Definitions and interesting thoughts...

Have you ever thought about just how the world -- U.S. culture in particular -- defines the role of women and their relationship to the home? It seems to me that this has become a struggle in recent years.

In a 2003 article in the Atlantic Monthly, entitled "Housewife Confidential", Caitlan Flanagan made this intriguing observation:

I pore over descriptions of ironing and kitchen routines; I have never made a solution composed of one part bleach and nine parts warm water, but the idea of such a solution and its many practical uses—wiping down an emptied refrigerator once a month, sanitizing a kitchen sink—commands my riveted attention. The notion of a domestic life that purrs along, with routines and order and carefully delineated standards, is endlessly appealing to me. It is also quite foreign, because I am not a housewife. I am an "at-home mother," and the difference between the two is vast.

Consider the etymology. When a woman described herself as a "housewife," she was defining herself primarily through her relationship to her house and her husband. That children came along with the deal was simply assumed, the way that airing rooms and occasionally cooking for invalids came along with the deal. When a housewife subjected herself and her work to a bit of brutally honest examination, she may have begun by assessing how well she was doing with the children, but she may just as well have begun by contemplating the nature and quality of her housework. If it had been suggested to her that she spend the long, delicate hours between three and six o'clock squiring her children to the array of enhancing activities pursued by the modern child, she would have laughed. Who would stay home to get dinner on? More to the point, why had she chosen a house so close to a playground if the children weren't going to get out of her hair and play in it? The kind of childhood that many of us remember so fondly—with hours of free time, and gangs of neighborhood kids meeting up after school—was possible partly because each block contained houses in which women were busy but close by, all too willing to push open a window and yell at the neighbor boy to get his bike out of the street.

But an at-home mother feels little obligation to the house itself; in fact, she is keenly aware that the house can be a vehicle of oppression. She is "at home" only because that is where her children happen to be. She does not define herself through her housekeeping; if she is in any way solvent (and many at-home mothers are), she has, at the very least, a once-a-month cleaning woman to do the most onerous tasks...

The at-home mother defines herself by her relationship to her children. She is making sacrifices on their behalf, giving up a career to give them something only she can. Her No. 1 complaint concerns the issue of respect: She demands it! Can't get enough of it! She isn't like a fifties housewife: ironing curtains, shampooing the carpets, stuck. She knows all about those women. She has seen Pleasantville and watched Leave It to Beaver; she's made more June Cleaver jokes than she can count. (In fact, June Cleaver—a character on a television show that went off the air in 1963—looms over her to a surprising extent, a sickening, terrifying specter: Is that how people think I spend my time?)

Hmm. Is there a gap in how the at-home woman of the fifites, sixties, and seventies defined her role and how at-home women describe their role today? I hadn't thought of it exactly in those terms. After all, as a baby boomer who was reared by a sixties and seventies housewife in an area filled with sixties and seventies housewives, I can attest that my peers and I received a generous amount of parental attention.

However, I do think that our mothers saw homemaking as being more than mothering. They put heart and intelligence into all aspects of marriage and home. The majority were at home before children arrived. The majority also did not view their work as being over simply because children matured and left home. As I've mentioned before, when I first got married, empty nest homemakers contributed much to church and neighborhood.

On the other hand, I think that a good many women of my mother's generation initiated the charge out of the home as soon as the last baby chick had left the nest. I think it was also in that generation that the former view of home management as a noble profession began to change. A few notable women of that era publicly argued that homemaking is limiting to women, and it took a surprisingly short time for that idea to take hold of "modern" thinking.

Now, many twenty-and-thirty something women are reversing the trend. Many question the idea that the only way a woman can define herself meaningfully is through a paycheck. So, quite a few are choosing to be in the home. Some want to be at home only as long as their children are younger than school age; others plan to be at home as a lifetime career.

I think that in a culture in which women almost have to apologize for making homemaking their career, having children at home is the most "acceptable defense". So, perhaps, today's women at home do define themselves more as being an "at-home" mom, rather than as keeper of the household. On the positive side, it's great that so many younger women are meeting their children's needs for a full-time mother.

However, I suppose that subtle terminology of "at home mom" could affect a woman's way of thinking. What if a woman sees her main purpose for being a keeper at home in terms of her baby? Will that lead her to neglect her marriage in favor of parenting? Possibly. If so, that's neither healthy for her husband, for her, or for her children. Children really do flourish best when Mom and Dad maintain their marriage as a high priority. Defining one's role in the home simply in terms of raising children also sets a woman up for depression once her nest empties. Plus, she may cling to her children too much, refusing to let them grow up and leave and cleave as they should.

