DOI Heft:
No. 86 (May, 1900)
DOI Artikel:Some work by the students of the Glasgow School of Art
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19784#0246
Glasgow School of Art
school of art, every channel whereby the student paint because some existing object required such
can express himself is, or should be, at his disposal, treatment ; to decorate because construction
One is inclined, sometimes, to wonder why it required decoration ; and this course of education
was that the old men in Italy and elsewhere was animated throughout by a technical know-
seemed capable of combining in one personality ledge of architecture. In the work produced by
so many artistic excellences. The painter, the students of the Glasgow School of Art, this
the architect, and the decorative worker were principle of individuality is the one quality under-
often contained in one and the same artist, and lying all the productions. And in this matter the
this to such an extent that a fact common enough school is much helped by the fact that it belongs
in the early centuries of the Italian Renaissance, to a city in Scotland, and that this city is already
seems past belief in these days of specialised men. much in evidence as having given birth to a
The reason appears to be that the early workers school of painters whose powers are recognised
were, from the very first, instructed by being wherever modern movements in art find a place,
brought into contact with material, were, in fact, Produced in a city in Scotland, the art of Glasgow
educated in and through the use of material, and is less influenced by metropolitan considerations
were not given, as our students often are, an than is the work of many of the English and
artificial and unrelated instruction in methods and provincial towns and cities, and it carries certain
theories having no practical application, and often local and national imprints which are most in-
not even containing the elements of intelligence, teresting in these days of centralisation. There
To a thirteenth century artist's apprentice to draw appears, moreover, to be a local treatment even in
in line, to model in clay or wax, to grave with such matters as the education of its art students,
chisel or other tool were all means of expressing while the means taken are not apart from the
form ; to paint, to enamel, to colour with mosaic, ordinary course of school work. A certain tradi-
to lead together stained glass were but methods tion is established, and to this all students are
of expressing his sense of colour. He had to drawn, and the outcome takes the form of work
♦
EMBROIDERED PANEL
DESIGNED AND EXECUTED BY MISS YOUNGER
233
school of art, every channel whereby the student paint because some existing object required such
can express himself is, or should be, at his disposal, treatment ; to decorate because construction
One is inclined, sometimes, to wonder why it required decoration ; and this course of education
was that the old men in Italy and elsewhere was animated throughout by a technical know-
seemed capable of combining in one personality ledge of architecture. In the work produced by
so many artistic excellences. The painter, the students of the Glasgow School of Art, this
the architect, and the decorative worker were principle of individuality is the one quality under-
often contained in one and the same artist, and lying all the productions. And in this matter the
this to such an extent that a fact common enough school is much helped by the fact that it belongs
in the early centuries of the Italian Renaissance, to a city in Scotland, and that this city is already
seems past belief in these days of specialised men. much in evidence as having given birth to a
The reason appears to be that the early workers school of painters whose powers are recognised
were, from the very first, instructed by being wherever modern movements in art find a place,
brought into contact with material, were, in fact, Produced in a city in Scotland, the art of Glasgow
educated in and through the use of material, and is less influenced by metropolitan considerations
were not given, as our students often are, an than is the work of many of the English and
artificial and unrelated instruction in methods and provincial towns and cities, and it carries certain
theories having no practical application, and often local and national imprints which are most in-
not even containing the elements of intelligence, teresting in these days of centralisation. There
To a thirteenth century artist's apprentice to draw appears, moreover, to be a local treatment even in
in line, to model in clay or wax, to grave with such matters as the education of its art students,
chisel or other tool were all means of expressing while the means taken are not apart from the
form ; to paint, to enamel, to colour with mosaic, ordinary course of school work. A certain tradi-
to lead together stained glass were but methods tion is established, and to this all students are
of expressing his sense of colour. He had to drawn, and the outcome takes the form of work
♦
EMBROIDERED PANEL
DESIGNED AND EXECUTED BY MISS YOUNGER
233