Settee 1880 - 1890

Editor: Here we have Lawrence Alma-Tadema’s *Settee*, crafted between 1880 and 1890. It’s an impressive mix of assemblage, textile, and sculpture. The level of detail is astonishing; you could get lost examining all the intricate patterns. What does this piece evoke for you? Curator: For me, this *Settee* exemplifies the late 19th century's fascination with historical revivalism and the rising influence of decorative arts within elite social circles. Alma-Tadema, while known for his paintings of classical antiquity, engaged deeply with the Arts and Crafts movement, emphasizing handcrafted quality. How do you think furniture pieces such as this one were regarded at the time? Were they just decorative? Editor: I suppose, knowing the Arts and Crafts movement, this Settee represents more than mere decoration. It seems like a statement against industrialization, celebrating artisanal skills in a rapidly changing world. Curator: Precisely! Think about who would have commissioned such a piece. Not just anyone could afford the elaborate detail, quality materials and unique vision. This Settee, placed within the home of a wealthy individual, became a signifier of refined taste, intellectual engagement, and social standing. Also notice the combination of patterns here, challenging Victorian minimalism to convey maximal social status. Editor: So, it reflects how taste became another form of displaying power. But with a kind of artistic and social awareness baked in through its art and crafts roots. Curator: Exactly. And we see, in this blending of fine art and functional object, the complex relationship between aesthetics, social status, and the era’s anxieties about industrial production. What are you taking away from it all? Editor: I had not thought about the social impact, it gave it an interesting perspective. I’ll now look at furniture with renewed attention.