By contrast, the Proverbs 31 woman conducted all of her activities either within the home or with the home as her base of operations, and she had a full life. You could even argue that she came to full fruition in her middle years. After all, her husband was old enough to be an elder in the land, and her children were old enough to rise up and call her blessed.

Today, many operate home businesses in order to have more flexible time for the family. In some cases, this supplements the income so that the wife can be in the home. In other cases, it allows a business-minded woman an outlet for her talents. Perhaps, as with having small children in the home, it also provides an at-home woman with a defense against critics who question, "Just exactly what do you do all day?"

The Proverbs 31 woman lived, as most women throughout history have lived, in an agrarian society. In a farm-based economy, women are needed in the home, but they also have venues for conducting some commercial business -- such as selling produce or handwork or working alongside their husband in a small-town business.

The unfairly negative stereotype of the American housewife, however, is based on upper middle-class suburban lives from about 1945 to about the 1980's. Or, at least it's based on our culture's perception of that lifestyle. It's ironic that becoming an increasingly high-tech society, which enables more business to be conducted via the personal computer and the Internet, has put us back in a position where a woman can be in the home and engage in some enterprise, as well.

For the woman who can manage it, an at-home business can be a boon; for the woman who feels pressured into it to justify her role at home, a home business can backfire.

It's been my observation that working outside of the home full-time is no guarantee that a woman will escape the trials ascribed to the homemaker or at-home mother. Likewise, though it is my personal opinion that a married woman does best to regard home management as her primary career, I can see that merely being in the home doesn't guarantee a woman fulfillment. In order for her to be happy, her heart must also be there.

No matter what her situation, any woman can become discontent with her lot. Any woman can struggle when her children grow up and leave home. Any woman can feel like her talents are being underutilized or under-appreciated. Any woman who hits the middle years can question the choices she made earlier in life.

So, if we do take on the worthy vocation of being full time keepers of our home, it's good to define why we are doing so and what we, along with our husbands, see as our purpose for being in the home. If we have a clear purpose in mind, we are more likely to see our work at home as fulfilling. And, we will continue to grow through the years, rather than to stagnate as critics claim homemakers do.

If you want to do some extra reading about how our culture sees the woman at home, see Homemaker on Wickipedia. (I enjoy Wickipedia, but I keep in mind that it's written by volunteer contributers and that is, perhaps, not as carefully researched as a true encyclopedia is.)

What about you? What term do you use to define your role at home? Do you see yourself as an at-home mommy or as a manager of your household? Do you think it makes a difference?

If you do some type of paid work in addition to your role at home, do you see yourself primarily as a working woman who also has a domestic life or primarily as a home manager who also happens to have a paid job or business? Do you think that makes a difference, as well?

I'd love to hear your thoughts.

Enjoy!
Elizabeth

Decorating American Style Part II:
From Gothic to Colonial
Inspired by the painting "American Gothic"

Yesterday, we talked about the fact that European Gothic style was introduced in our earliest colonies -- dating back as far as the 1500's. Gothic style has continued to go in and out of favor in the U.S.

Perhaps that's why one of the most famous depictions of mid-western America -- our heartland -- is a painting entitled "American Gothic." Notice the steep angles on the roofs of the barn and the main house. Notice how the upstairs window of the main house is long and narrow with a pointed arch and panes set in a particular pattern. Those are all simplified versions of details that you might find on European Gothic buildings. The painting contains details inspired by the High Renaissance, as well, but the composition is basically "gothic".

This 1930's painting has been so identified with simple American style that it has been parodied in many forms. We've all seen numerous images of celebrities posing as the man and woman in the painting. Paul Newman, for example, has used this image in his line of foods.

Many people think that the artist, Grant Wood, was making fun of America's reputation for being "puritancial", "narrow-minded" and "repressed". Perhaps, this is because the expressions of the two subjects are severe, rather than smiling, and the lines of the bulidings are so straight and neat.

Yet, to accuse Wood of painting "American Gothic" as satire is to misunderstand his entire philosophy of art. Wood, himself, denied that he was in any way making fun of the mid-west. In fact, he was charmed by a Gothic style cottage he saw in Eldon, Iowa. He wanted to portray this cottage on canvas, and he asked his sister and his dentist to pose as a typical American farmer and the farmer's unmarried daughter.

Though Grant had studied in Europe, one of his intentions in painting "American Gothic" was to oppose European abstract art. Wood was a Regionalist -- one of many midwestern painters who sought to capture the flavor of his region's everyday life on canvas. Regionalists believed in using representational images, and they resisted the abstract movement of modern art. While each Regionalist had his own idiosyntric style, all were united in their humble, rural, conservative, anti-Modernist approach to painting. In "American Gothic", Wood was attempting to evoke a slice of the mid-west, not to poke fun at it.

