DOI Heft:
No. 126 (September, 1903)
DOI Artikel:Wood, Esther: The national competition of schools of art, 1903
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19879#0278
The National Competition
r
DESIGN FOR PRINTED MUSLIN
BY FRANCES BAKER ( BLACKHEATH)
illustrations. and Arthurian materials; but her skill in com-
From Lam- position and decoration are still in advance of her
beth we wel- draughtsmanship, which needs more rigorous train-
comed again ing and restraint. She showed an extensive series
the serious of designs for book-illustrations,
and scholarly Another Lambeth designer deserving high
work of Ger- commendation is Austin O. Spare. His designs
trude Steel. for figure compositions in colour belong practically
to the realm of colour-prints,
and as such are quite the
best of their kind. The
drawing is powerful and re-
strained, the conception
sincerely poetic, and the
composition treated with a
fine sense of decorative
design. Ishmael and The
Waggoner were perhaps the
best of a remarkably interest-
ing group, but Nepticne and
Joseph were full of sombre
charm.
A full - page design by
Arthur Watts (Regent
Her Lady Macbeth, Saint
Elizabeth, Galley Slaves, and
the life-study In a Studio, had
the strong poetic feeling and
sombre beauty that distinguishes
her drawings, and were among
the very best work of the year.
Jessie M.McConnell also strikes design for printed muslin street^> The Red KniSht
her own note in design; and by Frances baker bearing the Body of Elsinore,
her illustrations—especially one (blackheath) wag marke(j \^ ^qI^ move.
called The Recluse—were full of
individuality and power. So fertile and prolific a
worker as Geraldine Morris (Birmingham) should - ••' ^^^#r~;'°-i)«gj$&
be urged to produce less and to labour more. She
has a genuine and vivid fancy and much romantic HJ^ *a<* *s*'- ~Ss»
feeling, which she loves to exercise in mediaeval P^B*"?''—-h&Jliitof r? ■
design for a damask table cloth
design for printed muslin
by frances baker (blackheath)
ment and lighting; and the manner of the early
pre-Raphaelite pen-drawings seems to have been
studied for this work, as well as for the grim and
fascinating picture of a miser, entitled Riches, by
the same designer. In a cover for Malory's "Morte
d'Arthur " A. E. Hilton (Chancery Lane) restricted
himself severely to conventional accessories of the
theme, but his disposal and rendering of them were
technically admirable. Still more pre-Raphaelite
by john smiley (belfast) in manner, though by no means merely imitative,
262
r
DESIGN FOR PRINTED MUSLIN
BY FRANCES BAKER ( BLACKHEATH)
illustrations. and Arthurian materials; but her skill in com-
From Lam- position and decoration are still in advance of her
beth we wel- draughtsmanship, which needs more rigorous train-
comed again ing and restraint. She showed an extensive series
the serious of designs for book-illustrations,
and scholarly Another Lambeth designer deserving high
work of Ger- commendation is Austin O. Spare. His designs
trude Steel. for figure compositions in colour belong practically
to the realm of colour-prints,
and as such are quite the
best of their kind. The
drawing is powerful and re-
strained, the conception
sincerely poetic, and the
composition treated with a
fine sense of decorative
design. Ishmael and The
Waggoner were perhaps the
best of a remarkably interest-
ing group, but Nepticne and
Joseph were full of sombre
charm.
A full - page design by
Arthur Watts (Regent
Her Lady Macbeth, Saint
Elizabeth, Galley Slaves, and
the life-study In a Studio, had
the strong poetic feeling and
sombre beauty that distinguishes
her drawings, and were among
the very best work of the year.
Jessie M.McConnell also strikes design for printed muslin street^> The Red KniSht
her own note in design; and by Frances baker bearing the Body of Elsinore,
her illustrations—especially one (blackheath) wag marke(j \^ ^qI^ move.
called The Recluse—were full of
individuality and power. So fertile and prolific a
worker as Geraldine Morris (Birmingham) should - ••' ^^^#r~;'°-i)«gj$&
be urged to produce less and to labour more. She
has a genuine and vivid fancy and much romantic HJ^ *a<* *s*'- ~Ss»
feeling, which she loves to exercise in mediaeval P^B*"?''—-h&Jliitof r? ■
design for a damask table cloth
design for printed muslin
by frances baker (blackheath)
ment and lighting; and the manner of the early
pre-Raphaelite pen-drawings seems to have been
studied for this work, as well as for the grim and
fascinating picture of a miser, entitled Riches, by
the same designer. In a cover for Malory's "Morte
d'Arthur " A. E. Hilton (Chancery Lane) restricted
himself severely to conventional accessories of the
theme, but his disposal and rendering of them were
technically admirable. Still more pre-Raphaelite
by john smiley (belfast) in manner, though by no means merely imitative,
262