DOI Heft:
Nr. 121 (April 1903)
DOI Artikel:Fisher, Alexander: The art of painted enamels
DOI Artikel:The Arts & Crafts Exhibition at the New Gallery: third notice
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19878#0191
The Arts and Crafts Exhibition
comparison with nature in any form whatever, but little fireplace is made to yield two shelves—one a
depending solely upon the inherent quality of narrow ledge just enough for pipes "and matches,
its material. The enameller has not to consider the other a light bracket projecting from the centre
the intricate problems of colour notation in the of the over-mantel, large enough to hold a clock or
same way as the painter in oil, although the laws vase of convenient size The panel from which it
of contrast and harmony, as laid down by Leonardo, springs has a slender and graceful decoration of a
Chevreul, Delacroix and others are, of course, pair of birds and saplings.
just as true for him as for any other artist. To Mr. W. R. Lethaby's beautiful marble mantel-
repeat : enamels should never be copies of any- piece, made by Messrs. Farmer & Brindley, is a
thing in nature nor of any other process of paint- refreshing evidence of what an artist can do with a
ing in art. They should be creations. They are much-abused and discredited material. Only a
for the representation and embodiment of thoughts, very judicious taste in the selection and combina-
ideas, imaginings, and for those parts of a world tion of materials can reconcile us to the proximity
which exist only in our minds. Even in portraiture, of a cold surface to a blazing hearth—at least
it is only the character, the charm of disposition, in a northern climate. But Mr. Lethaby was for-
the mental aspect of the sitter which should be tunate in securing a peculiarly warm and glow-
attempted, or which can be portrayed. No effort ing red vein of marble, which he uses to the very
should be made to imitate the texture of the coat best advantage, keeping the form simple and digni-
and skin, but— fied, and reserving the most rich-looking surfaces for
"Divinely through all hindrance break, decorative squares. Here, again, the convenience
And find the man behind it." of two shelves is secured in an inconspicuous way.
It is essentially in this realm
that enamels can be rightly
used, whereas all attempts
to copy effects of nature are
foredoomed to failure,
while to enter into com-
petition with other methods
in which these effects are
more easy of achievement,
would be degrading to the
art of enamelling.
THE ARTS &
CRAFTS EX-
HIBITION AT
THE NEW
GALLERY: THIRD
NOTICE.
Mr. Voysey's little cast-
iron grate and mantel-
piece, shown by Messrs.
Longden & Co., repre-
sented one of his most
successful efforts in the
beautifying of such small
and unpretentious rooms r^^^^^^^BBE
as are too frequently put "^^^^^^5P*^BMBhBHBH|^^^^^^^
off with the lumber of the |fc
hardware factory for their
ThouV^ep™ M°dfllt°as 'iitfSM"l^rW- ~ . sZjll
possible in treatment, this cast-iron grate by c. f. a. voysey, exhibited by longden and co.
179
comparison with nature in any form whatever, but little fireplace is made to yield two shelves—one a
depending solely upon the inherent quality of narrow ledge just enough for pipes "and matches,
its material. The enameller has not to consider the other a light bracket projecting from the centre
the intricate problems of colour notation in the of the over-mantel, large enough to hold a clock or
same way as the painter in oil, although the laws vase of convenient size The panel from which it
of contrast and harmony, as laid down by Leonardo, springs has a slender and graceful decoration of a
Chevreul, Delacroix and others are, of course, pair of birds and saplings.
just as true for him as for any other artist. To Mr. W. R. Lethaby's beautiful marble mantel-
repeat : enamels should never be copies of any- piece, made by Messrs. Farmer & Brindley, is a
thing in nature nor of any other process of paint- refreshing evidence of what an artist can do with a
ing in art. They should be creations. They are much-abused and discredited material. Only a
for the representation and embodiment of thoughts, very judicious taste in the selection and combina-
ideas, imaginings, and for those parts of a world tion of materials can reconcile us to the proximity
which exist only in our minds. Even in portraiture, of a cold surface to a blazing hearth—at least
it is only the character, the charm of disposition, in a northern climate. But Mr. Lethaby was for-
the mental aspect of the sitter which should be tunate in securing a peculiarly warm and glow-
attempted, or which can be portrayed. No effort ing red vein of marble, which he uses to the very
should be made to imitate the texture of the coat best advantage, keeping the form simple and digni-
and skin, but— fied, and reserving the most rich-looking surfaces for
"Divinely through all hindrance break, decorative squares. Here, again, the convenience
And find the man behind it." of two shelves is secured in an inconspicuous way.
It is essentially in this realm
that enamels can be rightly
used, whereas all attempts
to copy effects of nature are
foredoomed to failure,
while to enter into com-
petition with other methods
in which these effects are
more easy of achievement,
would be degrading to the
art of enamelling.
THE ARTS &
CRAFTS EX-
HIBITION AT
THE NEW
GALLERY: THIRD
NOTICE.
Mr. Voysey's little cast-
iron grate and mantel-
piece, shown by Messrs.
Longden & Co., repre-
sented one of his most
successful efforts in the
beautifying of such small
and unpretentious rooms r^^^^^^^BBE
as are too frequently put "^^^^^^5P*^BMBhBHBH|^^^^^^^
off with the lumber of the |fc
hardware factory for their
ThouV^ep™ M°dfllt°as 'iitfSM"l^rW- ~ . sZjll
possible in treatment, this cast-iron grate by c. f. a. voysey, exhibited by longden and co.
179