Last month we featured John Roddam Stanhope’s Love and the Maiden in FRAME|WORK, which served as the first in a series of blog posts that will demonstrate key elements of the Aesthetic Movement through this singular painting. In this installment, curatorial assistant of European art Melissa Buron examines how Stanhope's use of tempera paint contributed to the aesthetic of the Victorian avant-garde.
If there is one article of clothing associated with the Victorian Era, it is the corset. This Sunday, March 11, we continue our exclusive series of public programs for The Cult of Beauty: The Victorian Avant-Garde, 1860–1900 with Visions of Beauty—Inside the Victorian Artists Salon, presented in partnership with Dark Garden Corsetry and the Pre-Raphaelite Brotherhood Artist Salon. We recently sat down with Autumn Adamme, the owner of Dark Garden and your guide to all things corseted, to discuss this controversial fashion icon.
The integration of art and beauty into every aspect of life was one of the foremost tenets of the Aesthetic Movement. Artists who subscribed to this ideal stepped outside of the confines of their medium of choice and experimented with all variety of design: painters became furniture designers and architects designed textiles. This week’s FRAME|WORK features two luscious tapestries from the Museums’ permanent collections included in the special exhibition The Cult of Beauty: The Victorian Avant-Garde, 1860–1900 (on view at the Legion of Honor through June 17). Created by Edward Burne-Jones for Morris & Co., Flora and Pomona exemplify the aesthetics of the Aesthetic Movement.
Tomorrow The Cult of Beauty: The Victorian Avant-Garde, 1860–1900 (February 18–June 17) opens at the Legion of Honor! Exactly 130 years ago, the tenets of the Aesthetic Movement were introduced to San Francisco by none other than Oscar Wilde.
This week’s FRAME|WORK, featuring John Roddam Spencer Stanhope’s luscious Love and the Maiden, will serve as the first in a series of posts examining a variety of themes present throughout the special exhibition The Cult of Beauty: The Victorian Avant-Garde, 1860–1900 (opening this Saturday, February 18). Stanhope’s allegorical painting will provide the backdrop for the discussion of topics ranging from artistic technique to the Aesthetic Movement’s color palette to the role of frames in the perception of an artwork.
William Morris, champion of the Aesthetic Movement, said of interior design, “Whatever you have in your rooms, think first of the walls.” Wallpaper was a defining decorative motif in the homes of the Victorian avant-garde and bourgeoisie alike. In keeping with this fashion, the special exhibition The Cult of Beauty: The Victorian Avant-Garde, 1860–1900
On February 18, The Cult of Beauty: The Victorian Avant-Garde, 1860–1900 opens at the Legion of Honor. This Wednesday, February 1 at 2:30 p.m., the San Francisco Design Center presents The Aesthetic Movement and Interior Design, a panel exploring the movement’s enduring influence on interiors. The discussion will feature exhibition curator Dr. Lynn Federle Orr, design writer and editor Zahid Sardar, interior designer Geoffrey De Sousa and 3D Magazine editor-in-chief, Alisa Carroll.
In advance of this event, Ms. Carroll is today’s guest blogger.
The British Aesthetic Movement, which is the subject of the upcoming exhibition The Cult of Beauty: The Victorian Avant-Garde 1860–1900 opening at the Legion of Honor on February 18, promoted the integration of beauty and art into every aspect of life. William Morris (1834–1896) was a chief proponent of the Aesthetic Movement and contributed luxe designs for wallpaper, carpets, tiles, and furniture. His career as a textiles designer, however, quickly surpassed his involvement with all other areas of artistic production.