Studio: international art (21.1901)

Scandinavian Decorative Art

The country which stands more apart from the neither are they dependent for their existence
others of the North, although the original culture upon any transient artistic whim which may easily
of all of them has been the same, is Denmark. develop in another country or be simply trans-
The more southern situation of this country is planted to foreign soil. These styles, which may
probably responsible for a landscape art which is be truly called Northern, have a far more potent
somewhat Dutch in character. In its beech forests origin, viz., national tradition, as an inexhaustible
and idyllic parks it possesses an inexhaustible source of inspiration, while for new impulses the
source of inspiration of its own, and many of its artists have to turn to their own countries, which,
artists have produced works which are thoroughly in modern as in olden times, can offer to the con-
characteristic of their country. templative mind scenery both grand and idyllic,
It is in its art industry that Denmark has deve- scarcely touched by civilisation, and to the worker
loped its greatest artistic qualities of late years, and isolation and peace undisturbed by stirring events,
to this branch artists of all kinds have devoted In conclusion, it may be said that in these
more and more of their energy and interest, remote countries a powerful art movement is
The traditional art of Denmark was goldsmith's forcing its way into the general art development of
work, as tapestry was that of Sweden and Norway. Europe, and that it will undoubtedly ere long claim
But Norway, as well as Denmark, has for centuries greater public attention,
possessed a well-developed goldsmith's art,
and has also created a special, original style,
consisting of exquisite filigree work in gold

and silver, combined with enamelling.

In recent times these arts have been
revived on the basis of tradition ; but just as

Sweden and Norway are strongly developing

new styles in tapestry, vastly differing from

the geometrical designs of the ''peasant

style," so Denmark is rapidly developing its

goldsmith's work by the employment of

creative artists, such as Mr. Bindesboll and

Mr. Henriksen.

The principal art-industry of Denmark of

the present time—namely, ceramics—has

already had time to undergo great variation of

style and method. The original style of the

Royal Porcelain Manufactory of Copenhagen,

the delicious under-glaze ornamentation of its

exquisite ware with motives of flora and fauna,

which has at last obtained due acknowledg-
ment, has now been followed by the sudden

development of a new, and in many instances

highly interesting, style at the Porcelain

Manufactory of Messrs. Bing & Grondahl, of

Copenhagen, partly created and partly de-
veloped under the superintendence of the

Danish artists, Mr. Willumsen and Mr. F. A.

Hallin. The method adopted is the modelling

of the ware in combination with exquisite

colour, making of each object a true work

of art.

From this short and inadequate reference
to the different branches of art-industry of the
Northern countries, it will be seen that the

styles which have lately been developed there memorial brass designed by aymer vallance

are not imitations of foreign art schools, (See London Studio-Talk)

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