The Decoration of Houses (The Original 1897 Edition)

admin — Wed, 11 Jul 2007 19:34:00 +0000

Amidst today’s seemingly endless supply of domestic guides and treatises on interior decoration, Edith Wharton might be surprised that her The Decoration of Houses (co-authored with architect Ogden Codman, Jr.) would still be as relevant and necessary as it is a century after its first publication. Long before “simplicity” and “classic” became catchwords for branding, Wharton took a public stand against the bland, trite excesses of Victorian décor in America. Favoring the considered, informed and complex processes of design rooted in architectural principles, her graceful humility was matched only by her assertive plea against the contemporary dominance of thoughtless, conspicuous consumption visible in New York society. As she determinately decreed: “According to the creed of the modern manufacturer, you have only to combine certain ‘good’ to obtain a certain style.”

Often associated with the frivolity connected to historical descriptions of femininity, this volume might be a surprise for those who prefer to view Wharton as a New York literary powerhouse. While her 40 books in 40 years (many of which were devoted to travels through European residences and gardens) are a testament to the force of her pen, it’s the themes of beauty, pleasure, societal indulgence, cultural education and cosmopolitanism in America’s modernity that make her analysis, and eventual ruling on the importance of design and space, a necessary extension of her literary thought. As she aptly begins her historical and aesthetic analysis, “Rooms may be decorated in two ways: by a superficial application of ornament totally dependent of structure, or by means of those architectural features which are part of the organism of every house, inside as well as out.” And it’s through these sixteen chapters that reflect on everything from the front door to the dining room to bric-a-brac that she offers readers a glimpse at the historic function of furnishings, as well as her claims about taste, beauty and the impact of residential design.

The Italian, French and British capacity for decorating in accord with the Grecian edict of “wise moderation,” so admired by Wharton, is illustrated by black and white plates. The illustrations also reveal that the author’s penchant for “classic” beauty wasn’t about recreating kitschy historic facades or stoic sparseness. Rather, a considered pleasure seems to be her goal as she concludes, “There is no absolute perfection, there is no communicable ideal; but much that is empiric, much that is confused and extravagant, will give way before the application of principles based on common sense and regulated by the laws of harmony and proportion.” True to her appreciation for sincerity in the application of decorative principles, readers can see the realization of her rules if they visit the Mount, a 113-acre Lenox estate designed by Wharton in 1902.

Recreated by Rizzoli using photographs of the original 1897 pressing, the only change made by the publishers in this edition is the use of the original interior dust jacket as the model for the printed design that now covers the book. But I don’t think Wharton would mind, as she truly believed that design was about the external reflection and illumination of what’s on the inside.

Written by: Joanne Molina, July 11th 2007

Devine Color: When Color Sings

admin — Thu, 07 Jun 2007 23:55:00 +0000

By Gretchen Schauffler

Inkwater Press

What do you do when the taupe couch you loved in the store looks green when you combine it with the other furnishings in your living room? Before you return the couch to the store, read Devine Color: When Color Sings by Gretchen Schauffler.

In Devine Color, Schauffler educates readers about color and the effects it has on home décor. Her goal is to help her readers appreciate the beauty of their surroundings. She tackles common color myths, discusses color combinations and explains color associations.

Schauffler explains that every color in your home can fit into the six color categories (red, orange, yellow, green, blue, and purple). Another color problem that is discussed is neutral color. She also claims that neutrals are not really colors on their own. Rather, neutrals often pick up the colors around them and can end up looking quite different than what was expected in the paint store.

Furthermore, Schauffler encourages readers to be proactive about color, put the items in their homes into color categories, and then to try new paint colors that enhance their surroundings. She maintains a friendly and helpful tone throughout and provides plenty of tips and tricks for enhancing home décor with items that are already present in the home. Schauffler makes readers feel like they can go out and pick the right colors for their home. The advice in Devine Color can be applied to home décor, as well as art and fashion.

Written by: Rekesha Spellman, June 7th 2007