Middle Ages No.1 1856

Editor: This is "Middle Ages No. 1," a drawing on paper from 1856 by Owen Jones. It's full of intricate botanical motifs, almost like wallpaper. I find the limited color palette very calming, yet the pattern is quite busy. How would you interpret this work? Curator: Owen Jones was deeply invested in architectural design and, significantly, the cultural politics surrounding ornament. Consider this piece within the context of 19th-century design reform. Jones advocated for principles he believed were inherent in historical styles, especially Islamic art, believing it could 'purify' Western design from Victorian excess. Does this perspective shift how you view the work? Editor: It does a bit! I guess I just saw it as a pretty pattern. Now, I’m thinking about what exactly he's extracting and ‘purifying’ and maybe even imposing from his interpretation of the Middle Ages. Was this kind of historical revival common then? Curator: Absolutely. The Victorian era was rife with revivals – Gothic, Renaissance, and others. Jones, through publications like "The Grammar of Ornament," sought to codify these styles. His work was highly influential, shaping not only design but also the public's understanding of historical aesthetics and their application to modern industry. What do you think the social impact of this could have been? Editor: It seems like he's trying to create a visual language to promote certain values and taste. I hadn't considered the power dynamics inherent in defining what's considered 'good' design. Curator: Precisely! So, this isn’t just a drawing. It reflects a much broader cultural project. Editor: Wow, I’ll definitely see pattern design differently now, not just as decoration, but also as a product of specific social ideas. Thanks for broadening my perspective. Curator: And you, for bringing your fresh eyes to an old design! It is a reminder to me of how even ‘historical’ views change through time.