Born in 1812, Augustus Welby Northmore Pugin is regarded as a key figure in reviving the traditional Gothic style. As one of the most influential styles of the 19th century, Gothic Revival combined romantic visions of the medieval past with an intellectual approach to art and design.
From an early age, A.W.N. Pugin worked under his father, the Anglo-French architect Augustus Charles Pugin. This experience, together with his profound love of Medieval architecture fostered by numerous tours abroad, heavily influenced his approach to design.
Rejecting the idea of mass-production in an era of industrialisation, Pugin believed that traditional medieval practices and craftsmanship were the purest form of manufacture. He gained his first commissions working for the royal goldsmiths Rundell & Bridge, where he largely focused on architectural and interior decorative schemes. Whilst collaborating with the firm John Hardman and Co., who produced glass for the Houses of Parliament, Pugin supplied the company with many important designs for precious metals, furniture and ceramics.
Throughout his career, Pugin was particularly fascinated by the atmospheric effects of light, and this often informed his designs for interiors. His earlier drawings of candlesticks and sconces illustrate a primary interest in form as opposed to function. Pierced foliate motifs and the introduction of reflector plates allow for interesting light effects which emulate the authentic character of dimly lit medieval settings. His works show a clear preference for ornate detail; gothic scripts, fleur-de-lis and stylised foliate motifs, and elaborate tracery are all common features of Pugin’s designs. These elements came to define the Gothic Revival style.
Whilst he is perhaps best recognised for his architectural commissions, which include the Palace of Westminster, it was the legacy of Pugin’s writings and designs for furniture, ceramics and metalwork which helped spread the vision of Gothic Revival around Britain.