DOI Heft:
No. 54 (August, 1901)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.22775#0169
Studio-Talk
Especially successful in general effect were those
rooms in which simplicity of treatment was the
keynote. Domestic furnishing and decoration
has for a long time past been suffering from
over - ornamentation. This presumably comes
from the fact that the general public has laboured
under the delusion that ornament and art were
synonymous terms. It has purchased its wall-papers,
carpets, cretonnes, and to a certain extent its
furniture, because each article was “pretty” in itself,
entirely ignoring, and very possibly being unable to
imagine, the combined effect of the whole. The
result under such conditions must mean disappoint-
ment at all times. The wall-paper which is pretty
to look at in the maker’s book has often an altogether
different effect upon the wall, and when contrasted
with other, and perhaps inharmoniously patterned
materials. We cannot too strongly insist that one of
the most harmful popular delusions to be got rid of is
this senseless craving after pattern. Pattern is useful
and valuable under certain conditions, but it should
be used sparingly and as a precious thing if the effect
most to be desired is to be obtained. In the exhibi'
tion we refer to, which was held in the show-rooms
of Messrs. Liberty & Co., not the least admirable of
the features was the restricted use of pattern and
the admirable selection of contrasting textures and
materials. This, combined with judgment in
colour harmony and proportion, is the keynote
of successful decoration, and one that cannot be
too closely studied by those who desire to live
among beautiful and refined surroundings.
Mr. Cecil Aldin’s and Mr. Hassell’s nursery
decorations were another feature in the exhibition
deserving notice. We should like to be infants
again for an hour to realise to the full the delight
that such rooms would assuredly give us.
Among the many clever students of Nature who
have a right to be ranked as sincere exponents of
the best principles of modern Dutch art, Poggen-
beek may fairly be given a place by himself. The
strength and versatility of his work, its charm of
style and beauty of manner
are so attractive that his
productions cannot by any
possibility be overlooked in
any gathering of works by
the ablest masters of the
school to which he belongs.
He holds his own by a kind
of personal authority, and
claims attention as a painter
of rare gifts and remarkable
intelligence. His command
over various modes of tech-
nical expression is curiously
complete. He handles
different mediums with a
thorough understanding of
their characteristics, and he
has a way of combining them
so as to enhance their effec-
tiveness without destroying
their essential qualities.
Some of his best effects are
obtained by the application
of colour to what is frankly
a black-and-white drawing,
by using water-colour washes
or touches of pastel to
amplify the effect of a sketch
in charcoal or black chalk.
The example of his achieve-
ment which is reproduced
120
Especially successful in general effect were those
rooms in which simplicity of treatment was the
keynote. Domestic furnishing and decoration
has for a long time past been suffering from
over - ornamentation. This presumably comes
from the fact that the general public has laboured
under the delusion that ornament and art were
synonymous terms. It has purchased its wall-papers,
carpets, cretonnes, and to a certain extent its
furniture, because each article was “pretty” in itself,
entirely ignoring, and very possibly being unable to
imagine, the combined effect of the whole. The
result under such conditions must mean disappoint-
ment at all times. The wall-paper which is pretty
to look at in the maker’s book has often an altogether
different effect upon the wall, and when contrasted
with other, and perhaps inharmoniously patterned
materials. We cannot too strongly insist that one of
the most harmful popular delusions to be got rid of is
this senseless craving after pattern. Pattern is useful
and valuable under certain conditions, but it should
be used sparingly and as a precious thing if the effect
most to be desired is to be obtained. In the exhibi'
tion we refer to, which was held in the show-rooms
of Messrs. Liberty & Co., not the least admirable of
the features was the restricted use of pattern and
the admirable selection of contrasting textures and
materials. This, combined with judgment in
colour harmony and proportion, is the keynote
of successful decoration, and one that cannot be
too closely studied by those who desire to live
among beautiful and refined surroundings.
Mr. Cecil Aldin’s and Mr. Hassell’s nursery
decorations were another feature in the exhibition
deserving notice. We should like to be infants
again for an hour to realise to the full the delight
that such rooms would assuredly give us.
Among the many clever students of Nature who
have a right to be ranked as sincere exponents of
the best principles of modern Dutch art, Poggen-
beek may fairly be given a place by himself. The
strength and versatility of his work, its charm of
style and beauty of manner
are so attractive that his
productions cannot by any
possibility be overlooked in
any gathering of works by
the ablest masters of the
school to which he belongs.
He holds his own by a kind
of personal authority, and
claims attention as a painter
of rare gifts and remarkable
intelligence. His command
over various modes of tech-
nical expression is curiously
complete. He handles
different mediums with a
thorough understanding of
their characteristics, and he
has a way of combining them
so as to enhance their effec-
tiveness without destroying
their essential qualities.
Some of his best effects are
obtained by the application
of colour to what is frankly
a black-and-white drawing,
by using water-colour washes
or touches of pastel to
amplify the effect of a sketch
in charcoal or black chalk.
The example of his achieve-
ment which is reproduced
120