I understand the latest fad, the Belgian thing, the natural linens, worm-eaten woods, faded carpets, hand-loomed stuffs, crumbling lacquer, hand-formed brick, smoke-smudged chimney pieces, lamps giving off puddles of dimness, the single, perfect Asian ceramic, a browned-off portrait or two. I get it, I really do, but I find it dour, ashen and joyless.
So what happened to color? When did what happened, happen? Did we just wimp out or, I wonder, did the knowledge of how to use color die with that lost generation? That they and their predecessors reveled in color is obvious; that the remnant of that generation, Mario Buatta, Albert Hadley, et al, uses color superbly is equally obvious and, unfortunately, too reminiscent of times gone by. It makes me curious if, in the present generation and I'm not talking about monochromatic schemes with the occasional accent in a complementary color, there are those who could bring such a complex infusion of color to decoration.
I'm glad I found these photos of the beautifully colored rooms Mr Harrison Cultra created in a Federal house, Wildercliff, on the banks of the Hudson River. I remembered them from long ago but had forgotten how extraordinary comfortable and welcoming they seemed to me then. They're joyfully colorful, traditional rooms befitting a Federal House updated for modern living by a decorator who totally knew what was appropriate - no slavish historical recreation here. The owners of Wildercliff had seen the inside Mr Cultra's own house and wanted something just like it. I wanted something like it and I remember how, ten years before I came to live in America, this house, this summer breeze from the Hudson River Valley, epitomized everything I loved about this country - but that is another conversation.
Imagine the conversation between these rooms and their setting when Fall first ignites and also how this decorative scheme could carry the promise of Spring through the winter months. Who could not love being in this house, snow swirling, wind howling off the river, candles lit and fires burning or, on the first warm days after winter, opening the doors and windows to catch the breeze and smell the budding green?
I wonder if they still exist, these rooms? Twenty-seven years is a long time in the life of a well-beloved interior and naturally I'm curious about what happened to them. Their designer, Harrison Cultra, one of the best of his generation, died of AIDS, aged forty-two, eight months after this interior was published.
Photos by Jaime Ardiles-Arce from Architectural Digest, January 1983.
Don't you think the dour, ashen and joyless look you describe is simply the timid man's minimalism, now exploited by C&B, R&B, RH et al? Walking into those stores and seeing the neutral vignettes all over is similar to seeing badly or cheaply executed minimalist decor. And it is so self-righteous! Or perhaps it is all the result of the recession, a resurgence of "The Protestant Ethic and the Spirit of Capitalism" morality---gone a little astray.
ReplyDeleteRaumkunst
yes, I believe I know the one you are referencing-I still subscribe, What I can't figure is there were half dozen photographs inside the magazine infinitely more appealing.The curtains in the Hudson River House are still in my curtain book-I've never attempted them in a room, they are honestly a bit much for me-but in that room and setting they are captivating.
ReplyDeleteI ALWAYS wonder that, when I see the lush interiors of 80s Architectural Digest or House & Garden. So many of my absolute favorite rooms exist in those ancient publications, I honestly probably don't want to know the answer.
ReplyDeleteI DO think that the anonymous commenter above is on to something, with the connection between the recession and the moralization (blechhh) of austerity and "simplicity." There's been so much talk lately about finding the "practical" fundamentals in the home and even wardrobe, that people have forgotten that design full of life can only really grow from a LOVE for one thing or another, however impractical it may be.
I also think there's a grand, GRAND problem in this culture at the moment where "new" and "immaculate" (read: sterile) have become synonymous with "desirable," leading a lot of people who could find and afford better quality, more interesting pieces via thrifting, pour their money into C&B and Pottery Barn, and shelter magazines reflect it. Lauren
I agree. For me, more is more, color is life.
ReplyDeletePutting color on walls can be a frightening prospect to a lot of people, designers included.
It won't look the way you imagined it, won't look like the swatch. But the trick is to work with what you have, in the moment. Find the artwork and fabrics, accessories, after you paint. Tweak it. Go with what works with your wall color, even if it means changing your color scheme.
I do understand the love of the Belgian look, but for me it just makes me shiver, feel cold. I have tried to be neutral and monochromatic in my own space. It just doesn't work. I end up being attracted to something bright and adding it. Color and pattern make me happy.
I agree with the other commenters, and of course you, Blue. What I still find shocking (yes, shocking!) is how few Southern homes use color anymore. As a child, I remember Southern design was marked by color and prints. It was warm, happy, comfortable. Traditional, yes. And a bit twee at times, certainly. But it had flair and panache. I just don't think you can use the same adjectives to describe these newfangled minimal interiors.
ReplyDeleteAnonymous - I had not made the connection the present-day economy as I see the bleached-out interior as pre-dating the present state of the economy, but it surely is an idea well worth investigating. When you say self-righteous, you're spot on and I would express it as cooler-than-thou. It is a very interesting phenomonon, this color-starved decorating, and all the protestations about it being a respite from a visually noisy world, etc., began a while ago to have echoes of the old tale, The Emperor's New Clothes.
