DOI Heft:
Nr. 156 (February 1910)
DOI Artikel:Art gallery designed by Frank Lloyd Wright, Architect
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19868#0538
Art Gallery by Frank Lloyd Wright
the woodwork is of fumed oak ingrained with bronze and
with an inlay of white holly
pieces of rich yellow and a
few small squares of black—
all this set in brass leadings
of various widths. The de-
signs are different in each
gallery and the white glass
repeats the white note in
the floors, while the yellow
emphasizes and enriches the
general dull gilt colorscheme.
The artificial light is especi-
ally interesting. There are
no fixtures of any sort in
view, there being a large
number of electric lights
placed above the skylights
and concealed in the archi-
tectural construction, so that
the source of light is every-
where hidden and yet the
light itself is perfectly dif-
fused and so softened as to
have the effect of daylight.
the light, being of white magnasite, a fine texture of The galleries opened with an exhibition of mod-
cement. All around the edges of the center white ern Dutch art.
portion, divided from it by a narrow strip of inlaid There have followed exhibitions of portraits by
brass, is a band of dull yellow-toned magnasite, Herman Herkomer, who is doing effective work;
bringing the golden side-wall color down into the and more recently of work by Ossip L. Linde, who
floor. In all the galleries the walls are covered with when not studying abroad has made his home in
cork gilded in a low-toned bronze dadoed by a Chicago, since he first came to America, about thir-
higher-keyed gilded rough plaster. The gilt is so teen years ago. His paintings are becoming fa-
low in key and the cork of such exquisite texture miliar in current exhibitions,
that it forms a perfect back-
ground for pictures, and
seems to enhance any mel-
lowness of color that an oil
or water color might possess.
The built-in furniture and
portfolio booths are all car-
ried to a height of seven and
one-half feet in the print and
reproduction gallery; and
this space is again divided
into various sections, form-
ing portfolio screens, drawer
space, tables, desks and
seats, each part having its
proper space relation to
every other and so making
a restful picture. Each gal-
lery has its skylights, these
being composed of oblong
pieces of dull grayed white the floors are of a white cement mixture to reflect
glass, with smaller oblong skylight illumination
xcvi
the woodwork is of fumed oak ingrained with bronze and
with an inlay of white holly
pieces of rich yellow and a
few small squares of black—
all this set in brass leadings
of various widths. The de-
signs are different in each
gallery and the white glass
repeats the white note in
the floors, while the yellow
emphasizes and enriches the
general dull gilt colorscheme.
The artificial light is especi-
ally interesting. There are
no fixtures of any sort in
view, there being a large
number of electric lights
placed above the skylights
and concealed in the archi-
tectural construction, so that
the source of light is every-
where hidden and yet the
light itself is perfectly dif-
fused and so softened as to
have the effect of daylight.
the light, being of white magnasite, a fine texture of The galleries opened with an exhibition of mod-
cement. All around the edges of the center white ern Dutch art.
portion, divided from it by a narrow strip of inlaid There have followed exhibitions of portraits by
brass, is a band of dull yellow-toned magnasite, Herman Herkomer, who is doing effective work;
bringing the golden side-wall color down into the and more recently of work by Ossip L. Linde, who
floor. In all the galleries the walls are covered with when not studying abroad has made his home in
cork gilded in a low-toned bronze dadoed by a Chicago, since he first came to America, about thir-
higher-keyed gilded rough plaster. The gilt is so teen years ago. His paintings are becoming fa-
low in key and the cork of such exquisite texture miliar in current exhibitions,
that it forms a perfect back-
ground for pictures, and
seems to enhance any mel-
lowness of color that an oil
or water color might possess.
The built-in furniture and
portfolio booths are all car-
ried to a height of seven and
one-half feet in the print and
reproduction gallery; and
this space is again divided
into various sections, form-
ing portfolio screens, drawer
space, tables, desks and
seats, each part having its
proper space relation to
every other and so making
a restful picture. Each gal-
lery has its skylights, these
being composed of oblong
pieces of dull grayed white the floors are of a white cement mixture to reflect
glass, with smaller oblong skylight illumination
xcvi