The "American Gothic" painting is just one window into how America has been influenced by medival Europe's Gothic style. Since Gothic style has periodically influenced our culture, maybe we should define it. That way, we can understand its impact on our surroundings.

Gothic style flourished during the high and late middle ages. It was especially prevalent in Europe during the 12th to 15th centuries. We associate it most with great cathedrals, but it was used in homes and other buildings, as well.

The most notable elements of Gothic architecture are the pointed arch and high vaults. During the middle ages, architects developed the technology to build the high spires, the vaulted ceilings, and long narrow windows. As you can easily see, even from Grant's Wood's painting of a faint echo of Gothic style, the lines of Gothic style point upwards. Thus, Gothic style was a favorite of Cathedral builders. They hoped that the long, tall lines would inspire people to set their minds on things above, and not just on the earthly realm.

Gothic style was not reserved for Cathedrals alone, however. Forts, palaces, and ordinary houses and shops were built along Gothic lines. Many exquisite tapestries hung on Gothic walls, at least in the homes whose owners could afford them. These tapestires were not only decorative, they helped keep the builiding warm.

Gothic furniture was massive, with leather straps and iron hinges. The moveable chest was an important piece of furniture in Gothic homes. It could serve as seating, house treasures, and be easily moved in case the family needed to evacuate from a plague, a fire, or an invading army.

In the beginning, the Gothic styles of England, France, Holland, Italy, Germany, and Spain all differed from one another. They gradually moved towards a more international Gothic style. Our colonial history was greatly shaped by all of the countries I just mentioned, and you can see traces of their different styles in our architecture, furnishings and gardens.

While our earliest European settlers still clung to Gothic styles, they were truly children of the Renaissance, the Reformation, and the Enlightenment. The Renaissance, which means "re-birth", started in Italy and spread outward from there, reaching the British Isles last of all the European countries. Like Gothic style, each European country experienced the Renaissance in its own way. The Renaissance overlaps with Gothic, as it happened roughly from the fourteenth through the sixteenth or seventeenth centuries.

It's impossible to describe Renaissance style in one short article. But, one thing is obvious: The Renaissance bean the style of looking back to the classic days of Rome and Greece for inspiration. Furniture continued to be heavy and dark -- at least for a good while. Yet, new themes were introduced: shells, scrolls, amphoras, dolphins, festoons and garlands, vases, urns, and rosettes. Marquetry was also popular; it used squares of wood in interlocking shapes.

The Enlightenment was also dominated by an interest in neoclassical styles. In Europe, in the 17th century, Baroque furniture was popular. It was heavy, austere, and intended to evoke silence or a feeling of awe. In the 1700's, Baroque faded before Rococo, which was light-hearted, opulent, and delicately rounded in style.

Our colonists interpreted Gothic, Renaissance, and Enlightenment styles far more simply than Europeans did. In the beginning, this was out of necessity. Many people made their own furnishings or bought them from local tradesmen, some of which lacked the skills of their European peers. Settlers often had to sacrifice finery for the sake of practicality and frugality.
Many American colonists also had religious, moral, or philosophical objections to creating homes, churches, and public buildings that were too opulent. For many reasons, the rococo splendor of Versailles would have been out of place in Colonial America.

Even the colonies' wealthy aristocrats, who were building large plantations and fine houses with elegant furnishings, faced these dilemmas. These wealthy settlers created what I think are some of the world's loveliest homes, farms, and gardens. Yet, even the finest American colonial plantations were less grand than the country estates of European nobility.

Today, when we speak of "American Colonial style," we don't think about our early Gothic or even Renaissance influences. We think specifically of the British-inspired style that had developed in America by the 1700's.

By this time, recognizable elements of a typical British inspired American home were pitched roofs, a central entryway that led to a long, great hall, and evenly spaced windows. Furniture was less massive than the early Gothic styles, and had more delicate lines. American furniture makers drew from William and Mary (1689-1702), Queen Anne (1702-1714), Georgian (1714-1830) and Thomas Chippendale (1718-1779). But, they interpreted these styles in a uniquely American way.

The following excerpt from an article on Colonial style describes common colors used in American colonial interiors: "In the less affluent Colonial homes, earth-toned colors were most often chosen. White, creamy yellows, almonds, ochres, reddish and chocolate browns, beiges, taupes, and muted greens were common. The pigments and dyes came from native plants, soils, and minerals.

