International studio (39.1909/1910(1910))

Mr. Brangwyn's Tempera Frieze

dignified work by setting a decorative frieze above to complete it. But it was equally clear that it
his spacious panelled woodwork to the painting of would be better to have the plain plaster wall as
which he has called the rich and sumptuous art of a frieze than to deaden the effect of the glowing
Mr. Brangwyn. And in its remarkable partnership wood and its purity of design with a coloured
of the arts, both Sir Aston Webb and the directors frieze that should be heavy or dull in texture. It
of the Grand Trunk Railway have, perhaps, builded was here that the architect's sense of selection
even better than they thought; for a new form of proved his grip of the essential values, when he
decoration has been created which should cause called in Mr. Brangwyn's art to the enhancement
the setting in of a fashion that may have wide- of his own skill.

reaching results. In painting the tempera frieze to complete the

It was clear that Sir Aston Webb's rich, but decorative scheme of Sir Aston Webb's design,
simple and restrained design in warm brown Mr. Brangwyn has enhanced that scheme in a way
panelling required a frieze of sumptuous colour that is the best tribute to the architect's choice of

the partner of his labours. The advan-
tages of the use of tempera at once

• -.....^.^ff^j^k.^^s^' & strike the eye—the colour is brilliant,

Jfci-' ^«k.„ C' :\ piercing the heavy London atmosphere

V' ... "''"-r-.......- V) ,t^"> '. "\ that " puts out" any ordinary painter's

iJrf? --..j**^'^\" medium, and overpowers oil-colour; it

I -'- r/y^Jj^. ' •"'. -rri^jf is absolutely flat, becomes entirely

1 "\]ri>iy Jf?' "*>T a Part °f the texture and surface of a

Sv-y^ ^ v£&£^'S0^1'$ wall; it is very permanent and it

/' \ '*m stands cleaning. It is true that it has

disadvantages—it must be used by a
Ly. 88 master, for it necessitates bold and

:j ' ''t 'f , decisive handling. That is essential

' y41 ' ) ! jj ' '"vJSjflffMk '•' and vital. The man who uses it must

Ss.- /§'. \—-r. . ll..... l-i^^Fv*^?^ be a fine draughtsman and a bold one j

he must be a born colouris1", and again
a bold one. There must be no playing
J; jjf, ; I**-* with the tools, no redrawings, no hesi-

^^■"cst" tations with the colour, no dawdling

jBhMM over details, no finesse. The thing

.......—'i ^l desired must be stated at once, with-

■^SK^a/'\ out retouchings, without remodelling.

And how complete has been the artist's
triumph no one can fully realise who

a;........1............ j VJwflB I'j is not skilled in the use of tempera.

jj^^^^^^^^^^J^^^jj^^l ^^l'or here we have a new and bold

j^Sfllwb Hu^Hm! very individual to the man. Others

. . , .»/-.,'^l^ftmffjyM ' have wrought in tempera, and wrought

,.', their inspiration in the traditions of the

j'"'<ii|; j I IjL 'wjffjjjf^ dead; have analysed the methods of

j ^ >^BHa the^old masters; and, as near as could

\ 'ln^P^3 ^rar''■ ten' t0 "bring to us the Italian vision,

and to state their ideas in a foreign
sketch for frieze ' bv frank brangwyn, a.k.a. tongue. Mr.^Brangwyn, schooled in

32