this of their work, and must. it's how our collective unconscious moves through time.

a rebirth timeline

edward c moore became head designer of tiffany's silver department, and began utilizing japan-inspired designs as early as 1871.

to put some of this into a perspective, note the dates when studies, books and exhibitions occurred, according to art nouveau: a research guide for design reform by gabriel weisberg and elizabeth menon (and elsewhere).

1943 henry r hope -- sources of art nouveau -- first phd dissertation on the subject

1950 toulouse-lautrec exhibition -- musée d'albi, france

1951 henry f lenning -- the art nouveau -- first book on the subject for over thirty years

1952 first art nouveau exhibition in nearly forty years -- v&a, london

• thomas howarth -- charles rennie mackintosh; book

1955 jugendstil exhibition -- museum für kunsthandwerk, frankfurt

• louis comfort tiffany exhibition -- morse museum, florida

1956 stephan tschudi madsen -- sources of art nouveau; book

1957 robert koch -- louis comfort tiffany; dissertation

• posters usa exhibition -- zurich

1958 art nouveau exhibition -- haus der kunst, munich

• louis comfort tiffany exhibition -- museum of contemporary crafts, new york

1960 art nouveau exhibition -- museum of modern arts, new york (guimard's widow offered his collection to french museums who were not interest. the moma and the met were.)

1962 robert schmutzler -- art nouveau; book

1963 alfonse mucha exhibition -- victoria & albert museum, london

1966 aubrey beardsley exhibition -- victoria & albert museum, london

• and in 1966 herschel b chipp mounted an exhibition at the university of california art museum at berkeley. it was called jugendstil & expressionism in german posters, and next we'll look again at some of the profound effects it had.

this list isn't as comprehensive as i'd like, but i think it makes the point well; collections lead to exhibitions lead to popularity. what more could you want?

the king is dead long live the king

it's beginning to come clear that the rebirth of the tiffany obsession (well-deserved, imho) fueled the entire art nouveau renaissance in the middle of the twentieth century.

Early scholar of Louis Comfort Tiffany, Robert Koch was born to Millard and Ella Heidelberg (Koch). He gained his bachelor's degree from Harvard and a master's degree from New York University. During World War II, he served in the United States Army from 1942 to 1945. Koch, received his Ph.D., in art history from Yale in 1957. The following year he curated an exhibition of Louis Comfort Tiffany's work for the Museum of Contemporary Crafts in New York. The exhibition is credited with reviving the interest in Tiffany Art Nouveau objects. He was a professor at Southern Connecticut State University in New Haven. He published his Ph.D thesis in a revised form as "Louis Comfort Tiffany, Rebel in Glass," in 1964. In 1972 Koch discovered a very early, and very rare, Tiffany, one that had probably been made by the designer personally. In 2002 Koch donated it to the Metropolitan Museum of Art. 1

or....

“Let those who arrogantly despise their parents’ tastes beware. Let those who ruthlessly sweep out their attics pay heed. Not only is the fickleness of taste inevitable, but so is the phenomenon of conscientious revivals. A case in point is Louis Comfort Tiffany, zigzagging from a position where he was at the peak of chic around 1900 to the gutter of deri- sion around 1920–1930 and then gradu- ally, deliberately being rediscovered.”

When Aline Saarinen wrote this in 1955, she was witnessing the changing tide in the taste for Tiffany’s glassware and decorative objects. Now, almost a half-century later, Tiffany and the work of Tiffany Studios has secured the recognition of museum curators and private collectors, achieving widespread public appreciation.

Louis Comfort Tiffany (1848–1933) was an artist and entrepreneur of remarkable talent, breadth, and innovation. His accomplishments as a painter, interior designer, and artist in stained glass, blown glass, metalwork, ceramics, and jewelry were enhanced by his role as a businessman and his appreciation of modern technology. The popularity of the different media in which Tiffany worked varied among patrons, and Tiffany himself had disparate opinions of his craft. In particular, Tiffany did not feel that his distinctive and colorful lamps were preeminent among his creations. Contrary to Tiffany’s personal opinion, however, Tiffany lamps witnessed immense popularity when introduced, demonstrated by the quantity made by Tiffany Studios from the turn of the century until the company went bankrupt in 1932.

In 1970, Dr. Egon Neustadt published his collection in The Lamps of Tiffany. Dr. Neustadt, an orthodontist who was born in Vienna, began collecting Tiffany lamps with his wife, Hildegard, in 1935. Neustadt noted that when he brought his first lamp home and placed it on his desk, “Our friends didn’t like it.” Undaunted, Neustadt’s interest in the leaded glass shades and bases became all-consuming, making him the earliest serious enthusiast of Tiffany lamps, assembling an encyclopedic collection. Beginning approximately twenty years ahead of other major Tiffany lamp collectors, including Walter Chrysler, Jr., Lillian Nasseau, and Hank Helfand, he brought credibility to the field. 2

or....

Jeannette Genius McKean (1909- 1989) founded the Morse Museum of American Art as the Morse Gallery of Art on the Rollins College campus, naming it in honor her industrialist grand- father who retired from Chicago to make Winter Park his final home.

As a child, she visited Winter Park and had fond memories of her grandfather and Osceola Lodge on Lake Osceola, the craftsman-style home he remodeled. It stands today a few blocks from the Morse Museum exactly as it was when she visited in the early 1900s.

Jeannette McKean grew up in the gracious Kenwood section of Chicago in the Richardson Romanesque-style mansion her grandfather had built and later gave to her parents as a wedding gift. The home was richly detailed with stained-glass windows and carved mahogany cabinetry, and her artistic mother, Elizabeth Morse Genius, bought American Impressionist paintings, many of which are in the Morse collection today, to hang on the walls. As with many wealthy families of the period, the Geniuses also collected Tiffany glass.

In 1942 she founded the Morse Gallery on campus and named Hugh F. Mc- Kean, then a Rollins art professor, as its director. In 1945, Hugh and Jeann- ette were married.

Thirteen years after she founded the Morse Gallery, Jeannette McKean staged an exhibition, "Works of Art by Louis Comfort Tiffany," that was the first serious showing of Tiffany work since the turn of the century. For decades Tiffany's work had fallen from favor, but Jeannette McKean, remembering the satiny, iridescent glass in her family home, still thought his work exceptionally elegant.

In 1957 when the McKeans received word from one of Tiffany's twin daughters that his estate, Laurelton Hall, had burned, it was Jeannette McKean who made the decision to rescue the Tiffany 'treasures' then considered not worth saving. Her husband remembered her exact words at the scene of the devastation: "Let's buy everything that is left and try to save it." With that decision she created the nucleus of a collection that would grow into the most comprehensive collection of the work of Louis Comfort Tiffany in the world. 3

whether it was the flood of interest in getting something for nothing that collectors brought to news of tiffany's death, or a passion more in depth or earnest than that that was catalyst for a revival, or whether it was merely generational change, in which the generation that loved it begat the generation that hated it begat... etc. as a culture that enjoys assigning reasons, art historians (like everyone else) will guess and quarrel and surmise, and all that's really left for us to do is to sit back and thoroughly enjoy.