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The White Girl, 1862Whistler, James McNeill Buy this Art Print at AllPosters.com During the 19th century there was a great increase in trade with the East, particularly with China and Japan. The simple elegance of products from these countries, particularly Japanese woodblock prints (Ukiyo-e), influenced many artists and designers like William Morris and Dante Gabriel Rossetti, who reacted against the ornate, over-embellished style then popular. The result was the Aesthetic Movement – the bridge to the Arts and Crafts Movement, later followed by Art Nouveau. The word ‘Aesthetic’ simply means ‘purely beautiful’. It could also be interpreted as artistically beautiful, perhaps even ‘art for art’s sake’, a charge that many of the proponents of the Movement did not refute. The phrase ‘art for art’s sake’ has been attributed to French philosopher Vincent Cousin (l’art pour l’art) in a lecture given in 1818 but not published until 1836. This was taken up by 19th century poet and art critic Théophile Gautier who argued that art should not have any moral purpose, an idea quite contrary to popular beliefs then. The influence of elegant Oriental imports, the ideas discussed by the intelligentsia of the day and a revulsion towards high Victorian style caused the reaction that resulted in the Aesthetic Movement. It included such famous figures as William Morris, Algernon Swinburne and Oscar Wilde who, at the first trial for libel, asserted that there was no such thing as an immoral book. The leaders of the Aesthetic Movement wanted to promote good simple design for all types of utilitarian objects including furniture, textiles, glass and ceramics. 
Japanese Woodblock, Lady in Breeze Buy this Art Print at AllPosters.com Aesthetic Movement furniture is restrained and ornamentation is usually confined to small areas rather than applied lavishly to the whole piece as is often seen on traditional Victorian furniture. The emphasis was on elegance and often showed heavy Japanese influence, for example in the furniture of Edward Godwin. He was originally an architect but he designed furniture, textiles and wallpaper. His hand-made furniture used decoration sparingly: the beauty lay in the design. Fittings, like handles, were beautifully designed and ornamented, to provide functional decorative highlights to otherwise simple pieces. The Movement was not limited to Britain. It became popular in both Europe and United States where the two Herter Brothers, Christian and Gustave, became leaders in Aesthetic furniture. German immigrants, the brothers arrived in New York in the mid 19th century where they set up a successful business. While Gustave continued with traditional design, Christian Herter, who spent some time in England, was heavily influenced by English Aestheticism. His furniture, now very collectable, is often ebonised with marquetry, gilding and inlays of ivory, brass, mother of pearl and satinwood.
Although the Movement was founded on the principle that everybody should use beautiful objects in their everyday lives, it was only the middle and upper income groups that could afford them. Simplicity of design and handmade articles are rarely produced cheaply and those of the Aesthetic Movement were no exception. Arguably, it is hard to define exactly an Aesthetic Movement style simply because it was a transitional period. In it can be seen precursors of the Arts & Craft Movement and Art Nouveau. By the 1880s, Aestheticism was over. Perhaps the leaders of the Movement had simply refined their styles or maybe the scandal of Oscar Wilde’s trial and subsequent imprisonment contributed to the end of the Aesthetic Movement. Whatever the cause, it acted as a bridge to a more recognisably modern style and paved the way for the Arts and Crafts Movement, embodying much of the philosophy of Aestheticism, Art Nouveau and some 20 years later, Art Deco. (This article first appeared in the monthly magazine Antiques & Collectables.)
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