It features an asymmetrical configuration of identical wooden planks juxtaposed vertically and horizontally into a well-balanced composition. Gerrit Rietveld’s Steltman Chair is furniture as sculpture. Taylor Director, from March 23 through June 30, Object of the Day will feature a selection of 100 transformative works of art acquired during his 22-year tenure at the Museum. The most famous piece from Saarinen’s installation was a silver-plated urn identical to this one, few of which were ever produced. His Room for a Lady included furniture, textiles, fashion, and silver designs. Saarinen was one of several leading architects in the country invited to design a furnished room for the exhibit. The goal of this celebrated exhibition was to promote a new aesthetic for mass production and to help foster the development of industrial design in the United States. Precise geometric forms, absence of ornament, sleek reflective surfaces, and elegant proportions characterize this urn. These elements express the new style that came to be associated with progress, optimism, and forward-looking American industrial design in the early 20th century.įinnish-born architect Eliel Saarinen first designed this urn for a 1934 exhibition at The Metropolitan Museum of Art entitled Contemporary American Industrial Art. However, they are also executed with subtle washes of ink and color so that the overall effect still appears painterly. The seasonal flowers and plants are beautifully depicted in soft brushwork, retaining enough clarity and detail so that the species may be readily identified with botanical precision. These screens illustrate a significant painting style first developed by Tawaraya Sōtatsu (active c.1600–1642), a co-founder of the Rinpa school in the early 17th century. The other screen consists of amaranthus, begonia, chrysanthemum, the “seven grasses of autumn” (bush clover, eulalia, Japanese arrowroot, dianthus, patrinia, thoroughwort, and mistflower), Chinese bellflower, rose mallow, Japanese aster, arrow bamboo, Japanese narcissus, and grape. One screen includes yellow rose, Japanese dandelion, tree peony, dianthus, cymbidium, Oriental poppy, cow lily, rabbit-ear iris, hydrangea, morning glory, and arrow bamboo. This pair of screens features a variety of plant and flower species from spring and summer to fall and winter. A government facility in the Ryūkyū royal capital, Shuri, was responsible for managing the production of exquisite objects used as tribute gifts for the emperor of China as well as the shōgun (military dictator) and daimyō (feudal lords) in Japan. The distinctive tradition of lacquerware, seen in this dish, developed in the Ryūkyū Kingdom (1429–1879) through its trade with neighboring countries and became an important export. The decorative motifs are represented with thin iridescent mother-of-pearl from the shells of abalone, which are found in the waters of the Ryūkyūs, a chain of small islands in the Pacific Ocean between Taiwan and Japan.
The rounded sides are divided into eight sections, alternately adorned with four different Buddhist emblems and with hexagonal patterns. The bold decoration features two five-clawed dragons amidst clouds encircling a flaming pearl in the center. The interior of this large circular lacquered dish is inlaid with exquisite mother-of-pearl. When the Seymours opened their cabinetmaking shop in Boston in 1795, they established a new standard for stylish furniture made with exquisite craftsmanship. John Seymour was born and trained as a furniture maker in the provincial city of Axminster, in southwestern England, before he immigrated to the United States with his family in 1784. The desk’s design, construction methods, and numerous inscriptions identify its makers as the father and son cabinetmakers John and Thomas Seymour. Contrasting patterns of light-colored satinwood and darker-toned woods like mahogany, rosewood, and purpleheart enliven the surface and lighten the mass of the desk’s geometric volumes. The desk’s simple function allowed a design of slender proportions, achieved by elevating it on long tapered legs. The sliding doors were made from strips of wood backed with canvas. Named for its flexible doors that open horizontally across the top, this tambour desk was intended for letter writing and other light work.
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