DOI Heft:
American section
DOI Artikel:Oliver, Maude I. G.: The exhibition of arts-crafts at the Art Institute of Chicago
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28250#0486
Arts and Crafts at Chicago
fail of mention. The Markham ware, which is
quite a new creation, is seen in some very alluring
examples, both as related to form and to charm of
glaze. The large pieces of Grueby faience were
displayed on a high fireplace effect which formed
a very suitable setting for the quiet dignity of these
shapes. There was also a case containing other
specimens of this same ware, notable among which
were the two tobacco jars by Miss Julia H. Bradley.
The one in green, Nicotine Design, with conven-
tionalised flowers showing at intervals around the
collar, was especially structural in contour. The
other was finished in a glaze of dark blue. Besides
BRASS CANDLESTICKS
the utensils for holding things, the Grueby com-
pany sent a representative collection of Mr. Le
Boutillier’s compositions in quaint, ornamental
tiles. Squares of framed panels in the Crow Design
and Apple Tree Design make effective spots in the
adornment of a wall space; and the tiles in landscape
motifs for a fireplace would be interesting accesso-
ries to a scheme of interior decoration. It is a mar-
vel how many distinctive processes the Rookwood
people operate; included in the sixty-two exhibits
shown in the Art Institute alone, there were no less
than eight different types of ware, and these did not
represent all the styles, by any means. The skill
necessary, and the difficulty in the
way of absolutely ideal conditions,
for the production of certain of
these developments, render a perfect
result exceedingly rare and the es-
thetic direction back of the render-
ing places it as a high art. For ex-
ample, a vase in “painted mat,”
showing Japanese flowers about the
neck in naturalistic colours on a
dark green ground with a purplish
rim above, possesses a charm to de-
light the eye of the connoisseur.
The Van Briggle pottery is excep-
tionally lovely in its soft, earthen
richness of colouring. A notable
vase in this ware was glazed in
green and brown tones, relieved by
a simple leaf design repeated about
the form. Newcomb pottery has its
own individual attraction. It ex-
presses the same esthetic quality, in
relation to the more subtle wares,
that a mural decoration shows in
the presence of easel pictures. Its
glaze is very seductive and the
decorative scheme of its design is
most satisfying. For particular
beauty of form, was observed the
triangular shape in dark grey-blue
enclosing, by the projected model-
ling, three blue peacock eyes about
the top. Attention was also directed
to the stein, Iris Bud, Underglaze,
in soft, dark green, deep blue,
lighter blue in the flowers and a
touch of orange introduced as back-
ground. Although their facture is
so comparatively new, the Robineau
porcelains fully merit the distinction
to which they have attained. There
BY FRANK HAZENPLUG
CVI
fail of mention. The Markham ware, which is
quite a new creation, is seen in some very alluring
examples, both as related to form and to charm of
glaze. The large pieces of Grueby faience were
displayed on a high fireplace effect which formed
a very suitable setting for the quiet dignity of these
shapes. There was also a case containing other
specimens of this same ware, notable among which
were the two tobacco jars by Miss Julia H. Bradley.
The one in green, Nicotine Design, with conven-
tionalised flowers showing at intervals around the
collar, was especially structural in contour. The
other was finished in a glaze of dark blue. Besides
BRASS CANDLESTICKS
the utensils for holding things, the Grueby com-
pany sent a representative collection of Mr. Le
Boutillier’s compositions in quaint, ornamental
tiles. Squares of framed panels in the Crow Design
and Apple Tree Design make effective spots in the
adornment of a wall space; and the tiles in landscape
motifs for a fireplace would be interesting accesso-
ries to a scheme of interior decoration. It is a mar-
vel how many distinctive processes the Rookwood
people operate; included in the sixty-two exhibits
shown in the Art Institute alone, there were no less
than eight different types of ware, and these did not
represent all the styles, by any means. The skill
necessary, and the difficulty in the
way of absolutely ideal conditions,
for the production of certain of
these developments, render a perfect
result exceedingly rare and the es-
thetic direction back of the render-
ing places it as a high art. For ex-
ample, a vase in “painted mat,”
showing Japanese flowers about the
neck in naturalistic colours on a
dark green ground with a purplish
rim above, possesses a charm to de-
light the eye of the connoisseur.
The Van Briggle pottery is excep-
tionally lovely in its soft, earthen
richness of colouring. A notable
vase in this ware was glazed in
green and brown tones, relieved by
a simple leaf design repeated about
the form. Newcomb pottery has its
own individual attraction. It ex-
presses the same esthetic quality, in
relation to the more subtle wares,
that a mural decoration shows in
the presence of easel pictures. Its
glaze is very seductive and the
decorative scheme of its design is
most satisfying. For particular
beauty of form, was observed the
triangular shape in dark grey-blue
enclosing, by the projected model-
ling, three blue peacock eyes about
the top. Attention was also directed
to the stein, Iris Bud, Underglaze,
in soft, dark green, deep blue,
lighter blue in the flowers and a
touch of orange introduced as back-
ground. Although their facture is
so comparatively new, the Robineau
porcelains fully merit the distinction
to which they have attained. There
BY FRANK HAZENPLUG
CVI