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Russel Wright, American modernist.(Current and coming)
Possessed of an innovative sense of design, Russel Wright met his match in 1927 when he married Mary Small Epstein, a woman with an amazing flair for advertising and promotion. Design at the time reduced wares to basic lines, free of ornamentation. Marketing used novel advertising techniques, particularly on the part of department stores and consumer magazines. In short, the growing consumer appreciation of Wright's streamlined products coincided with his wife's successful efforts to establish a brand name.
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An exhibition devoted to this Ohio native takes place at the Decorative Arts Center of Ohio in Lancaster from May 5 through September 3. It includes tablewares, furniture, appliances, and textiles and is entitled Russel Wright: Living with Good Design. Robert Stearns, the senior program director of Arts Midwest, is the curator.
Wright's background was diverse and yet perfectly suited for the role he played in bringing good and affordable design into the American home. Born in Lebanon, Ohio, in 1904, he studied in Cincinnati before moving to New York City in 1924, where he took courses in sculpture at the Art Students League. A two-year stint studying law at Princeton University was a diversion, but it was during those years that he was introduced to theatrical set design, working under Norman Bel Geddes, who was one of the leading industrial designers of the period. By the 1930s Wright was designing free-form tablewares in spun aluminum and in earthenware. These pared-down forms were sculptural and biomorphic, reflecting his training in sculpture and the influence of surrealism.
Wright made his name in tablewares, but his early forays into the decorative arts included several designs for furniture. The first, a large line of sixty pieces, was created for the Heywood-Wakefield Company of Gardner, Massachusetts, and made its debut in 1934 at Bloomingdale's in New York City. Wright showed the line in room settings in which everything was designed by him. However, the heavy and somewhat awkward design of the furniture was not successful, and the veneered surfaces created production problems.
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