Fire Screen 1790 - 1812

Editor: Here we have an anonymous Fire Screen, dating from 1790 to 1812. It's comprised of wood and textile, and is now held at the Art Institute of Chicago. The diamond shape, coupled with the floral fabric, strikes me as both quaint and elegant. How would you interpret this work from a formalist perspective? Curator: Its charm indeed stems from the convergence of shape, material, and surface decoration. The geometric exactness of the diamond contrasts with the organic, curvilinear forms of the floral pattern. Editor: Do you think the textile's colour has an impact? Curator: Assuredly. Note how the somber ground enhances the vitality of the floral motifs; the rust and olive palette functions as the foundation that propels the cerulean, beige, and coral botanicals to prominence. How might you characterize the relationship between utility and art here? Editor: Well, it’s designed to block heat, but it also strives to be beautiful; the textile choice indicates function following form. The floral detail serves more as art. Does this relate to Arts and Crafts ideals? Curator: Precisely. The Arts and Crafts movement elevated craft to an art form. We also see that reflected in its construction: note the tripartite stand's refined, fluid design in a sturdy, practical form that also evokes grace and harmony. Editor: The close study of the forms definitely allows one to notice subtle complexities and details. Curator: Absolutely, it invites a slower, more considered form of observation and appreciation. Editor: Thanks to your Formalist approach, I learned to notice the dialogue of form and materials, and how they construct meaning within the object itself.