In affluent homes, color choices were broader. Because blue pigment was rare and therefore expensive, it was a color many people aspired to. It became one of the signature colors of the era.

Also common were various shades of green, ranging from clean pastel, sea and grass shades, to deep muted olives. Pinks were also popular—especially in bedrooms, dining rooms and parlors. Red was most often used as an accent color, notably inside cabinets and china hutches.

Shades of gray, black and deep brown were employed for wood trim and floorboards, and were common to nearly all homes."

Some colonists carted china and silver with them to the new world, or they paid to have it shipped to them. But, many Colonial homes used heavy pewter or wooden tableware. If you are seeking to create an authentic Colonial look, be sure to use lots of pewter dishes and accents.
American Colonial style fell out of favor right after our Revolution. However, it experienced a revival in the 1880's. I am not sure, but I imainge this was because we celebrated our Centenniel in 1876 and people were sentimental about our beginnings. Since the 1880's, American Colonial style has never truly gone completely out of fashion. It was especially popular durng the early sixties and it came round again at the time of our Bi-centenniel in 1976. American Colonial is a traditional style that always seems right. No matter what other styles are in vogue, you can always find paints, fabrics, and furniture to create a Colonial theme in your house.

Keep in mind, that while British inspired styles were predominant in our Colonial Days, many places were heavily influenced by France, Spain, Germany, and Holland, as well. So, if you love French style, you can create a Colonial American French themed home if you desire. Or, you may be more inspired by early colonial Spanish homes.

Still, if you want to evoke what we think of as "American Colonial", study the British inspired styles of New England and Virginia.

Note that Gothic and Renaissance styles have ebbed and flowed in our country's history. Both have experienced several revivals. In the late 1800's, middle class and wealthy Americans reinvetned Gothic style and took it to a whole, new, ornate level. They favored heavy, elaborately carved furniture, Gothic and Renaissance inspired stained glass windows, and heavy drapes and bed coverings. Unlike the original Gothic houses, Victorian rooms were filled with large numbers of sentimental and decorative bric-a-brac.

Right after the Victorian age, there was a decided backlash against the "fussiness" of Victorian Gothic revival. People pulled down their heavy drapes to let more sunshine in, and they exchanged heavy Victorian furniture for lighter styles.

Later, Americans revived their interest in Gothic and Renaissance styles. They have been espeically popular in the last few decades. Today, even homes that are meant to be contemporary in style pull togther various design elements from Gothic and Renaissance styles.

We often think of America as being a young country. Perhaps, we are. But, we mustn't forget that we have a rich colonial history, as well as many long and deep ties back to the old World. We also mustn't forget that native Americans had their own ancient cultures, which influence our American style as well.

Around our Bicentenniel, a new American style was born out of our unique heritages. It was quickly dubbed "American Country". American country is a fun, eclectic style with lots of whimsical furniture and decorations. Though it is inspired at heart by rural America, it is much more playful than the real, traditional American farmhouse. Originally, American country stuck pretty much to traditional Americana or to Southwestern styles. But, it continues to evolve.

Lovers of American Country style sometimes borrow elements from French Country or British Country. But, we have to be careful here. True French and British country styles evovled from the way that the upper classes in those countries decorated their country mansions. American country, however, is meant to be reminiscent of an average American farmhouse. So, be careful not to borrow from traditional English or French country styles in a way that clashes with American Country's folksy message. If you do borrow English or French elements, be sure to think humble farmer's cottage and not country manor.

Cottage style is similar to American country. A main difference is that American Country style is based on the farmouse. Cottage style, on the other hand, evokes images of a little hideaway by the sea or a cozy little home behind a rose-covered white picket fence. Most cottage style is feminine and romantic. Some cottage decorating is rustic and masculine; like a vacation cabin in the Adirondacks.

Surprizingly, romantic cottage style allows you to borrow just a little more freely from Britian's and France's elegant, refined country styles. England's Chintz fabrics, France's lovely toiles, and both countries' lovely tea things look surprisingly at home in romantic American cottage decorating. Paintings or prints from Britain's and France's romantic heydey also blend in with a romantic cottage look. Of course, you still have to be careful not to overdo it to the point that you lose the cottage feel. And, these things don't work at all if you are creating a rustic cottage style.

Well, how do you pin American homes and gardens down to one style? You don't. America's population comes from all over the world. You can find an Americanized version of almost every culture there is. Also, some Americans love deocrating that evokes the past, while others are at home with everything that is as modern as can be. And, many of us are at home with an eclectic and fun mix of this and that.

So, whichever style suits you...

Enjoy!
elizabeth