Design drawing 1878 - 1888

Curator: This set of design drawings is attributed to Christopher Dresser, dating from 1878 to 1888, held here at The Met. What strikes you first? Editor: Well, it's playful. Those colours! The motifs dance somewhere between ancient Celtic designs and the emerging aesthetics of Art Nouveau. A bit chaotic, maybe, but vibrant. Curator: Dresser was quite fascinated by the patterns he found in ancient cultures, from Celtic knotwork, to, further afield, Egyptian and Persian designs, which he blended together. There’s an intentional flattening of depth and an embrace of strong outlines that seems… almost timeless. Editor: Exactly! It feels both antique and incredibly modern. I can almost see this in a contemporary textile collection. But how does that relate to its period? It almost feels outside its own time, resisting the dominant aesthetic norms. Curator: His design principles, shaped by botanical studies and informed by his travels, challenged Victorian ideals of ornamentation. The simplification of form, the boldness of colour… he really championed accessibility through design, didn't he? A push for beauty for the masses. Editor: Indeed! It’s interesting how he balances his interest in ‘primitive’ designs with modern industrial production. To take something from a distant place or past, re-encode it with new technology and taste, and sell it… There are layers of socio-economic messaging at work. Curator: And consider his use of motifs! That recurring floral rosette? To me, that reads like an abstracted echo of ancient sun symbols – or perhaps a simplified take on the lotus. Visual symbols like these possess an emotional weight, transcending specific cultures while reflecting the collective unconscious. Editor: That tension between specific historical moments and deeper human archetypes? I agree. It raises fascinating questions about the role of art and design in bridging gaps of space, and gaps in time. Curator: Absolutely. Dresser seems to be suggesting a dialogue – perhaps even a unity – through his consciously syncretic design practice. Editor: It's almost optimistic. Even in our fragmented modern era, there is still potential for finding shared visual language, new value, and even purpose across cultures. Curator: It certainly provides us a chance to contemplate how these patterns from the past continue to resonate today, in terms of not just aesthetics but also cultural connections. Editor: Yes, it’s an echo. A reminder that our visual culture constantly re-interprets and negotiates past with present. Fascinating, isn't it?