DOI Heft:
No. 82 (January, 1900)
DOI Artikel:British decorative art in 1899, and the Arts And Crafts Exhibition, [4]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19783#0304
Arts and Crafts
In this example perhaps the design might with
advantage have been elucidated by means of paint-
ing or by a less tortuous system of leading. The
complexity of the parts, as irregular in outline as
the counties are in a map, does not make for
clearness of definition, without the aid of colour.
It is a well known fact that the artistic movement
in this country has been followed with the closest
interest in France, Germany, Belgium, the Nether-
lands, and other parts of the Continent. In
Germany, in particular, admirers of the Glasgow
school are numerous ; and hence it is not surpris-
ing to find German legends or titles figuring in some
of the examples of Mr. Paterson's work, showing a
perceptible German affinity or attraction, although
the glass itself may not actually have been supplied
for placing in the houses of patrons resident abroad.
In the " Christmas Carol Singers," Mr. Paterson has
allowed himself consciously to be influenced by
German art. The effect is obtained in coloured
glass alone, save in the flesh portions, the hands
and faces being painted. The blue-grey moonshine
tone of the whole, and the deep yet transparen
purple shadows cast by the light from behind the
figures towards the spectator give a weird and
romantic appearance. Another composition which
reflects a degree of German influence is that entitled
" The Misanthrope" (p. 274). The malignant foe of
the human race, under the graphic symbol of a big
black crow, perched on the gaunt bough of a tree
nigh bared of leaves, and from his point of vantage
vigilantly scanning the habitations of men that lie
below, is a quaint conceit. The Diirer-like group
of red-tiled houses under a yellow sky, adds not a
stained glass
designed by oscar paterson
little to the picturesqueness of the scene.
As regards the rendering of the sky ex-
panse, the rectagonal division of the
leading in this subject, and still more
pronouncedly in that labelled "Vertum-
nus," is rather too suggestive of courses
of ashlar masonry. It was in order to
counteract this sense of squareness that
Mr. Paterson introduced, in the case of
the "Misanthrope," a curved framing of
black glass round the edge of the window.
Both the panel with the legend: "The
glass panel designed by oscar paterson skies they were ashen and sober' (from
276
In this example perhaps the design might with
advantage have been elucidated by means of paint-
ing or by a less tortuous system of leading. The
complexity of the parts, as irregular in outline as
the counties are in a map, does not make for
clearness of definition, without the aid of colour.
It is a well known fact that the artistic movement
in this country has been followed with the closest
interest in France, Germany, Belgium, the Nether-
lands, and other parts of the Continent. In
Germany, in particular, admirers of the Glasgow
school are numerous ; and hence it is not surpris-
ing to find German legends or titles figuring in some
of the examples of Mr. Paterson's work, showing a
perceptible German affinity or attraction, although
the glass itself may not actually have been supplied
for placing in the houses of patrons resident abroad.
In the " Christmas Carol Singers," Mr. Paterson has
allowed himself consciously to be influenced by
German art. The effect is obtained in coloured
glass alone, save in the flesh portions, the hands
and faces being painted. The blue-grey moonshine
tone of the whole, and the deep yet transparen
purple shadows cast by the light from behind the
figures towards the spectator give a weird and
romantic appearance. Another composition which
reflects a degree of German influence is that entitled
" The Misanthrope" (p. 274). The malignant foe of
the human race, under the graphic symbol of a big
black crow, perched on the gaunt bough of a tree
nigh bared of leaves, and from his point of vantage
vigilantly scanning the habitations of men that lie
below, is a quaint conceit. The Diirer-like group
of red-tiled houses under a yellow sky, adds not a
stained glass
designed by oscar paterson
little to the picturesqueness of the scene.
As regards the rendering of the sky ex-
panse, the rectagonal division of the
leading in this subject, and still more
pronouncedly in that labelled "Vertum-
nus," is rather too suggestive of courses
of ashlar masonry. It was in order to
counteract this sense of squareness that
Mr. Paterson introduced, in the case of
the "Misanthrope," a curved framing of
black glass round the edge of the window.
Both the panel with the legend: "The
glass panel designed by oscar paterson skies they were ashen and sober' (from
276