Analytical Essay: The Yellow Wallpaper

Introduction The reference to the past for ideas that fuel creativity has always been a common practice. It was never so evident as in the century that saw the transition from a world of agriculture and craftsmanship to the factory assembly line of the industrial revolution, for in the quest of the new and individualistic, designers looked to the past. All the while, during the time between the end of the 18th century to the end of the 19th century, there was a wealth of progress and a transition to a more industrious means to produce these designs, which is evident in the raise of an abundance of factories and stores. Most of the focus was on the designing for a new sort of canvas, the home, especially in the area of wallpaper, which became

Edouard Muller took into account these historic references and combined them with Desfosses’ industrial process of wallpaper making into a beautiful piece of useful neoclassical art, especially so with the center sculpture that mimics the ancient sculptures of Rome. In addition, Edouard took to artistic liberty of improving upon the story by adding depth and 3-Dimensionality with perspective, shadows and atmosphere. Upon viewing this wallpaper, it seems to be a moment frozen in time, the blossoms of the flowers and trees remaining bright and

There was Owen Jones’ Grammar of Ornament, which played well into the aspects of Henry Coles’ Design Reform, that pushed the belief that the study of nature is the epitome of design education and tried to control the type of art and industrial designs that was being produced by providing education and schools of design that directed what was appropriate and what was not (Raizman). In a sense resembling the time of Louis XIV and his control of what could be painted or produced. The Garden of Armida exemplifies this idea, for it consist of beautifully composed and accurate flowers in almost its