Studio: international art (1.1893)

Coloured Bas-reliefs

ANEW TREATMENT OF BAS- whether 011 a foundation of carved wood, gesso, or

R E L IE FS IN COLOURED f***1 k muattere °0trWe are co»h™^ with a

PLASTER decoration that, while it may easily be made vulgar,

is yet at its best far more in accordance with good
It is pleasant to note in the re- taste than the more ornate enrichments dear to

vival of the sculptor's art in England, which, if the furnishing upholsterer, and it is to be feared

but a thing of yester- _ to the public at large.

day, is rapidly matur- | ^ [ ■.....mm* ,,, ... Here, however, we are

ing, that two varieties, .1 *L 1 -^/W I *.*vfj not concerned with
so long almost forgot- ^^^^fj^jsj^ ' "'tt^^yi^^1';' the main questions of
ten bj English sculp- . . -!^f_ ; 1 ;• .§ ^^^Wv" high relief, much less
tors, are receiving due ■ < I . , . 8 I j of coloured sculpture,
consideration. The rmmAa^rmBmm^^mmmsmv'B''":. •, a topic that has pro-
first is the art of .tt . .g&M- ^frtf % voiced more bitter ex-
the bas-relief, which, |p |) J pression of opinion
except during the \ \ Ji f| t'la" '* aesen"ed- The
period of Flaxman J^&SlM- ■ Greeks may or may not
and Wedgwood, has L-^JIKt' le^^'^f ;fT have coloured their
but rar.-ly tl<>uri>ii.-<; ( V&laflLF ' ^'' / statues and friezes; the
among us; the ik-m. I j&SMfe.'.. !\ naturalistii carvings of
the use of applied j • * mSSSmk.-. Grinling Gibbons, and
colour, which, as ex- . jBr^. < V\% ; j; ■ / the rococo decorations
amples of the Middle /f ft of 1851, may be left
Ages and Renaissance || to their defenders,
still left us prove, has | M " ^ne name alone need
before taken firm hold ■ ; P be cluoted as a sPlen"
of popular taste at ' j (jfji did precedent for low-
certain periods. BajSi.-.: '-<-l relief work in colour

To delight in high ^|BL^ W$ Lucca della Kobbia.

relief in carved work, ;.' •f'Jl^k I True, the faience he

whether it be in stone K ; ^ Ov' afl f m adorned diners essen-

or wood, is not neces- tially from the work

sarily evil, but the >'v ,>/lk we illustrate here; but

recognition of the the difference, great

delicate charm of low U '' 9Hm9H&r~^-sf *- though it be, is not so

relief might almost be | ' Wff^Wyl^^^^f^ """ '' a> lllU likt'"

claimed as a proof of J.v .1 it •;Stifflj^^;5;'^|^'*' ,u'ss- x'" that Mr.

educated taste. The i,| ^ . •''/ v .- ' ji R- A. Bell, the young

deep shadows and -^j ■ ■ '(sZj/jf artist wlio has in these

more sensational effect \ s-ik' V^ji ^l>MiBr made for himself a

of alto-relievo work at- » '■Wr^r^S^^^^^S^^ distinct mark has imi-

tract attention sooner - ,' Jr?*WWPP^^ tated glazed earthen-

than the subtle planes I ■■' ^^SS^a -ware in plaster; but he

of that modelling j has seen the charm of

whi. : low relief modelling

shadow in the most *™emphasised by colour,

refined way. For honeysuckle, from a relief in coloured plaster an(j has followed good

1 by r. anning bell ... , , ,

merely practical rea- tradition in the hand-
sons, the comparatively slight harbourage it affords ling of his materials, while imparting the accent
for dust, the greater facility for cleaning the sur- of individuality which separates them from pre-
face, and its subordinate effect in interior decora- vious attempts. It may be urged that coloured
tion, combine to render work in low-relief better plaster decoration is not permanent, that its
adapted for our climate and for our homes. colours are liable to fade, and its material easily
When to such low-relief work colour is applied— damaged ; yet, considering the alteration in form

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