DOI Heft:
Nr. 343 (December 1925)
DOI Artikel:Anderson, Joan: Charles A. Platt: architect, etcher, painter
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19986#0181
mceRriACionAL
CLASSICAL ADAPTATION IN MODERN PERGOLA BY C. A. PLATT
School and the devotion of his summer holidays to cific purpose of studying the gardens of the old
painting. There is an orderly sequence about the world, particularly those of Italy. It is probable
whole story. Next, the Art Students League, and that there was nothing sudden in this apparent
then, in the early 1880's, Paris, Julien's and work change of front. Architectural planning and con-
under Boulanger and Lefebvre. Regular entries struction had already been successfully carried out
at the Salon for the last four years of his five years' in his building of a summer home at Cornish, New
stay in Paris, and home again where many honors Hampshire. It may have been here that he first
awaited him. Among these recognitions of his realized the importance of the landscape setting of
accomplishment was membership in the American architecture, seeing with his artist's vision in the
Society of Artists, membership in the Society of structural lines of a house, in its sweep of terraces
Etchers, soon membership in the British Society and gardens, in its thrust of sentinel trees or its
of Painter Etchers. He was also soon made an walls patterned with light and shadow from danc-
Associate Academician, as later for his architec- mg leaves, marvelous elements of design for a
tural work he was elected National Academician, pictorial harmony of composition.
A period of solid achievement follows in which That leisurely progress through the tranquil
landscape painting is the important work. To the spots of beauty in the old world must, indeed,
discipline of French training, his inborn sensitive- have been a happy pilgrimage. There is a quasi-
ness to natural beauty, penetrating observation record of the excursion in the artist's "Italian
and individual character of expression made rich Gardens," published later, in which he treats of
contribution. Yet even this phase, as that of his the raison d' etre of these old gardens and reveals
earlier etching, was to give way to another form of how they served both beauty and utility in their
art activity, for his interest in architecture and the clever planning. This point of view shows the
setting of architecture led to a decision to accom- penetrating and practical mind of the man. The
pany his brother on a trip to Europe for the spe- ulterior purpose of this careful study was not
DECEMBER I 9 2 J
one eighty-one
CLASSICAL ADAPTATION IN MODERN PERGOLA BY C. A. PLATT
School and the devotion of his summer holidays to cific purpose of studying the gardens of the old
painting. There is an orderly sequence about the world, particularly those of Italy. It is probable
whole story. Next, the Art Students League, and that there was nothing sudden in this apparent
then, in the early 1880's, Paris, Julien's and work change of front. Architectural planning and con-
under Boulanger and Lefebvre. Regular entries struction had already been successfully carried out
at the Salon for the last four years of his five years' in his building of a summer home at Cornish, New
stay in Paris, and home again where many honors Hampshire. It may have been here that he first
awaited him. Among these recognitions of his realized the importance of the landscape setting of
accomplishment was membership in the American architecture, seeing with his artist's vision in the
Society of Artists, membership in the Society of structural lines of a house, in its sweep of terraces
Etchers, soon membership in the British Society and gardens, in its thrust of sentinel trees or its
of Painter Etchers. He was also soon made an walls patterned with light and shadow from danc-
Associate Academician, as later for his architec- mg leaves, marvelous elements of design for a
tural work he was elected National Academician, pictorial harmony of composition.
A period of solid achievement follows in which That leisurely progress through the tranquil
landscape painting is the important work. To the spots of beauty in the old world must, indeed,
discipline of French training, his inborn sensitive- have been a happy pilgrimage. There is a quasi-
ness to natural beauty, penetrating observation record of the excursion in the artist's "Italian
and individual character of expression made rich Gardens," published later, in which he treats of
contribution. Yet even this phase, as that of his the raison d' etre of these old gardens and reveals
earlier etching, was to give way to another form of how they served both beauty and utility in their
art activity, for his interest in architecture and the clever planning. This point of view shows the
setting of architecture led to a decision to accom- penetrating and practical mind of the man. The
pany his brother on a trip to Europe for the spe- ulterior purpose of this careful study was not
DECEMBER I 9 2 J
one eighty-one