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The architect Le Corbusier hated wallpaper, famously decreeing: “Every citizen is required to replace his … wallpaper … with a plain coat of whitewash.” (This attitude didn’t stop Le Corbusier from collaborating on two wallpaper collections in 1939 and 1959.) Nevertheless, wallpaper persevered.
They’re kind of like wallpaper.” Schoenebeck studies how parents and teens relate to digital photos—she looks at things like moms posting baby-photos online, and how teenagers feel about their earlier selves immortalized in digital images on Facebook.
Wallpaper “has never quite thrown off the taint [of] being a cheap imitation,” writes Gill Saunders in A Short History of Wallpaper.
One wallpaper manufacturer debuted arsenic-free wallpaper, but no one paid much attention to that, until more and more cases started appearing.
Take, for example, this vaguely ominous description from the 1881 novel Bel-Ami: The History of a Scoundrel by Guy de Maupassant: “The wallpaper, grey, with blue posies had as many stains as flowers, stains ancient and suspicious which defied analysis, crushed remains of insects, drops of oil, smudges of fingers greasy with pomade, splashes of soap suds from the wash hand basin.” Or, for another example, the classic symbolic-wallpaper tale is the 1892 short story, “The Yellow Wallpaper” by Charlotte Perkins Gilman.
The main character in Charlotte Perkins Gilman’s 1892 short story “The Yellow Wallpaper,” for instance, descends into madness and believes that the source of her illness stems from the wallpaper in her room.
