Originating in England, the Aesthetic movement was collaboration of new ideas and influences that affected all facets of the decorative arts. There was an enthusiasm for craftsmanship, and natural materials as well as a passion for ornament and eclecticism. With an increase in trade and travel there was a growing interest in a variety of exotic styles from the Far East and Japan resulting in use of new materials and colors. Figures like Christopher Dresser, an English botanist, were fascinated with the natural world and promoted a new synthesis of Western and Eastern ideals. Although the Aesthetic Movement evolved into two significant styles, Art Nouveau and Arts and Crafts, the ideals continued into to the early twentieth century.
This style stemmed from the growing fascination late nineteenth century Europe developed for the Far East. Japanese decoration was applied to recognizable European forms and English designers created decorative objects inspired by Japanese principles of design.
A stylized classical motif based on the honeysuckle leaf and flower. Its similarity with the palmette has allowed for the two terms to be used interchangeably.
This style is based on stylized sweeping curves derived from organic and naturalistic forms. Designers of this period were often inspired by the asymmetry of Japanese design, the curves and scrolls of Rococo and the rigid line of the Arts and Crafts.
The primary principle of the Arts and Crafts style was to reinstate the integrity of materials and revive medieval standards of craftsmanship. The result was an emphasis in form versus ornament.
A similar composition to that of the mid-nineteenth century masonry papers, ashlar papers feature a pattern of rectangular blocks filled and framed with ornament. Unlike masonry papers, ashlar patterns do not always imitate cut marble or stone.
A method of printing on paper with the use of wooden blocks. These blocks are carved with a design which is saturated with color and then transferred to the paper. A different block is used for each color.
A figured fabric, most often silk, with raised floral or other patterns created by contrasting surfaces or colors. Often made with gold or silver threads. The design appears on the face of the fabric which is easily distinguished from the back because of the short weft threads that appear only in the area of the design.
By the late nineteenth century, wallpapers were created to cover every surface of a room. While most ceiling papers were designed with a non-directional pattern, some featured celestial motifs including stars and moons.
A geometric form composed of a horizontal or vertical string of V's used either singly or in a series to form a zig zag. Also called saw tooth for its tooth-like protrusions.
A technique to create textured or relief surfaces on a paper. The textured pattern is created under pressure using blocks, rollers or plates. See also Japanese Leather Paper, Lincrusta Walton and Tynecastle.
A technique used to apply fine particles of fabric to paper to create a texture. In the 18th century glue was applied to the desired patterned area with a wood block. Before the glue dried, powdered cloth was applied to the paper; the paper was put in a flexible drum which was beaten with sticks to distribute the particles evenly. Today, synthetic materials are attached electrostatically.
Hanging loops of any combination of fruit, vegetables, leaves, flowers and shells suspended from architectural friezes or ornamental forms such as bosses or mouldings. Often used in Renaissance or neoclassical wallpapers.
The Gothic Revival style, in all areas of the decorative arts, stemmed from a renewed interest in medieval art and architecture. Wallpapers of this period are embellished with Gothic architectural ornament including tracery, pointed arches, gargoyles and quatrefoils.
