Armchair 1845 - 1855

Editor: So this is an "Armchair," made sometime between 1845 and 1855 by Joseph-Pierre-François Jeanselme. It’s a combination of carved wood and textile, currently held at the Met. It’s quite striking, with those very vertical lines. What do you see in this piece, especially considering its historical context? Curator: What I find most compelling is the armchair’s overt historicism. We see a very clear revival of Gothic forms, a style that was heavily associated with medieval cathedrals and a sense of spiritual authority. How does this piece participate in or reflect social changes? Editor: It’s interesting you mention that. Given the timeframe, is it possible that this armchair could also reflect the rise of the Arts and Crafts movement, in which people went back to older craft methods, partly as a rebellion against industrial manufacturing processes? Curator: Exactly. The Gothic Revival was often intertwined with social critiques of industrialization. By adopting handcrafted techniques and pre-industrial styles, furniture makers sought to express disdain of industrialized culture and elevate artistry. Who do you imagine was this made for, and why was this style "revived"? Editor: That makes sense. Thinking about who it was made for… well, judging by its intricate detail, the cost, and the statement it makes, probably someone of high social standing looking to show off traditional tastes and perhaps moral or religious leanings. Curator: Precisely! Furniture like this performed a powerful visual function, communicating the owner's values and aligning them with specific socio-political and artistic currents of the era. So much can be inferred from a simple chair, right? Editor: I never thought I could learn so much about the values of a whole society just by looking at an armchair! Curator: That's the power of understanding art in its cultural moment.