International studio (46.1912)

Ella Condie Lamb


FIGURE OF HOPE, ONE OF FOUR
PANELS EXECUTED IN MOSAIC
THE “LAKEWOOD” MEMORIAL CHAPEL
MINNEAPOLIS, MINN.

BY ELLA
CONDIE
LAMB


FIGURE OF MEMORY, ONE OF FOUR
PANELS EXECUTED IN MOSAIC
THE “LAKEWOOD” MEMORIAL CHAPEL

BY ELLA
CONDIE
LAMB

MINNEAPOLIS, MINN.

LLA CONDIE LAMB. NOTES ON A
RECENT EXHIBITION
There are two considerations which
are of paramount importance in forming
even the most casual critical estimate of any
painter’s work. These considerations are of equal
importance and consist, broadly, of the intrinsic
value and sincerity of a painter’s ideals, and of
the adequacy with which these ideals have been
adhered to.
In a recent exhibition of paintings by Ella
Condie Lamb there was an evident balance to be
remarked between the dignified and often austere
ideals of the work and the direct sincerity with
which these ideals were approached. In most of
the examples there was a pronounced ecclesiasti-
cal feeling—a delicately expressed religious note of
dignity and repose. Even the portraits had a cer-
tain reserve, elusive to define exactly, but of a
character which contributed largely to the im-
pression of a distinct personality in Mrs. Lamb’s
work. There is also that quality which, for want
of a more definitive term, is generally called
“charm”-—a quality admirably shown in The
Crystal—Portrait of Miss Gertrude McMannis and
in the Portrait of a Miniature Painter. There
were a number of other portraits and portrait
sketches, of which the Portrait of Mr. Charles R.
Lamb was a little different from the others, being
a well-balanced arrangement of strong masses
and dark tones.

Particular interest centers in the groups of well-
handled studies for various types of mural decora-
tion—splendidly posed figures in gracefully ar-
ranged draperies. Most of these were studies for
mosaic work for the Lakewood Chapel in Minne-
apolis and for Cornell University. They strongly
recall, in their decorative treatment, much similar
work by the late Mr. John La Farge. They are
studies, indeed, which do not belie their designa-
tion as such, showing every evidence of carefully
designed detail and graceful disposition of line.
They are essentially “mural decorations,” for the
reason that they are firstly of the pleasing line and
graceful feeling requisite for figure work that must
be reproduced at a large scale and repeatedly
viewed, and, secondly, that they show decorative
qualities of a very positive sort.
For much contemporary work in this field is
either merely “mural” or merely “decorative,”
lacking the nice complementary combination that
makes for success. By this it is intended to say
that the superficial fact that a painting or mosaic
is applied to a wall surface does not necessarily
make it a decoration, or that of a work of a deco-
rative nature it is not necessarily of a sort suitable
for a wall treatment. It is only from the intelli-
gent dual rendering of these elements that a really
successful “mural decoration ” can result, and it is
by virtue of such a combination that Mrs. Lamb’s
decorative work presents such significant values.
That a woman may reach splendid heights in
the art of mural painting would be evidenced by
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