ReplyDeleteLittle Augury - those curtains and draperies are certainly beautiful and totally fitting for that house. High ceilings help, of course, for where the ceilings are low, grandeur is out of place - well, according to me, anyway.
ReplyDeletePeak of Chic - flair and panache are definitely what is missing from today's decorating, and you're right, surprisingly so from southern decorating as portrayed in the shelter magazines.
Dandy and (In)Decorous Taste- thank you, I totally agree with you both. I actually think it is a matter of education: how to use color is not taught in design schools. Color theory, so called, is but has little to do with how one works with an interior.
Try visiting Mount Vernon, now George knew color...no beige/white walls, granite countertops, stainless steel appliances, and "tuscan" flourishes for him!
ReplyDeleteI disagree with Blue. Color theory has everything to do with how one works with an interior. Color, and its ability to reflect and absorb light, create contrast and achieve balance, is one of the most important tools of an interior designer. All of these principles are in fact clearly spelled out in color theory if one looks for them. I returned to color theory when I became interested in designing for the visually impaired---where contrast is a crucial tool in making spaces, dimensions and objects visible and comprehensible to people with impaired vision. It is easy to create contrast and interest with color. The hard part is to make it always pleasing to the normal eye.
ReplyDeleteAnonymous - Mount Vernon's dining room and that small study (I think) are painted the most glorious color.
ReplyDeleteRaumkunst - my point, perhaps badly expressed, is that color theory is not taught well in relation to interiors. I agree, it has everything to do with how interiors are decorated. I do not fault the theory of color - just how it is taught.
Blue,
ReplyDeleteWell,since we agree, perhaps you can comment more on your blog on how and why the colors work in the various work you and others photograph and present. That would be helpful for those seeking to learn from these blogs. It is wonderful to see photos, and to have sources identified, but it is also important to point out WHY and WHERE things work. You appear to know the answers...Wax eloquent, please.
Popped over to say that I have given you an award over at mine, and as usual found myself absorbed by your clever writing and fabulous debate you inspire.
ReplyDeleteFeel free to ignore it, it's just a bit of nonsense but heartfelt nontheless.
E
February 24, 2010 2:40 PM
Word verification
Popped over to say that I have given you an award over at mine, and as usual found myself absorbed by your clever writing and fabulous debate you inspire.
Feel free to ignore it, it's just a bit of nonsense but heartfelt nontheless.
E
Thank you, Blue, for the marvelous photos of Cultra rooms. I fondly remember his work and that of the others, who all knew how to use color,as well as historical references in their choices of furniture and objects. Such charm.
ReplyDeleteI am still enjoying that point of view in my own home - and no plans to fade away into paleness.
Raumkunst, I’m flattered that you say I appear to know the answers. In truth, however, I don’t. What I offer here are opinions, not answers, not rules for success. I’m not sure anyone has those. And I’m certain my opinions are not always universally shared. That’s part of the fun.
ReplyDeleteYou raise an interesting topic – not only what works, but why it works (or doesn’t). It’s challenging, I think, because much of it defies analysis, or at least defies “rules”. It’s a bit like trying to teach someone how to write well: one can critique their writing, and offer suggestions, but it’s impossible to provide rules that will guarantee a successful result every time.
I may try to mention my thoughts on how and why colors work as I go along. But for the moment, it’s not my main focus. My interest (currently) lies in exploring the work I uncover, sharing it wth a wider audience, and appreciating its “gestalt,” rather than analyzing it. Most of all, it’s the responses and differing viewpoints that make this so interesting to me, so I appreciate your thoughts and suggestions, and hope that you will continue to contribute.
Anonymous - thank you. I agree, such charm. I loved those rooms the first time I saw them and they have only improved in my estimation.
ELS - thank you. What els can I say, if you'll pardon the pun?
If I am not mistaken, this house is featured in A.D.'s "Designers' Own Homes" . It has a wonderful Chinese Chippendale inspired stair railing that I admired for years. I shamelessly copied for the makeover of a McMansion a few years ago.
ReplyDeleteI'm feeling a bit small relative to the other commenters but we do seem to share being neutralled out. I can be tranquil and calm without bland.
ReplyDeleteAnd '...moralization (blechhh) of austerity and "simplicity."' Let me echo the "blechhh."
John, thank you - I'm borrowing that book from the Peak of Chic today. I think I remember the stair rail you mention. Will let you know.
ReplyDeleteTerry - no need to feel diffident!
Hey-- Matt Hall here. My parents owned and decorated that house, those pics are how it was in 1983, and we sold it in 2012. Mom was an actress-- Grayson Hall-- who was in Dark Shadows and was nominated for an Academy Award for Night of the Iguana in 1964. Dad was Sam Hall, who wrote Dark Shadows and much other television besides.
ReplyDeleteUnfortunately, my parents have both passed on. I have a blog post about Wildercliff, the house, here: http://msbhall.wordpress.com. And, as it happens, Stair Galleries in Hudson is having an auction on June 26-27 2105 of many items that are in those pics from AD so long ago... http://www.stairgalleries.com/auctions/june-26-27-2015/
Thanks for saying so many nice things about the house-- it was an exceptional place to spend 35 years.
--MH