International studio (82.1925)

mceRHACionAL

ART IN EVERYDAY LIFE

LEONORA
R. BAXTER

strating the inborn French sense of the
general "fitness of things."

The production of pottery was, at
"v^B^nj. Iflfl first, the .supplying of a need, and

later it represented the slow and tedi-
ous growth of cultural advancement.
The nature of the craft, employing an
omnipresent material and requiring a
^Kj,>. A minimum use of tools, was such that

almost every race on earth has prac-
j J jj ticed it, and once upon a time it was

i«; 111' exclusively the work of women. For
1Mb,_J B perfection of quality in crude pottery,

" --^i—i '' -gs».. j /'WcSpP^-J fnj no ware has ever surpassed that of
^fflL ^ r~?-lB Greece. Also, ceramic art owes much
fjBUb*J&t.'i'?^»Bl|!k2E. V W to the inventive (lower ol the Romans.

Their "black ware" is found wherever
^Jr-J^m--- the Roman hosts encamped, and in

8w 3 ~" ™ England it is called "Upchurch pot-

tery," from the name of a locality
^W^v ; H where quantities of it have been
found. Later, the Italians of the

■■■^■■■■■■■■■■■■■'■■■■■■■■■■■■■■■■■■■^■■■■■■■■■■■■■■■■■■l Renaissance, with their rare conccp-

a regence interior tion of beauty, brought enameled

Courtesy of A. Kimbel & Son , ,

wares to perfection. In the obscure

rhe style that takes its name from Louis XVI beginnings of our own country the Indians made pottery,
was one of great magnificence, of beauty with ancj jt has value as an expression of indigenous art, but it is
dignity, and during that long reign many invaluable doubtful as to whether the makers had any real apprecia-
contributions were made to the art of France. The ideal of tion of beauty. Most interesting to us is the pottery of
Louis was splendor, and he gathered together and encour- today, the trend of which is toward a personal and indivi-
aged the great men of the intellectual and artistic world dual expression. Ceramic art in America has forged rapidly
to do their best work, and shed their glory on the time. ahead during the last few years and now exemplifies the
Gradually, under the guidance of Le Brun, exaggerated acme of cultured skill. The American public is keenly inter-
ornamentation and massiveness disappeared from decor-
ation, it became more delicate and refined, at length merg-
ing into the period of the Regency—the most perfect in
the history of art in France. Pictured here is an interior
of predominant Regency influence, done by A. Kimbel &
Son. It is of the less sophisticated type, so much better
liked in America than the more florid styles. The wood-
work, pure Regence, taken from a French Chateau, is
time-toned gray oak, and is exceptionally lovely. The
panels are beautifully proportioned, the profiles of the
mouldings particularly fine, and the slight carving is very
graceful and restrained. The vitrines which flank the
arched opening are lined with toile de Jouy, and used
to display bibelots—a detail so truly and charmingly
French. Quite notable is the harmonious and striking
combination of tapestries. The wall hanging is Aubusson,
characteristically picturing a Europeanized Chinoiserie
landscape, the bold colors and open pattern of which
are an excellent foil for the densely covered antique Ver-
dure panel with which the Louis XV sofa is upholstered.
Flanking the sofa are console tables of delicately carved
and gilded wood, a clear note from the period of Louis
XIV, whose reign was called "the triumph of gilded
wood." The original Regence chair, with its "X" stretcher,
is covered with old petit point in a green acanthus pattern
on a ground of dull yellow. The little marketry table and
the vase lamp are modern French, both copies, of course,
of period pieces. Sustaining the dignity of great artistic
achievement, this room simultaneously imparts the gaiety
and warmth of the Gallic temperament, giving life and

beauty to a dainty but strong ensemble, thereby demon- pottery made in maud Robinson's pottery studios

two tiventy-six

december i 9 2 5