Eileen Gray: Her Work and Her World, by Jennifer Goff
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Eileen Gray: Her Work and Her World, by Jennifer Goff
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The renowned and highly influential architect, furniture-maker, interior designer and photographer Eileen Gray was born in Ireland and remained throughout her life an Irishwoman at heart. An elusive figure, her interior world has never before been observed as closely as in this ground-breaking study of her work, philosophy and inner circle of fellow artists.Jennifer Goff expertly blends art history and biography to create a stunning ensemble, offering a clear beacon of light into truly understanding Gray – the woman and the professional. Gray was a self-taught polymath and her work was multi-functional, user-friendly, ready for mass production yet succinctly unique, and her designs show great technical virtuosity. Her expertise in lacquer work and carpet design, often overlooked, is given due attention in this book, as is her fascinating relationship with the architect Le Corbusier and many other compelling and complex relationships. The book also offers rare insights into Gray’s early years as an artist.The primary source material for this book is drawn from the Eileen Gray collection at the National Museum of Ireland and its wealth of documentation, correspondence, personal archives, photographs and oral history.
Eileen Gray: Her Work and Her World, by Jennifer Goff- Amazon Sales Rank: #1935606 in eBooks
- Published on: 2015-06-17
- Released on: 2015-06-17
- Format: Kindle eBook
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Most helpful customer reviews
5 of 5 people found the following review helpful. Why Gray matters By Andrew S. Rogers As I write this review, the premiere of "The Price of Desire," a feature film starring my favorite actress, the magnificent Orla Brady, as the Irish architect and designer Eileen Gray is just hours away. The film is the latest project to debut as part of the loose "Eileen Gray Project" (#EileenGrayProject in social media). Other projects gathered under this umbrella have included the documentary film "Gray Matters," and -- perhaps most significant, in terms of the scope and total work involved -- this highly impressive book by Jennifer Goff.Dr. Goff is curator of furniture, silver, music, scientific instruments, and (most relevantly) the Eileen Gray collection at the National Museum of Ireland. Arguably no one is better positioned, therefore, to finally rescue Eileen Gray from the obscurity into which she fell during her own lifetime, and to put her in her proper place and context as a trailblazer in art, architecture, and design in the twentieth century. The NMI is the repository of Gray's surviving papers and library, and Goff made exhaustive use of them to show the influences and inspirations Gray drew on across her long career. The early sections of this book are divided up by media: painting, sculpture, and photography; lacquer; furniture; and finally architecture. This topical approach made the chronology a bit hard to follow sometimes, but you can only admire the breadth, not only of Gray's work, but also of Goff's.Goff's writing is well-sourced and informative, if sometimes a bit leaden. It occasionally falls into a rhythm of simple, declarative sentences. One sentence states a fact. The next sentence states a second fact. At times it felt like riding on a train, with a steady thump-thump-thump of unvarying style. There are also sometimes odd effects like this: "Gray says to Haweis in one letter that he tells her nothing personal about himself: `You tell me nothing about yourself'" (p. 327). Still, it's worth putting up with in exchange for all the information you glean.Where the writing becomes more spirited is in describing the conflict between Gray and Le Corbusier over E.1027, the house Gray designed and built in the south of France (this conflict is the centerpiece of "The Price of Desire," too). A large part of the reason Gray disappeared from history was the deliberate effort by Corbu and others to deny her credit for E.1027. Goff clears away the mud and proves -- in a way I hope settles this for good -- that E.1027 was Gray's work in design and execution. Goff shows the fight was not only a battle of artistic egos, with more than a little vindictive misogyny thrown in, but also of philosophy. In a brilliant reply to Corbu's dictum that "a house is a machine for living in," Gray wrote (in a passage Goff likes enough to quote three times, by my count), "A house is not a machine to live in. It is the shell of man, his extension, his release, his spiritual emanation. Not only its visual harmony but its entire organization -- all the terms of the work -- combine to render it human in the most profound sense" (p. 347).Despite this, and although Gray's interaction with many of her art and design contemporaries as well as friends and family members is well documented, the one area I kept feeling like this book was coming up short was in giving us a really good look at Eileen Gray as a person. This is I'm sure due in part to Gray's own "withdrawn, reserved" (p. 79) nature and her desire to "control not only her environment but also the people around her" (p. 429), including her destruction of many of her personal papers and early works. Yet it must also have been a conscious decision by the author, possibly (I speculate) because the drama of Eileen Gray's life has been told and retold so many other places. News stories surrounding the release of this book have mentioned that it was distilled from a PhD thesis almost five times as long. I can't help but wonder how much more fascinating information was in the 400,000 or so words that had to be pared to prepare this book for publication.In the Irish Times, "Price of Desire" director Mary McGuckian says "Eileen Gray: Her Work & Her World" is "as much a must-have addition to any coffee-table collection as a definitive biography." Excellent and important as this book is, however -- and with the greatest respect for Ms McGuckian and her films -- the above is why I can't entirely agree. "Her Work" may never be better contextualized, and "Her World" is far better situated now, thanks to Jennifer Goff's groundbreaking and essential efforts. But the unadorned "Her" could have used just a bit more focused attention, I think, to make this a truly definitive personal biography.Nevertheless, this is without question a five-star title. My hat is off to Jennifer Goff as a researcher, curator, and presenter, not only of art, but of information.
1 of 2 people found the following review helpful. Five Stars By Eric Gering Excellent work...
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