By William R. Drennan
in keeping with the scandal generated by way of his open affair with the proto-feminist and loose love suggest Mamah Borthwick Cheney, Wright had all started to construct Taliesin as a safe haven and "love cottage" for himself and his mistress (both married on the time to others).
Conceived because the apotheosis of Wright’s prairie condo kind, the unique Taliesin could stand in all its remoted glory for just a few months ahead of the bloody slayings that rocked the state and lowered the constitution itself to a smoking hull.
providing either a gripping secret tale and an authoritative portrait of the artist as a tender guy, Drennan wades in the course of the myths surrounding Wright and the bloodbath, casting clean mild at the formula of Wright’s architectural ideology and the cataclysmic results that the Taliesin murders exerted at the fabled architect and on his next designs.
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Additional resources for Death in a Prairie House: Frank Lloyd Wright and the Taliesin Murders
Who saw the possibilities offered by the new [Arts and Crafts] movement, which was as much Romantic as it was reformist and revivalist. . In championing a return to humbler styles notable for their beauty and ﬁtness of purpose, young American architects could talk about a need for an architecture that was untainted by foreign inﬂuences, that was home-grown, a quintessentially American architecture that they all, in one way or another, were competing to invent. Just as modern industrialism produced ugly furniture, it also produced homes and families that were fractured, alienated.
Emerson found in turn that Greenough had anticipated “the leading thoughts of Mr. ” Wright intended to satisfy that hunger. By “organic” architecture, Wright—like Greenough and Ruskin and Emerson before him—meant buildings (homes, mostly) that adhered to the laws of nature and that, through their design and their use of 38 Prelude to Murder indigenous materials, were tied to the native landscape. In Wright’s hands, such houses were typically low lying, like the midwestern prairie itself, and featured wide, cantilevered roofs—Emerson’s horizontal “length of line”—that hovered over open, free-ﬂowing interior spaces.
They joined Unity Church, the local Universalist congregation, and vacationed together fashionably Prelude to Murder 31 at Hillside, spending time there at Uncle Jenk’s Tower Hill School of Religion and Ethics. Home life, in sum, appeared to suit Frank Lloyd Wright. At the time, all this rampant domesticity accorded wonderfully well with what had become Frank’s guiding philosophical light, one fueled by the popular Arts and Crafts Movement, an impulse that harbored important implications, he thought, not just for design, but for the moral shaping of life itself.