The Aesthetic Movement

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The Aesthetic Movement

The Aesthetic Movement was a term used to describe a movement of the 1870s and 1880s that manifested itself in the fine and decorative arts and architecture in Britain and subsequently in the USA. Reacting to what was seen as evidence of philistinism in art and design, it was characterized by the cult of the beautiful and an emphasis on the sheer pleasure to be derived from it. In painting there was a belief in the autonomy of art, the concept of ART FOR ART'S SAKE, which originated in France as a literary movement and was introduced into Britain around 1860. One of the most influential artists of this movement was an American by the name of James McNeil Whistler (184-10) who brought a totally new style of art to Britain. Whistler was very interested in art from the East and his influence is shown in many of his works. His influence undoubtedly would have come from the Japanese artist Utagawa Hiroshige in which his painting of 'Moonlight at Ryogoko' 1857 is very similar in style and composition to that of Whistler's 'Battersea Bridge'.

At about the same time he was painting it, Whistler was working on another and bigger blue-and-gold project, his greatest sustained essay in the decorative The Peacock Room, now in the Freer Gallery in Washington. Originally it was painted for the London house of an English millionaire, Frederick Leyland, who had asked his architect Thomas Jeckyll to adapt a dining room to display his collection of blue-and-white Chinese and Japanese porcelain. Its walls were covered with panels of antique Cordovan leather, which Whistler proceeded to cover with thick layers of glossy blue-green paint, meant to imitate the surface of Japanese enamel, decorated with designs of peacocks in gold leaf. Leylands pique at losing his expensive leather, which the antique dealer who sold it to him had claimed, no doubt falsely, was salvaged from the wreck of the Spanish Armada in 1588, set off a train of quarrels and recriminations between the annoyed patron and the touchy artist.Custom writing service can write essays on The Aesthetic Movement

Determined to finish his masterpiece, Whistler agreed to halve the agreed fee of ,000 pounds. Then Leyland was much perturbed to find that Whistler, with his mania for publicity, had been inviting not only artist friends and prospective patrons but the press and the public into his house to view the work in progress. In revenge, he insulted Whistler by paying him in pounds, not guineas. One paid tradesmen in pounds, professionals in guineas - and Whistler was extremely sensitive on the matter of his professional standing. Whistlers own revenge was to decorate the south wall with a design of two squabbling peacocks, one rich and the other poor, somewhat in the manner of an Edo period Japanese screen.

Another example of the Edo screen being used is in the main painting in the Peacock Room titled; Rose and Silver 'la Princesse du Pays de la Porcelaine' or 'The Princess of the Porcelain Country'. This picture was first exhibited at the Paris Salon in 1865. The sitter is Christine Spartali, the daughter of Michael Spartali who was the Greek Consul General in London and Friend of the Ionides family. She was also the sister of Marie Spartali who had previously been painted by Dante Gabriel Rossetti.

This picture shows the exuberant colours that are typical of Whistler's work, but mainly referring to his influenced work on the Japanese cultures. The untypical pose of the sitter, or in this case the standee, shows the relaxed way in which Whistler tended to use his pallet. However the aesthetic movement portrayed the expressionism that was lacking in the early part of the nineteenth century.

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